A super-satisfying second LP.

It’s essential for anyone looking for new, truly underground music--but not quite perfect.

At points it’s utterly lovely--you can’t beat the combination of strings and Tony Allen’s drumming--but at others it’s slightly silly.

While some may find it a little self-indulgent, judged in its entirety the depth of sound and overall arrangement are nothing short of masterful.

Whatever you read into it, this is powerful, living dance music, above all else.

Impassioned rather than impatient and delicate where others opt for too-sweet delicacies, If You Wait is going all the way.

All the off-kilter rhythms and layers of organic sound loops are there, but it’s all a little bit bigger, the drama a little bit more heightened, and whatever oddness she might be singing about in Spanish it feels like a powerful personal statement.

A richly listenable collection.

There’s footwork based on deep, soulful sensuousness and hip hop wooze as well as face-melters, making this the finest, most engaging example of footwork we’ve heard yet.

'All I Need’ and ‘Simulrec’ are highlights in what is a confident and mesmerising debut from Avery, one that deserves to go down as one of the best of 2013.

A thrilling creative renaissance on so many levels.

Although some of the arrangements and electronic embellishments are lavish, there are few obvious peaks and troughs apart from the epic throb of ‘Thea’.

It’s an ethereal experience from start to finish, Machinedrum eschewing his love of UK funky, future garage, r’n’b, footwork and other low-end strains in order to concentrate on lush, rhythmic, utterly transportive productions.

Laced with menace and atomically sonic, this second coming is nothing short of a masterclass in dark craft.

This album is something that any open-minded Mixmag reader could appreciate.

It’s frequently funky and witty, the production and melodies burn themselves onto your memory, and while occasionally it’s more impressive than lovable, you can’t argue with its clarity of vision.

Tracks regularly clock in at eight, nine and 10 minutes, yet Blondes never outstay their welcome.

Greene has spoken of striving to create a paracosm himself with his lyrics, although his stoned drawl often renders them indecipherable. Still, they add to the sunlit, woozy, mysterious world that Washed Out has built.

As with anything this ambitious, it occasionally over-reaches itself--but the highlights are magical, and should see Moderat reach ever bigger audiences.

Springsteen cover ‘The Last To Die’, is a witty aside, but throbbing 4/4 dominates as the electronic legends make a welcome return to their roots.

They’re solid tracks though few approach his greatest moments.

On the whole, Sleep Of Reason is a stirring and cerebral venture into avant-soul.

The Inheritors is an extraordinary, unique record from one of electronic music’s most vivid minds.

Despite falling short of its higher-octane predecessor, this difficult second album isn’t without its moments.

AlunaGeorge could well be challenging old touring partners Disclosure for pop crossover supremacy this summer.

Slow Focus is a grisly journey into the unknown, but an exhilarating one--if you’re willing to take it.

As cute and quirky as the band themselves, this is instantly up there with LNT mixes from Air and Lindstrøm.

Another patchy long-player from a proven producer.

The most exciting thing about Comfort is the sense that this is an artist who has only scratched the surface of her talent.

It’s like the best bits of MGMT, The Scissor Sisters and The Sleepy Jackson rolled into one.

Turbines has them sounding more like a band and less like a studio project, but around their psychedelic boy-girl harmonies, circling guitar lines and insidiously weird lyrics, there are still plenty of analogue gurgles and swoops and strange, dubwise production finesse

This is the sort of LP you play from start to finish while on a car journey in the sun on the way to a festival: it’ll gift you with positive feelings through its infinite groove.

While it’s hard not to view the five solo instrumentals as some of the strongest work here, overall Getting Closer is well worth some private investigating.

The results are like a retrospective charting 25 years of innovation in UK club music.

Set them around rhythmically experimental dance tracks (‘An English House’, ‘Community’) and you have intelligent evolution.

Bold, brilliant and beautiful.

An album that perfectly epitomises the new wave of house music--and may even be its peak.

With only a couple of uninspiring tracks, this is an ambitious game-changer that’ll leave you with a renewed optimism about the future of music.

On the whole, Cold Spring Fault Less Youth is a cerebral and arresting follow-up forged in harmonious invention.

Perhaps a marginally less absorbing spin than Nick Höppner’s addition to the series last summer, but judged on its own merits, Panorama 05 still constitutes a solid house mix.

It’s an accomplished record.

It’s another master stroke from Cosmin. Faultless.

Their darker second album leans more towards mid-80s baroque-pop.

Overall, the hybrids hold together: as their No. 1 single ‘Feel The Love’ has shown, this may well be an experiment with the mainstream that pays off big time.

It’s intense, ambitious and, in places, uneasy listening, but at the core of Overgrown lies unalloyed beauty.

