Speeed finds transcendence in loudness and distortion, making noise not so much to express frustration as to heal.

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

LCD Soundsystem have made a better album than they've ever done.

It lacks the depth, intrigue and smirking beauty of the group's best work—a product, presumably, of Blunt and Copeland's peculiar chemistry—but doesn't replace it with anything fresh. For all that, it's not bad.

The music on Warmth is among the duo's most powerful, and several tracks from the LP could come alive in the right kind of DJ set.

Aas Good Time shows, his skills have caught up with his ambition.

Rembo, a moreish and hedonistic album, shows an artist able to master many machines and styles.

A little less effects-led ebb and flow (and a touch more structure) might have made Square One more vibrant. The album's absorbing collection of mood pieces, though, are rewarding and evocative enough to make it worth your while.

Years into his Daphni project, Snaith can still make familiar dance music sound fun all over again.

Without a straight house or techno beat to be heard, fabric 94 is a meditative set from a DJ with more sides than most.

Theory Of Colours works equally well as a collection of chill-out jams or club tracks for DJs. It's a dance floor album that isn't all that concerned with the dance floor, which makes it a pleasure to listen to from front to back.

Halo's records have always posed tricky questions, and Dust features her most complex and engrossing yet.

What The Journey Man most clearly captures is that taste for excess and self-indulgence. It's the work of an elder statesman who still has a special touch, but who doesn't know when to stop himself.

As a soundtrack for a wide variety of scenes, Distractions enhances Chen's reputation as one of UK club music's most adaptable artists.

Listening back now, it still pumps. But it's a palatable pump, with enough hooks and vocals to work as well over pasta as in a field at 4 AM. Funnily enough, the tracks that have aged best are the ones that pump least. ... Though other remixes in the middle section update the production techniques, they don't really advance on the festival-pleasing 4/4 or big beat predictability of the originals.

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.

The lyrics on Humanz might be Gorillaz's darkest, but the album has lots of bright music.

It is poignant and ragged with suffering, but it doesn't dwell there. It is also bright, optimistic and euphoric.

A large part of Death Peak--despite the morbid title--contains some of Clark's most accessible and melodic dance floor tracks.

Three short instrumentals fail to muster the same energy. Interesting sounds abound, but they don't always connect, sometimes feeling less like music than collections of sound effects. At their best, though, Wolf Eyes evoke soundtracks to a lost drama whose characters are always in peril, be it from physical violence or internal torment.

Whatever the differences on Narkopop, the album is remarkably true to the project's past: this is music that takes inspiration from childhood memories, bygone eras and the natural world. The results can feel like another dimension, but the album is also intensely personal.

Chardiet's presence on the album is so commanding, however, that you can almost feel her reaching out to you from beyond the recording. It'll shake you up, no matter what.

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

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.

Where 2012's Tracer experimented with house and techno, 8AM recalls their debut, 7AM, but with a more refined approach.

Owens is an exciting new artist. Her voice is lovely. Her songwriting is accessible. Her arrangements feel smooth, and she moves with ease between styles. The only drawback to Kelly Lee Owens is an occasional tweeness that can come with such sweet, weightless music.

World Eater is Power's most eclectic record to date. Dumb Flesh, his second album as Blanck Mass, moved away from the wall of sound of his self-titled debut.

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.