Whether as background music for one's day-to-day or as a receiver of one's full attention, it is truly an enjoyable record that is prepared to fill whatever space is asked of it.

Luxury Problems may not be as unbelievably mysterious and engrossing as his pair of 2011 EPs, We Stay Together and Passed Me By, but his craft is just as sharp here, and the results just as worthy of intense, continuous listening.

Tooth is best devoured as a whole and without distractions; its singular sound and delivery is one that Raime has tirelessly honed into a steadfast concoction of brooding dystopia.

The two display perfect chemistry with the Seattle beatsmith's bangers complimenting the Philly Freezer's gruff delivery.

It's an evocative work, one that brings forth intense visual imagery.

With over 30 releases this year alone, L.I.E.S. isn't always an easy label to keep up with, but the embarrassment of riches contained within Music for Shut-Ins suggests that the effort may well be worth it.

Talabot's DJ-Kicks proves to be an essential listen, not only because it is an immaculate mix in its own right--one which moves swiftly through a graceful arc--but also because there is just so much vital music to take in over the course of its 70-plus minutes.

The duo has delivered something that is listenable and enjoyable while sustaining an overarching concept with great capability.

II may actually prove itself to be the group's most accomplished record, and one Moderat fans will come back to more often down the line.

He showcases the breadth of footwork and pushes the sound forward by building links with trap, R&B, and Jersey. In doing so, he reinvigorates footwork and brings it up to date with 2018 dance culture.

Panorama Bar 05, the latest offering, is a consistently well-crafted snapshot of the dancefloor as presided over by long-time resident DJ Steffi.

Whilst he must be commended for his ambition, Mantasy is a patchy affair containing the good, the bad, and the downright ugly.

There's a cohesiveness here hard to miss, an emotionally-charged aura and elegantly precise feel that runs from Hollowed's surging opening notes to its final, poignant fade.

Throughout the Kindred EP, Burial seems curious to discover the perfect balance between gritty atmospheres and dusk-lit club music.

From its massively hedonistic club tunes to its handful of cavernous dancefloor abstractions, Drop the Vowels is an unsurprisingly quality affair.

His evolution may not be complete, but the process hasn't prevented him from making quality tunes in the meantime.

This record may be an EP in name, but it's certainly a long-player in scope.

The LP's 11 tracks play like a string of variations on two or three ideas, but most of Murray's and Smith's experimenting is strong enough that Syndrome Syndrome sounds more like a collection of singles written by a veteran outfit dedicated to perfecting one beloved sound.

It's nice to find a little mystification from a duo that often prizes rigor over imagery.

From a distance, Paradise continues to connect the dots of Hood's career, but up close, it's completely absorbing.

For those who have never heard Whitman's music, Occlusions provides a fabulous representation of both his performance instincts and how engaging and fun his music can be.

Truthfully, there's no singular tune from Modern Worship that stands out in the same unforgettable way that "Phoenix" did, but as a long-form piece, Hyetal's sophomore full-length is the most satisfying work he's released so far.

Green’s always aimed for music that’s magical, for a sound that’s transcendent--with Migration, he’s come closer than ever.

All told, Azari & III is a solid work with plenty to offer newcomers and devoted fans alike.

The record accomplishes what Eno has proposed is ambient music's main purpose: to heighten one's sense of their surroundings while allowing their own narrative to fill the music with meaning and context.

That Le Kov is so loaded with meaning and significance adds to its appeal, but ultimately it’s the emotion and sound of the songs that make it such a wonderful and unusual record.

Some may complain that Blondes hasn't radically expanded its horizons on Swisher, but frankly, such an effort isn't even necessary, as there's still fresh ground to cover within the confines of the duo's engrossing signature style.

The album may be architectural in its deliberateness, but it's not overly academic; during its best moments, Music for Objects could even be described as fun.