Once you delve in you’re taken on a guided tour through the duo’s illustrious back catalogue in a quite majestic way.

Mastered by Berlin’s leading engineer Tobias Freud, the craftsmanship is simply untouchable, but the absence of any absolute stormers creates a slight shortfall.

The guest list on Amygdala proves his pull, boasting marquee names to help Koze construct a dense, intense and highly individual album of nuanced house.

While it could have been clipped of a couple of tracks, overall the devil is in the glitchy, Fever-ish new details--and Dave has rarely sounded better.

Nostalchic’= is the record you want to be listening to during the afterglow of good sex or a perfect ecstasy trip.

The finest moment is ‘Fantasie Mädchen’, a manic banger on which Gudrun Gut provides borderline psychotic vocals.

A charming, optimistic LP, delivered with a smile.

Producer Nigel Godrich has made of this a modern masterclass--and one that sets the bar for collaborations extremely high.

Not always easy, but definitely worth it.

He’s made a motherf***ing exciting record, that’s for sure.

The tomfoolery may alienate some listeners, but across all genres of music, few concept albums have been crafted with such a level of infectious invention.

Put intellectual conceits aside and Untogether’s dense, throbbing undercurrent, a soundtrack to some alternative dancefloor, proves alluring.

It’s sassy, saucy, sexy and attitudinous, and though you’ve heard a lot of it before, Lady hits the spot more often than it misses.

It finds the Welshman departing even further from his garage roots in favour of a more visceral warehouse sound.

A charming, understated record.

It’s a place where house music melts into a joyous, shimmering gloop.

It’s not perfect--a couple of tracks slightly overdo the asthmatic-sounding compression--but mainly it’s a really impressively consistent and well-structured listen, and definitely worth the wait.

Sticking with a winning formula can be commendable, but this is pales in comparison with past glories.

While 2010’s Compass--produced by Beck, and festooned with stellar guests--was about electronic folk and scuzzy pop, this new record’s got the funk.

Tender, beautifully melancholy urban electronica.

Everything Everything hit their targets with aplomb.

This is a largely dejected and sombre affair that is perhaps only for those of a darker disposition.

Even when the groove lessens, doubters are liable to be persuaded by their innate knack for epic choruses.

This album trades in bleakness, but there’s beauty in it.

Soulful, grown-up, dancey synth pop is hard to do well, but Toro Y Moi nails it.

An album based on the carillon, a peal of bells played using a keyboard similar to a church organ, fused with gentle synth phrases, motorik rhythms.

A haunting memorial.

Strangely fascinating.

Call their style what you like, this is a luscious record.

Whether doomily atmospheric or dissonant like 'Insulin', Crystal Castles successfully nail it for the third time running.

The whole thing feels vast, a lunar soundscape ripe for exploration.

Having always been a master at transcending genres, he makes sure his new album includes something for every musical taste.

Whether its impish character makes for a consistently engrossing listening experience is questionable, but it has moments of brilliance.

By going back to the first principles of house he's built something very new and very wonderful.

Unashamedly one-dimensional, this mix will continue to divide.

While album three may require a reboot from The XX, that's for another day. Right now, when it comes to fusing indie rock and dance, no one pulls it off quite as elegantly.

Order Of Noise creates an atmosphere akin to a vast thunder-cloud thick with heavy, window-rattling vibrations and sharp, sudden jolts of electricity.

Sebenza ranges and explores, opening sonic doors that deserve more regular use.

[Ridha's] third studio album is a reliable journey into thrashing, powerful and industrial electro and techno.

The sound of a master at work.

The effect is one of hypnosis and seduction, a type of black magic boogie that acts as the perfect catalyst for moments of intense intimacy.

Put simply, a genius at work.

For all its varied elements is all too clearly the expression of the demented but coherent vision of one man. You will find no better way to fry your mind this year.

An album of magic and wonder from the mystical mavericks of Norwegian disco.

It's certainly more nuanced and wide-ranging. It's all the better for it.

Beams represents a cerebral and well-balanced opus that could well represent a peerless innovator at the absolute pinnacle of his legacy.

It arguably only packs one real standout track, but Cellar Door is still a refined and fluid long-player.

Nick Weiss and Logan Takahashi's second coming finds the youngsters exploring a more symphonic sound.

The middle section may lean a little too heavily on balladry, but if you're looking for 2012's most sophisticated pop star, you may just have found her.

Atmospheric, intriguing and emotional.

The result is skull-crushing, claustrophobic and wonderful.

Sometimes brilliant, often infuriating, it's a must-check nonetheless.

While you could argue that Soul Clap have made better tracks than the 13 on offer here, there's no doubt that EFUNK is an enjoyable party album filled with jovial invention and several major tricks up its sleeve.