This new LP is understated by comparison, with fewer jarring moments and more shifting grooves.

Piñeyro taps into the rarefied air of so many early IDM records, a mix of beauty, nostalgia and melancholy.

At a little under 40 minutes, Screen Memories is a concise LP with few faults. Its sequencing brings out the variety on offer.

Oil Of Every Pearl's Un-Insides, SOPHIE's first proper album, presents her artistic vision in a purer form than anything she's done before. It is at times unapologetically poppy, beginning with the opening power ballad, "It's Okay To Cry." But it's also utterly, defiantly weird, flouting conventions of rhythm, composition and, perhaps most of all, taste.

Colleen's most immediate and affecting LP to date.

LateNightTales' 17 tracks are unsurprisingly tasteful, including many that are impossibly rare. But it's not an overly studied trainspotters' paradise. Many of the obscure songs should appeal to the fanbase drawn in by Shepherd's productions.

It channels the feeling of dancing all night to your favourite DJ in your favourite club, with an evening's worth of twists, turns, surprises and delights, packed into an 80-minute set that is as much of an artistic statement as any of Seaton's excellent records.

There is a feeling of accomplishment throughout Invite The Light.

Science Fiction Dancehall Classics is a treasure trove for newcomers as well as On-U completists (there's a generous number of previously unreleased tracks), and a fascinating piece of dance music genealogy.

Black Origami can be intimidating: it's dark, relentless, and makes substantial demands on the listener. But it's also powerful and distinctive. In the world of rhythmic electronic music, nobody else is doing it quite like this.

Casual and understated as ever, Greenspan and Didemus seemed to be making a point: Big Black Coat isn't the triumphant return of Junior Boys, it's just the next chapter in an ongoing story.

Klein's work exists entirely on its own terms. It's a vocalist and her piano presenting a form of singer-songwriter music that doesn't need words to get its feelings across.

Concrete Desert is a response to a real environment. But the album feels less specific to a given city. It seems instead like a parallel space, one that builds an impression of some future dystopia.

The album imagines pop as computer-generated architecture: vivid, plastic and physics-defying.

Throughout Honey, the pure, raw emotion that has always defined Robyn's music is still there. Now, she's just dancing to a different beat.

After the existential questions of Ghettoville, it feels unfussy and workmanlike. Which isn't to do it down: now that he's back to just getting on with it, Cunningham can once again produce mirage-like moments of beauty like nobody else.

Staring into a murky void, Thundercat has actually made his clearest music yet.

It's a testament to Lennox's dexterity that these brief detours into soft introspection only enhance the wondrous breadth and vision of Panda Bear Versus The Grim Reaper.

You might also hear the elegiac rise and fall of Stars Of The Lid, an emotional Hollywood score or William Basinski's sound of decay. However, as Konoyo unspools, you may look back and realize that this all combines to sound like no one other than Hecker.

It's old, new and never boring.

This is all standard Matmos; nothing here upsets their musical applecart. But the washing machine conceit gives their sample trickery a dramatic edge. It sometimes feels like we're descending deep into the innards of the machine.

In composing a piece so well-defined yet so adaptable, Eno adds yet another page to ambient music canon.

Over its 20 minutes, the EP pushes dance music through violent twists and turns until it becomes disorienting and startling.

Tenderness is exciting because of how simple and distilled it is, and how memorable its songs are even after just one or two listens.

An infinite number of sounds are now at his disposal, opening up vast new landscapes to be harnessed.

Afternooners is deceptively complex for soundtrack music.

It highlights the long-standing chemistry between a group of talented musicians, and, unsurprisingly given the setting and Murphy's skill in the studio, the recording and production sound exceptional.

The collaborators seem to have more influence than they did on Blake's previous albums. There's little here that could be anyone else, but the tone—less heavy, more hopeful, brighter colours—is different, even as he deals directly with despair. Overall, many more things are gained than lost in this development.

Rave 'Till You Cry shows that, in the right hands, braindance is flexible enough to create nuanced, multilayered portraits with the unfiltered intimacy of a diary.

Third Law trades emotion for physical power and presence. Porter has figured out how to channel the aggression of his early material into the maturity and otherworldliness of his solo work, and it's as breathtaking as it is bruising.

Its tackiness has transformed over time into a thing of beauty. A perfect reflection of the flora in your life, Mother Earth's Plantasia is garish, green and hopelessly sincere. It never fails to put a smile on your face or pull the sunshine into every room.

Reassemblage is the finest LP yet to emerge from this diffuse scene, and it also brings a new set of ideas to the table.

Even if Have You In My Wilderness is Holter's most accessible record to date, it's riddled with enough puzzles, lyrical twists and delicate refinement to remain intriguing listen after listen.

