The sounds that Dall brings to bear here are often gorgeous, a sun-dappled, analogue-soft electronica of rippling synths and glinting percussion that recalls--and sometimes strongly--the atmospheric IDM of the mid-90s.

It’s fair to say that Modern Worship is the fullest yet realisation of its creator’s distinctive vision, and it’s a rewarding album--but not quite a stunning one.

Order Of Noise [is] a meaty, satisfying listen.

Production-wise, the album sounds as if it could have easily slipped from any number of top tier rap labels, yet with Gates at the helm, the journey is deeper, darker and far more invigorating than anything from the last couple of years with a Rozay, Em or Hov co-sign.

Galaxy Garden is ambitious, which is to be lauded, and Cutler also has a reassuringly realistic outlook when saying that he is still "chipping away at a big idea".

Unfortunately, dependable lounge ambience this ain’t; as the album progresses, any sense of cohesion or purpose is quickly lost to the sheer density and variety of ideas.

Even given the sheer wealth of variety and detail Fhloston Paradigm crams in, it’s never lofty or inaccessible; instead, it both upholds an electronic music convention even as it carves its own singular niche.

By the end, you only want more: you find yourself wishing that Neneh Cherry and The Thing would just go ahead and cover every song in the world in this inimitable manner.

Hesitation Marks follows the musical lineage that began with The Fragile, but it surpasses recent NIN albums thanks to a deeply personal thematic core and a willingness to push the songwriting into territory that is often dancier and poppier than listeners have come to expect from the band.

Mantasy is a noticeably self-contained work: it unfolds gradually and deliberately, full of wholly beguiling details.

There's stacks to enjoy, but, for the most part, Release bares its bones and hides its heart.

There is some meat here, but it’s difficult to suck it off the bone. Perhaps in his efforts to prevent his music being “reified,” Warwick has fallen short of saying anything much at all.

The journey bounds from emotional high to low and back again: ecstasy and agony can both cause tearful eyes and heart palpitations.

Will Happiness Find Me? is a fitful, thought-provoking listen.

Legacy’s most obviously rewarding moments, then, are when Space pushes this alien thrill to its limit.

Total Loss is a largely dud-free album.

Fernow takes a more sprawling, less finely textured approach, so that Through the Window strikes a fine balance between morbid gloom and its faintly cheesy reference points.

Say Yes To Love feels like a purging, 20-odd minutes of urgent expulsion that leaves you feeling exhausted, elated and renewed.

By and large, though, Moiré counters spontaneity with poise.

This album is not just exciting for its sound, but for what it promises too.

This is not the moment where he will become a superstar, but it’s a promising beginning to what should be a very long career.

La Roux’s march may has slowed to a stroll, but she proves here that she can captivate at any pace.

No Love Web Deep is another scintillating missive from one America's most conceptually rich hip-hop acts.

The final outcome is a trebly plastic-fantastic quality, rendering Shrines closer in tone and texture to coke-rap than ethereal indie.

The Block Brochure is a daunting proposition and quite simply a difficult amount of music to process. This is unfortunate, though, given the sheer number and variety of gems strewn throughout.

Unfidelity stands out as a keeper.

In running time and number of songs, (III) may be their shortest album, but it's also their most cohesive personal statement yet.

By blending the conceptual drive of Post-Foetus and the organic songwriting of Baths, Wiesenfeld has delivered on the promise of Cerulean and found his place among contemporaneous pop experimenters like Grimes and Autre Ne Veut.