Some of his best yet.

Journeying and introspective, U pieces together a narrative that reflects on a past relationship; sculpting electronica, garage and piano together effortlessly.

Swapping sixth form studies for her real passion of singing, writing and producing music, the 19-year-old’s mature debut is an autobiographical “art project”.

It’s reminiscent of that doyenne of experimental electronica, Laurie Anderson--and that’s a heck of a compliment.

Should I Remain Here At Sea? and Taste stand as proof that "Mastermind, Islands" should be Thorburn's lead credit. [No. 131, p.57]

It makes for a tumultuous trip that has all the highs and lows of a real relationship, and one that sounds as good alone, on headphones, as it will in the club.

On occasion the constantly shifting patterns can get a bit itchy and unsettling, but for the most part it’s a joyful creation.

For the most part, it’s a sweaty journey of ribcage-rattling techno from the genre’s biggest players.

From where we’re standing, this is the debut album of the year.

On some songs it feels like it’s still an experiment in progress--it’ll be fascinating to see how they evolve on the live stage and in remixes--but just as often, Orton is absolutely on top of her game.

Tracks on The Triad are often busier, denser and more wild than their predecessor. Gone are the carefully layered compositions and _sparse wintry landscapes and arrived have more free flowing jams.

There are certainly moments of huge elegance and even dancefloor nirvana here, but the rigidity seems to stifle some of the magic in comparison to the album’s predecessor.

Lanza, the antithesis of the ululating, overwrought antics of the X Factor school, has an arsenal of talents that puts her in a league of her own. She’s very much for real.

While Under The Sun isn’t quite as strong as its monumental predecessor ‘76:14’, Pritchard still has an eye for coaxing out the astoundingly beautiful from ‘cold’ electronics.

Every track here reveals new depths on repeat plays. The year’s first essential comp? You guessed correctly.

Honey is an energetic and youthful love letter to Katy B’s clubbing roots.

Easy listening it isn’t, but from the barest of palettes, Kowton has built something with personality and raw power.

It’s an album that’s a handy reminder of how inseparable weirdo experimentalism is from the badass mainstream in hip hop.

With everything lathered in exquisite, 90s-sounding euphoria, the duo prove to be irresistible, once again.

The debut album from mysterious group Babyfather features bucketloads of frontman Dean Blunt’s devilish humour. But like all the best satire, it’s also steeped in grit and realness.

Here, he’s created an ultra-coherent, often beautiful and (despite it originally being ‘just’ background music) oddly personal statement.

It's hard not to get emotional. Cavernous drums and multi-layered vocals characterise 'Open Your Eyes', which has the ambitious sweep of classic 80s pop (think Berlin) and, with glacial, droning chords and Deheza's quivering, velvety vocals, the beatless 'Confusion' may well reduce you to mush.

The whole album drips with Caribbean zest, the tropical bounce of 'Can't Get Enough Of Myself' and the pumping 'Rendezvous Girl' balanced by eccentric slowies such as the oddball power ballad 'Run The Races'. There's plenty more too, candied but with class and pop bite.

This is Matmos doing what they do best: taking a strange idea for a wild digital ride until it turns into something completely magical.

Like his pioneering UK heroes, this hour-long LP works best lost in the moment with your ears nestled between a pair of good speakers and your head in the clouds.

All in all, an impressive album.

It's an LP as heart-warming and engaging as the story behind it.

It all adds up to their most rounded, consistently engaging record yet.