Ellison remains keen on confronting and articulating his inner quarrels in the name of taking weirdness to the masses, and in doing so writing a new chapter in the pantheon of great Afrofuturist music.

Bicep have never been afraid to go for broke, and their debut album is all the better for it.

Agora is both a return to form and a leap into the abyss.

It may have taken him a long time to release a mix in this way, but the quality of DJ-Kicks makes it worth the wait. At 30 selections, the tracklist is remarkably long, but nothing feels rushed.

There's an admirable level of refinement to Hubris, even as it also feels brilliantly alive and ever in the moment.

A beautiful collection of tunes as striking as they are subtle.

This is a record of great technical skill and imagination, and one that's also nonetheless soulful and sincere.

On EARS, Smith emerges as a novel, naturalistic and, yes, pop-savvy voice wielding an instrument known for esoteric experimentalism.

"Junkies" is the album's only weak moment. The others, while never delivering the thrills of "Six Figures" or "Solemn Days," slowly reveal a different kind of charm.

Pale Bloom, like all of Davachi's work, has a transportive, mystical quality. It could be so easy for the composer to recede into the endless abyss of staid ambient music, but this album proves that she has little interest in doing so. The more she continues to challenge herself and her audience, the more rewarding her work becomes.

Inspired by this sentiment, as well as Halo's time scoring a film for the Dutch art collective Metahaven, the more abstract aspects of Raw Silk Uncut Wood allow her to establish moods that are at once non-prescriptive and immediately visceral.

As Wet Will Always Dry proves, Blawan has pushed things forward by showing that the traditional techno template can still be sculpted in surprising new forms.

The slow-motion throbs of Davachi's warm, uncluttered electronic pieces achieve something intensely serene. On her new album, Gave In Rest, the music occupies the peaceful spaces she found lying between religious and secular realms.

Without knowing it was made by a young Paul Woolfword, it might come off simply as passionate and touching hardware sketches with classic techno components. Nevertheless, these tapes show signs of promise in Woolford's ability to work within his limitations to create something powerful and personal.

This is machine music for a machine-ruled future made by someone who truly loves machines.

A graceful continuation of her catalogue, Air Lows has an alluringly frosty charm.

Nozinja Lodge is joyous, colourful dance music from one of the electronic scene's most eccentric and promising personalities.

Four hours of dense, bewildering and occasionally fun electronic music, elseq 1-5 is a logical next step into the unknown for two pioneers.

Art Angels wipes the fog from her lens and lays out her vision, clear and uncompromising.

The album channels Alva Noto's trademark sounds into jittery, funky music that loses none of the complexity of his more challenging work.

What Burton nails on Communion is how to fold in sounds from all over--electronic music and the real world--to make powerful and terrifying music in 2015. If the club is a shelter from an oppressive and dangerous society, then Communion is what waits outside.

Tthe album as a whole is a step forward for Blunt. Though the music isn't his most gripping, he's never achieved such a powerful synthesis of sound, concept and character.

Other M.E.S.H. records--including his 2015 debut LP, Piteous Gate--were narrow beam; Hesaitix is the full spectrum.

The second Floorplan album feels triumphant enough to bear the title Victorious. It's a stellar follow-up to Paradise.

Some portions of Strands are so calming that it's hard to stay focused on Hauschildt's expertly woven details. But the album doesn't just seek to relax its listeners.

The Centre Cannot Hold is about flux, about the flow of change through cycles of destruction and serenity. It's a more hopeful record than you might think.

What's completely clear about All The Right Noises is that it's a highly personal album. In his exploration of them, Flügel makes these non-spaces his own.

It may not have the broad appeal of past Steffi albums, but that was never the point. It's modern-day braindance for listeners willing to find meaning from within.

Situated at the border of ambient, new age, techno and industrial music, the album could just as easily fit into a meditative practice as a gritty basement rave. It is also a testament to her technical prowess as an electronic composer. But perhaps more importantly, it lives and breathes her insistence on exploring new sounds and techniques.

A series of instrumentals pivot and twist slyly, dropping hints of chord and lithe rhythm, but the bolder moments of the album's opening section aren't repeated. Instead it ends with a track called "Antiform," two minutes of hiss and vague metallic clanking. At first this is sort of a disappointment, but on repeat listens it deepens the album's appeal.

Jlin has plenty to say, and she has a remarkably strong and distinctive voice with which to say it.

At almost 70 minutes, Where All Is Fled may take a few unnecessary detours across its 14 tracks, but it's ultimately Hauschildt's most cohesive work. Here, he's matched his well-established talents as a composer of cosmic ambient with a new depth of artistic direction.

