Under The Sun isn't the major departure that it seems on the surface, but rather a pleasant detour through mythical, imagined landscapes.

On its own terms, the Midsommar score is a sometimes brilliant but limited affair that showcases both Krlic's genius and how that genius suffers under the constraints of a film.

Her robotic sing-song is more unsettling than affecting, and the synth backing is never quite immersive. Spontaneity is often this pair's strength, but with more ambitious ideas it limits them.

St Germain conjures up rich and atmospheric landscapes equal to Navarre's earlier work. They're different from where we last left him, but they still seem to find him right at home.

Essential isn't as essential as its title suggests, but don't let that stop you from seeking it out. It has more of the loveable chaos that once made Soulwax among the most important acts in electronic music. This time it's more controlled.

Tracks like "Hungry Child" and "No God" are huge, highly focussed anthems that would boss a festival stage. For all of the album's welcome contradictions, however, this focus does hold it back a little. ... But at the right time, in the right company or on the right dance floor, it's a powerful high that also has a message.

2013's Half Of Where You Live was largely built around recordings made while traveling the world, including Japan, so what's unique about Good Luck is how it sounds less like a specific place than a flurry of memories made there.

As you would expect on a 17-track compilation, in places the experiment really works and elsewhere it probably could have been left alone, but there are enough killer moments here to make it all worthwhile.

It's pretty introspective in places, and the concept—something about a mega-corporation and virtual reality—might be Smart's way of leading his music off the dance floor and allowing it to take on fluid new forms.

Stott's latest marks a new stage on this journey into the pop unknown, but it feels like he's not quite there yet.

It's a total weirdo crossover success, and perhaps Bahdeni Nami's standout if club fodder is what you're after.

If the album doesn't always hit the same highs as the excellent Mondo Beat or Trance LPs, there's still plenty to love: the bending techno synth waves on "Modularity," the slowed-down Nitzer Ebb flashbacks on "Post Industrial," and the krautrock computer glitches on "Noise Floor."

It's a rock-solid techno mix with few surprises or left turns. Avery can hold his own in this style, but a collection of tracks from artists like Planetary Assault Systems, Shlømo and Artefakt might not have the same crossover appeal he's used to. That said, the mix is still full of drama and striking moments.

while it's not perfect, Les Fleurs Du Mal is a brave leap into the dark, a place so suffocating, black and unknown that it bears revisiting just to see what you might encounter on your next descent.

It's slightly ludicrous, highly theatrical and great fun.

The Fabriclive mix was much more than the sum of its parts, but to have some of its best tracks available in this way makes for both a solid album and a chance to wonder what you could build with them yourself.

Honey lacks the coherence of her previous albums, but as a love letter to the rave it's eloquent and sincere.

Three bonus tracks included with the re-release are almost as good, though they stretch the album to a daunting 75 minutes. City Lake's main effect is to make you appreciate the charms of its successor all the more. Its main effect, but not its only one.

It's certainly still bleak as ever, but there's more hope than before.

For all the memories Stranger Things and its soundtrack evoke, they've also given us something new worth remembering.

For all the memories Stranger Things and its soundtrack evoke, they've also given us something new worth remembering.

Under The Same Sky might not be the most original or ambitious album you will hear this year, but it's arresting, it moves quickly and it never looks back.

At times this cute-and-cuddly record lacks a bit of dirt under its fingernails. But when the stars align, Lee hits on a pristine emotional pitch so honest and open it's impossible to resist.

The LP's initial tranquility gives way to a perkier second half, transitioning from sugar-dusted melodies to a fusion sound that feels more live.

Slow Knife's best moments might even trump Severant. But Teasdale's efforts to escape the shadow of his debut sometimes lead him astray.

For what is essentially a composite of three "live" performances (all produced on a deliberately limited set-up of two modular synths, two sequencers and a mixer), Whorl is surprisingly cohesive.

She's become somewhat of an experimental music poster child by democratizing styles like field recordings and sound collages, which may seem daunting to new listeners. sentiment leans heavily into this, finding a middle ground between often structureless musique concrète and DIY pop tunes.

"Closed Circuit" stands out on Sunergy for its restraint and musicality. Smith and Ciani riff around a melodic figure with a percussive edge, filling the space around the light-footed pattern with delicate, free-flowing harmonic color.