Remastered for vinyl by Matt Colton (James Blake, Aphex Twin, Hot Chip), it still hits heavy. ... An accompanying remix album celebrates diversity with offerings from Zomby, Skream and Adrian Sherwood, but it’s Hodge & Peverelist’s jerky mix of ‘Afro Left’ that runs away with top honours. It’s a fitting tribute to the LP’s legacy.

Album number three is her finest, and most topical, yet.

A vastly resourceful and well-structured opus by a true master of horizontal stylings.

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.

Translating to ‘skin’ in English, its urgent, high-pitched signal follows the melancholy first-take of the artist’s vocal, who’s sung before but never with such vulnerability. It marks the start of a soaring new direction.

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.

More than a simple change in direction, this debut album feels like the culmination of pretty much everything he's done up to this point in his career.

It has none of the deliberate pratfalls or raspberries he’s prone to. Rather, it’s entirely welcoming.

Process is a moving, musical autobiography of futuristic, soulful electronica and brittle r’n’b.

There are some excellent tracks here--‘Lights On’, ‘Two Weeks’, ‘Pendulum’--and her talent is obvious, but the men at the production desk could perhaps have been braver.

It’s the surge of creativity from the US that’s making for delicious new music indeed.

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.

He's arguably produced his near-masterpiece LP. [May 2018, p.114]

This album, on Ninja Tune offshoot Technicolour, presents an idiosyncratic take on electronic music that’s imbued with deep emotional content, yet danceable. All the while his engineering capabilities shine through, giving the album a polished touch.

The xx have undergone a gentle makeover, but what lies at their heart remains the same. Songs for lovers. Songs for the rejected. Songs for all of us.

A thematic sequel to 2011 breakout mixtape ‘XXX’, Danny Brown remains rap’s most unique force.

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.

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

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

It’s full of church organs, hazy reverb, rippling synths and poetry about mortality and eternity, as well as Sakamoto’s distinctive piano, sonar bleeps and unforgettable melodies. It’s arguably the most beautiful record you’ll hear this year.

What it lacks in surprises it makes up for in quality music. The Toronto boys have done a great job of mixing relatively obvious tracks like ‘Home Is Where The Hatred Is’ and ‘Don’t Talk…’ by The Beach Boys with more obscure cuts that’ll send you down the rabbit hole on a Spotify listening session.

Directional swerves are admirable, but make an uneven set, especially as the material from their first three albums has more palpable sparkle than the rest.

You may find it tough to get past the religiosity, but if you can, there’s real magic here.

[An] immersive, frequently moving, absorbing experience.

Fiskal takes bold, divisive ideas and makes us wonder why we’d ever question them in the first place--and that’s the highest compliment we can pay him. [Jun 2018, p.120]

Hopkins uses his dancefloor nous, classical background and meditative training to beguile us. It's a beautiful bastard of a record. [May 2018, p.117]

Then there’s her voice, sweet and breathy, uttering lyrics that are always in Spanish, yet sometimes content just to form unfamiliar, onomatopoeic sounds. It’s endlessly bewitching.

It’s obvious he’s at the fore of UK rap. Lyrically, this LP hits the same themes as on his breakout 2015 mixtape.

Danceable, intelligent and always emotionally charged--and Dan Snaith’s most profound and accomplished piece of work to date.

Steffi appears totally in control on an album that’s an important milestone in her career: mature, emotive and imbued with a hint of futurism, it’s a delight.

Bursts with textured atmospheres and danceable beats, all led by the unwavering might of Kelela’s lungs.

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.

This is a strong, sometimes truly beautiful, maturation of Avery’s work as a producer.

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

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

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.

All of the trademark Marconi-isms are here, but they’re now emboldened by broader musical strokes.

It can be tough going, but it’s really worth getting your teeth into.

As a producer, Barratt is the equal of anyone working today, but what’s most amazing is that even after 30-plus years, he still seems to be as connected with the magic of dancefloor moments as he ever was.

An extraordinary talent at the top of her game. [Jun 2018, p.113]

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.

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’.

[Ron Morelli] actively dislikes clubs--but he’s managing to infiltrate them with this insurgent electronic music.

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.

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

Seaton, as Call Super, invokes Peel’s memory on Fabric 92--if not in sound, then in the personal nature and spirit that percolates throughout.

If you’re looking for some immersive and emotional electronica, just Call Super.

Textures plough and pound throughout the album, revealing yet another new, unclassifiable side of OPN's musical brain as he brings more disparate sounds to the fore. [Jun 2018, p.115]

'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.

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

It’s an album you’ll want to return to again and again.

