The results are atmospheric, rough around the edges but captivating, unique and extraordinary.

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.

This is street-tough tech-house, happy to wear its hip hop, jazz, disco and Latin influences on its sleeve.

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

Olson’s approach is simple without being naive and challenging rather than wilfully artsy, switching from the menacing ‘Weight’ to the pared-back acid of ‘Pop’.

Sure, it might be the same old names working within the confines of their signature sounds, but Total 15 presents Kompakt's current roster in vintage form.

This is a complex and endlessly enjoyable record.

It's the smart weaves in and out of expectation--the jolts, the swerves--that make it an instant classic.

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

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

He’s a soundboy at heart, so you’ll hear bass-propelled elements at play (dewy jungle breaks, grimey synth stabs, low-end bumps, the no-bullshit patter of MC DRS), but ‘Presents James Grieve’ is all about exhilarating propulsion and the power of drums.

Bundick says the LP was born out of a growing discomfort with fame. If so, he masks it well--listening to its gorgeous, woozy pop is like lying in a Radox bath.

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

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.

The bona-fide future-classic ‘Oh Woman Oh Man’, the soft-focused but laser-guided balladry of ‘Hell To The Liars’ and ‘Rooting For You’, and the title track are as good as anything on their debut--and in ‘Non Believer’, they may well have written their finest song yet.

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

The cuíca-driven balearica of ‘K16 del 1’ and avant-disco drive of ‘On U’ are standouts on an album of psychedelic grooves and tribal rhythms that unfurl with shimmering intensity.

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

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.

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.

Ibifornia is a lush, exotic album with star-studded collabs which sounds as inspired by the jungle as it is by the dancefloor.

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

There might be doses of dancefloor energy through the Balearic string twangs of 'All I Want' and the pulsating, springy pads of Insides, but it’s definitely the dreamy, mind-expanding cuts that take precedent.

Edited to its very essence, the album is only 36 minutes long, but sometimes that’s all you need.

The whole thing smells of fresh-cut grass and warm... well, Air. The likes of Erol Alkan, Rory Philips and other first-generation 'Moon' explorers will adore it.

The dark, incendiary electronica of Mr Dynamite harking back to the anything-goes post-punk aesthetic of the late 70s. The work of Benge, Tuung’s Phil Winter, Cabaret Voltaire frontman Stephen Mallinder and everyone’s favourite mellifluous alt-crooner, John Grant, they ensure the record never stands still.

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.