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.

A total contrast to 'Banquet' and 'Two More Years', die-hard fans may need to give it a few spins, but in daring to reinvent themselves, Bloc Party show an impressive evolution.

The chemistry between Agius and Redway is palpable.

Fans of Haxan Cloak's loud/quiet drama and Rabit's fearless extremes will want to crack open yet another great Tri Angle long player, which is intense at times ('Mass') and brooding at others ('High Places').

He's hijacked techno, destroyed its propulsion, and created something intriguingly spaced out.

There are echoes of recognisable genres here, but the overwhelming sense is of a burned-out mind, muttering freaky things to itself, as sounds fizzle and char around it. Yet somehow, as the rhythms chatter, vocoders sing hymns to deviant gods and the synths melt, it sounds like something you want to get involved with.

Bratten's sound is somewhere in-between classic Trentemøller and BOC's campfire melodies. By your third listen, you'll be hooked.

The release date really doesn't matter: this is an absolute stunner of an album from start to finish.

It's on the 'Disco Queen' side that Thorn's voice really shines through, with both Geist's mix of 'Why Does The Wind' and Escort's extended remix of 'It's All True' being as good as anything Todd Terry did to EBTG back in the 90s.

Nothing finds beauty in exploring dreams of a human-free world. Kode9's strength has always been to show that serious scholarship and avant-garde instinct don't need to separate from dancefloor culture and here, he's made one of his clearest statements of that yet.

Eleania demands focus, too, but pay attention to it and you'll be rewarded.

There are a few tear-out moments (see the unhinged 'Black Gates' and the volatile 'Burnerz'), but the biggest rewards come from more alien and introspective moments such as 'Glass Harp Interlude'.

With production help from Four Tet and Adrian Sherwood, he raps tenaciously over dark beats.

Heartfelt lullabies backed by rich instrumentation make for a promising enough first half that leads to the dour title track. From here, razor-blade distortion, crashing cymbals and mournful torment combine to create a tough listen, before respite eventually comes in the form of an exhausted outro.

We The Generation is full of catchy, radio-friendly earworms tailor-made for maximum impact at their blistering live performances.

Snoop Dogg, André 3000, Mos Def and Skepta are all fans, with this assured debut proving why she's rated so highly. Better prepare that throne, then.

On 'Franks Kaktus' they squeal and screech against skirls of powerful blues strumming and thumping congas; things calm down on 'Flickor Och Pojkar' ('boys and girls' in Swedish), whose vibes and languid bass recall classic Air.

When Nils Frahm curates a Late Night Tales installment, expectations are high. Does he deliver? Of course he does.

Big and bold with smart production touches and melodies to match, this is an album destined for stadiums.

An LP of grown-up electronica that--like John Grant's 'Pale Green Ghosts'--boasts song-writing with serious crossover potential.

An album of outstanding pop, shuddering dance-rock and intricate electronic moods.

Despite its length, it's not pushing any boundaries: it's smooth and sweet, with nothing to give you nightmares, but as a piece of high-class chillout music, it works very well.