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

This series has always been Kompakt’s annual attempt to try to shape mainstream house and techno in its own idiosyncratic vision. Once again, it has done so in style.

His architectures still have an unreal sheen, but they're convincing enough to get lost in.

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

Whatever James puts his name to could and should never be expected to make conventional sense, so Orphaned Deejay Selek only falters when denying his own slippery logic.

Born In The Echoes follows the duo's formula of saving the more psychedelic tracks for the end.

There's the occasional hint of another, more vivid album.... Elsewhere they often seem all too separate, like combatants squaring off in a strange, airless room.

Each production here feels less like a 10-minute single than a condensed DJ set, and The Orb navigate these spaces with a fresh wind in their sails.

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

Blondes' new arrangement seems to working fine so far, and suggests that subsequent live shows will be pretty special, too.

Though his abilities with oddball party jams are unquestionable, Davis proves he can be equally compelling when he tones it down a notch.

Pattern Of Excel succeeds during those little moments that capture Bannon's way with mood and melody.

Sometimes Walker can have his cake and eat it, too, and on the best moments of Knockin' Boots, he does.

What does it feel like to be alive in a digital age, overloaded and confused, but excited, too? What perspectives are possible now? Piteous Gate is a captivating attempt at putting those feelings into sound.

In its best moments, Morning/Evening is perfectly paced. Less convincing is the Evening side's coda.... Even with these faults, though, Hebden has brought a refreshing addition to his discography.

LP might be Ren Schofield's shortest album as Container, but it's also the one that best captures the full elemental force of his music.

This is a minor work, but a minor work from a master of his art.

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

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

Portraits resonates at a level of button-pushing sentimentality, but Maribou State are such deft directors of their sound, and so melodically gifted, that they still create moments of magic.

It hardly bears Moroder's personality at all.

Starfire won't get stuck in your head for days, but you could spend weeks unpacking it and still never quite get to the bottom of it.

On Tundra, the duo's debut long-player for R&S, Lakker seem fully in their element. The ideas have room to breathe and consolidate themselves.

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.

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

Walk Dance Talk Sing shows you can't have too much of a good thing.

When Lantern hits its high points, it ends up somewhere in the stratosphere. When it falters, it's mostly because it's too ambitious, either thematically, as with the overblown love songs, or technically, as with the roller-coaster sequencing that halts the momentum over and over.

The Shakes is worth hearing for the sonic detail alone. The best tracks have an inclusive, sweeping abandon that rivals the high points of Scale.