Meditative house music moments from Italojohnson and Vin Sol also bring the heat in the first hour, while for the final furlong, he opts for two peak-time Audion exclusives and brings the mix to a close with DJ Khalab & Baba Sissoko’s ‘Kumu’.

Steffi provides a delectable mix that’s a testament to her curating skills.

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.

Bold, brilliant and beautiful.

This deft new album [is] a delight.

Witty, conceptual, original and above all both musically exciting and enjoyable, it’s an understatement to say that DVA’s second album NOTU_URONLINEU is mature.

Other tracks have a steady kick and soulful samples, but these are made glitchy and trippy in the style of classic Akufen (see ‘Come Close to Me’ and ‘New Love’), or have wonky synth tones that blurt out of the mix (‘Je T’Aime’, ‘L.U.V.’). And the downtempo tunes that surround them also swerve off their expected tracks and into psychedelic and deliciously weird territory. This is precisely the sort of confounding of expectations we love to hear, and bodes well for a long, interesting career.

The album’s percussive moments are perfect for sunny festival slots. Elsewhere, ‘London Lights’ is comparatively relaxed, though its slow-burning synth-line stretches into club territory, and the expansive sonic landscape throughout ‘Black Prism’ could be a James Blake cut.

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

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').

Written in her producer’s garden shed rather than the confines of a studio, Laura Mvula sounds confident and free throughout her second album.

Here, they sound comfortable as a band rather than an electronic duo who use guitars, with off-kilter songs that nod towards Joy Division and My Bloody Valentine and are full of fizzing synths and weeping accordions confirming their status as one of alternative pop’s finest acts.

Their fourth mix offers a vivid explanation of their enduring popularity.

It veers between intimate and expansive: the chugging rhythms replicate the hum of America’s love affair with the automobile, while majestic, sweeping strings evoke its grand, widescreen vistas. [Jun 2018, p.112]

‘The Kid’ feels organic and human; you can hear it in ‘Who I Am Why I Am Where I Am’, where repetitive Steve Reich-style phrases are layered like filo pastry. Like much of this beautiful record, its hypnotic intensity is immensely comforting.

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

He throws minute snippets of deep soul, techno, funk, liquid acid, Kraftwerk, Eurythmics, cosmic jazz and more into his blender, chops them into freaky, twitchy rhythms and underpins them with monumental bass--and it is amazing.

This is a hot, sweaty but very beautiful dream of a record.

Gently fizzing electronica meets grand structures and intimate explorations of instruments, and the results are both strange and deeply, instantly enjoyable. With the bar already set very high, he may just have produced his best record yet.

Too many cuts are lost in the middle. [Jun 2018, p.115]

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.

It’s as beguiling and bewitching as you’d expect.

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

Each track takes you to some very unexpected places. In the process, each delivers feelings much more potent than a lot of the supposedly “emotional” dancefloor music currently flooding the market at the moment.

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.

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

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

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

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

The aural familiarity of tracks such as ‘Anyware’, with its warp-speed cellphone melodies, imbibes Motion Graphics with warmth and, above all, joy.

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

It’s absolutely breathtaking in its audacity and intergalactic ambition, and even breathtakingly beautiful in places. But... it’s bloody tiring too.

Undulating melodies, exquisite sparkling detail and a sense of vast space all add up to a blissful listening experience.

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.

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.

With a new band alongside him, he fills The Animal Spirits with haunting brain-melters that fuse modular synths, jazzy musicianship and trance-like rhythms.

A comforting throb fills the album, an electronic heartbeat that soundtracks the swirling, arpeggiated ambience of Hippies, or the trippy acid-techno of 'Stop' with its spitting hi-hats and skirls of cathedral organ.

Lone tunes are nothing if not growers--but there’s no question that this is one of our best artists on the form of his life.

It’s what one might call a ‘proper’ LP, with its theme providing the foundation for some fantastic techno.

It’s a classy, timeless mix from a classy and timeless selector.

Tension comes through not only in the album’s titles--‘Storms’, ‘Screens’ and ‘Eco Friend’--but in the tone of the tracks, where at one moment a song delves deep into an urgent, synthetic cadence, and then expands into an ambient sense of the vast beauty of the physical world.

There's no distinct personality to be heard, or the kind of dynamic ideas that could give it the ability to totally dominate a room.

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

Bleckmann rope-a-dopes like a voice boxer between the wobbly punches of ambient jazz and chilly chamber tones. [No. 139, p.53]

Weirder tracks such as ‘System 100’ break the routine a bit, but it’d be nice to hear Moiré’s huge production skill with more variation of tone.

Hairless Toys is outstanding, all elegant deep house offset by country-flecked soul and idiosyncratic downtempo.

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'.