This is the best footwork album released by Planet Mu to date, and sits comfortably in the upper echelons of their discography. Traxman has set the bar incredibly high.

I'm still waiting for the Tin Album that will bowl me over and convince me of his importance, but Vienna Blue is a loafered step in the right direction.

Kill For Love matures with each listen, and there's enough craftsmanship at work to more than compensate for the more listless moments.

Voices From The Lake is serene and sinister, hides more than it reveals and is so entirely absorbing that you could lose yourself in it indefinitely.

Five songs coming in just under 18 minutes of superior darkly-stranded pop music.

Overall this is a fine, and occasionally transcendent, stepping up of Fiona's game.

R.I.P is a fantastical, fascinating album: as Actress intended, it feels not really of this world.

Despite her undoubted vocal talents, she doesn't possess the authority to sell the bluster of her lyrics.

There are much worse records out there but at the end of the day, and somewhat ironically, it's just much too kind.

Having been born of time around Hot Chip's main activities, however, New Build's debut is not without the limitations that are likely of such an endeavour.

Transistor Rhythm is a well-made but forgettable album by someone who, given past form, I'd expected more from.

Yet despite having created a record that admirably challenges pop conventions, Black Dice could let a little more of the tradition in to help shape their material further and get the most from this direction.

Acousmatic Sorcery's imperfections are unapologetic and unconcerned, largely stamping all over any chances of bringing the overall experience down.

While it's unlikely to garner them a new generation of fans, as an exercise in generating fresh fodder for their festival sets it's effective enough.

It's not a classic album, but its contents implicitly argue that the concept of a "classic album" has become irrelevant in 2012 anyway.

This is a fine collection of songs and although there is nothing here to dispel the feeling that even if this is no masterpiece, that doesn't mean that Ranaldo won't be producing one sometime in the near future.

Henke is always at great pains to direct Monolake so that it exists in a constant dialogue with the dancefloor and with its multifarious abstract leanings, Ghosts pushes that challenge to its limits. That it succeeds on both counts whilst balancing a fictive pathway with real emotion only makes it more remarkable.

Transverse is an exceptionally immersive, expertly captured documentation of a tumultuous performance that has already earned a place in recent history.

MDNA runs the gamut of quality from ghastly to mediocre to brilliant, but it's not the unmitigated disaster that many feared.

His solo work tends to be more delicate--with Audience Of One capturing him at his most porcelain.

4Eva and a Day is--modestly, but definitely--a triumph.

Pretty Ugly is occasionally tender, sometimes facetious; thrillingly mechanical, let down by human voices; frequently adventurous, often injudicious.

The Keychain Collection is an album of miniatures painted in tiny brushstrokes, and its relative attenuation belies the richness of its details.

Tanlines's debut comes across as well-meaning but overly earnest, overly-invested and trying hard to do many things at once.

Everything about the record suggests a separation and a self-contained existence, like a second novel, and is wonderful for it.

Unwanted Chris Brown presence aside, All Of Me is a coherent, concise album that--hearteningly--is most characterised by its creator's overflowing wells of confidence.

Skillfully and bewitchingly arranged, its neatest trick is in the way it enfolds so many distinct personalities into Glasper's own vision, his music always complementing their voices without ever being dominated by them.

It's very difficult not to like these songs--for their clarity and craftmanship, but also the strength of their ideas.