With each transition, you can tell Agius has taken the time to get the stitching just right, which allows him to cover a broad range of sounds and textures without derailing the flow.

The sheer number of different tools and skills they bring to the job is staggering. That's a big reason why, nearly a decade after the scene's initial explosion, they're still propelling the sound forward.

On his Warp Records debut, Safe In The Hands Of Love, Yves Tumor joins the ranks of Arca and SOPHIE at the millennial generation's pop vanguard, a group whose fluid approach to music and imagery is eradicating the gap between underground and mainstream.

Safe is an incongruous blend of calm and anxiety. It's also full of raw human emotion.

You can spot similarities and name-check influences throughout, but Principe Del Norte still stands as Hermansen's most distinctive and satisfying record to date.

Since the beginning, DJ-Kicks has been about finding unique takes on this craft. Kozalla's 50th instalment more than lives up to this tradition.

Though Autobiography may seem like a departure from Jlin's past work, many of its themes have been present throughout her catalogue. The LP succeeds in challenging expectations for a ballet score while expanding the possibilities for the artist's post-footwork sound.

Open Your Eyes has a confidently evolved sound.

Edge Of Everything, a harsh, relentless and evocative techno album, is an impeccable showcase of Temple's artistic voice.

Resonant Body is filled with joy and self-empowerment. Where the artist's past work felt delicate and introverted, this LP whips its untamed hair, gearing towards higher tempos, wilder breakbeats and more party-rocking vocal samples than before. Even with this more upbeat approach, the music still sounds distinctly like Bouldry-Morrison.

For a jingle writer whose album is almost relentlessly upbeat, his music can cut surprisingly close to the bone.

If such moments [a typically slurring yet splenetic Prefuse 73 contribution or Siriusmo's "Modern Talk,"] constitute the highly enjoyable base level here, then the best moments are staggering.

The truly ambient moments of Living With Ghosts are easily its most arresting, providing brief periods of respite amid the album's unrelenting greyscale grasp.

It sounds contemporary and creative, lush without being overproduced, but nowhere could you pick out the fingerprints of, say, Hudson Mohawke. It's all Richard, sounding tighter, stronger and more assured than ever.

No Home Of The Mind strikes a chord without uttering a word.

On ORCORARA 2010, Crampton fleshes out a unique sound world that's desolate but lush, harsh yet hopeful. It feels like one of her greatest, most permanent works.

This is actually one of his more readily enjoyable albums, even if it's a little less adventurous most of the records from his long-running Pan•American project.

Liminal Soul doesn't have the pop-fueled rush of her last LP, nor the lo-fi chill of her debut album, Ariadna. It displays her vast set of influences, brilliant vocals and ultimately, the infinite potential of Russia's dance music scene.

Live At The Troxy shows how the highly personal world of that album [Plunge] develops further onstage.

An entire album of the stuff would likely be twee overkill, but Gonno's endearing quirks and lighthearted sensibilities are charming in small doses.

It once again proves Barbieri to be a singular talent in the realm of synthesizer music, creating enormous, intimidating, completely enveloping work.

We can imagine these 32 tracks stretched out in three hours, and we can enjoy the way they squeeze into 76 minutes equally well.

At its best moments, async combines Sakamoto's history in acoustic music with his legacy in electronic music.

She's a musician adept at using her voice as an instrument, and with it she can convey appealing, addicting hooks. And these strengths are complemented by her crew of reliable producers. ... Even with a roster of collaborators like this, the record occasionally hits a bump when the ambitious, sometimes challenging production doesn't fit her idiosyncratic flow, like on the Sega Bodega-produced "Little Bit." But on the best moments, her vocals mesh seamlessly with off-kilter backing tracks.

That's Harakiri isn't trying to be a dance floor album--it's trying to unsettle the listener. And it's succeeding.

There's nothing blank, or bland for that matter, about it.

Ikonika has delivered one of 2013's definitive summer albums. It's time to get happy.

A pop album brimming with imagination, vibrant melodies and, yes, a fair bit of formula.

Whyte has made an LP that rises and falls gracefully, proving that even his brand of everything-all-the-time dance music has room for nuance and subtlety.

Sinephro's spaces not only feel full of life, they're built with the very sounds of it, too, reminding us not to take it for granted.

While it's called The Kid, the LP shows Smith has matured as an artist.

This is straight-up fight music. 2017 - 2019 isn't quite this lairy elsewhere, but most of it is jagged, hard-hitting and seriously over-driven. The change has Jaar sounding artistically replenished.

There's still plenty of juice left in the ideas Four Tet favours. ... This club/non-club ratio is similar to that of New Energy, the last Four Tet album, but Sixteen Oceans surpasses that LP through the strength of its ambient and electronica.