A record that pushes a catholic range of sounds through filter after filter, and turns out something at once smudgy and beautiful.

It is certainly every bit its predecessor, but through a more meditative, contemplative use of elements it is even better.

When it works, it makes for gloriously contradictory pop--it's just a shame that the formula isn't a little more consistent.

It's not going to make techno fans fall in love with noise, or noise fans fall in love with techno, but for those who, er, bat for both sides, it's a dream come true.

The meandering, incidental quality of their music works alternately in their favor and against them.

Black Bananas manage that ridiculously difficult feat of changing your sound up pretty massively without the whole thing feeling like a jarring shift in aesthetic.

Many of its strongest tracks are those that see Q take his foot off the gas, playing to more traditional communicative strengths in hip-hop.

Despite its patchier moments, fIN's effective command of light and shade make for an involving listen, and it's a sound that's pretty much Talabot's own.

It's playful and skittish, with equal time spent showcasing Black Milk's sample (and scratch!)-heavy beats and Brown's rhymes.

Burial's appointment as cemetery caretaker, presiding over the skeletons of rave, was always going have limited traction--after all, there's only so many ways you can express a bereavement--but perhaps in this EP he's found new purpose amongst the ruins.

Rich Forever is a supremely confident mixtape, which is probably why it is extremely entertaining in small chunks, but can be witheringly boring listened to in its entirety.

While the final result may be uneven in places, if you leave your inhibitions at the airlock you're guaranteed an enjoyable ride.

For music that is over 15 years old, Back on Time sounds as fresh as a sitar-wielding half-stepping daisy.

Hive Mind doesn't quite possess the same strength as what has preceded it.

An incredibly interesting debut album that's nearly as clever as its creators intended.

While this EP showcases some interesting ideas, even its best moments fall short of his work as Audion or False.

Despite a couple of missteps and the odd moment of doubt, I can't remember the last time a series of three full-length records released this close together has captured me--and others--in the way that this has.

On Evolve or be Extinct he spends an uncomfortable amount of time simply sounding doddery.

At times, notably in Born to Die's first half, it's a little too perfect, with songs meticulous to the point where they become sterile, but when it starts to find form, I can't think of an album since My Beautiful Dark Twisted Fantasy that was this big and sounded this good.

Leila's awkwardness doesn't pay off here: this time round, it's almost like a disguise for lack of inspiration rather than greater depths.

MU.ZZ.LE isn't the perfect album either, but it is another bizarre step in the unfolding vision of a very unique voice, a tantalizing and far too brief hint at something magnificent to come.

Gorgeous, beguiling, strange and way way out there, records like this restore a sense of mystery and wonder to the world.

The album's middle section treads water--'The Palace' passes by without making any impression whatsoever, '1313′ sounds like a more conventional Panda Bear--and then it all goes tits up.

An extremely promising debut.