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

Well, the good news is American Dream rocks, rolls, pops, fizzes and snaps. The energy is still there, no two songs sound the same and the ambition is somehow even more future-retro than before.

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

They haven’t lost the ability to party, as proven by the grinding disco-funk of ‘Rejoice’, but Omnion is a serious, grown-up dance record for serious times.

The LP examines the traps of routine and the possibilities that dreaming and music offer to escape from them--and however distanced Iqbal might seem in her performance, as a listener you’ll quickly find both real connections to the album’s themes, and the variety of gorgeous sounds that she uses to express them.

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

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.

Peder Mannerfelt, Paula Temple and NÍDIA are among the producers who worked on ‘Plunge’, bringing 150bpm batida rhythms and searing rave stabs to one of 2017’s most thrilling LPs.

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

Not always easy, but definitely worth it.

He's gone several steps further away from standard dance structure and into abstraction and ambience here – and it's all the better for it.

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.

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

It’s compulsive and hypnotic.

Strangely fascinating.

It may not be as groundbreaking as Kölsch's debut album, but it still hits all the right notes. Fans will be chuffed to bits with this.

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

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.

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

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

The sound of a master at work.

Prins Thomas 5, however, feels like a soft launch for Prins Thomas 2.0. You can hear it from the off on the glam-tastic ‘Here Comes The Band’, said to be influenced by the veteran Glasgow melodic indie band, Teenage Fanclub.

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

With total belief in their worth, they re-introduce stylings seldom seen on contemporary dance albums, where mood and atmosphere too often trump melody and songcraft.

Fans of Flume and Caribou will find much to savour.

The whole album is perfectly paced, with hypnotic grooves and simple songwriting: density and space are constantly played off each other, helping to create something that should be taken in as a whole. It’s been well worth the wait.

An energetic, main-room mix that touches on many styles.

The result is skull-crushing, claustrophobic and wonderful.