Tracer is an album executed with seriousness and intelligence, and although it is never outright contemplative, the record is never jubilant either.

Third Law seems to work in a defiant way that looks to inspire a new crop of producers more interested in the space of the club than the memory of it.

Seams' sonic details are most potent when allowed to sink in undisturbed.

Despite clocking in at under 15 minutes, the plethora of ideas Teengirl Fantasy displays on Nun shows that the pair is unwilling to rest on its laurels and ultimately represents a bold step forward.

This might not be an album that breaks much new ground, then, but what it does do, it does so expertly that you cannot help but be absorbed.

The EP is an exhausting listen, one that offers an experience of immersion, not itemization. Autechre hasn't lost a step, and this EP is certainly memorable.

As a complete package, Blue Gardens comes across as impressively well thought-out and refreshingly imaginative--it's a bright flash of creativity in an already eccentric genre.

Fabriclive 73 has a formidable sense of both style and consistency--qualities that don't necessarily ooze glamor, but are slowly and steadily carving out new territory in the interstices of rapidly collapsing genres.

It's a singular, though often exciting, vision with seemingly no end, but as the scope of Sun Araw expands wider and wider, it might benefit its creator and his tools to grow along with it.

Darnell is entirely aware of his own bravado, and it's that bravado, along his willingness to keep tongue in cheek, that makes I Wake Up Screaming such a worthwhile listen.

Psutka's production on A/B Till Infinity is evocative and daring, and combines a future-oriented polish with an austere sense of simplicity, solidifying Egyptrixx's distinctiveness amongst a new crop of surface-obsessed underground producers.

LISm remains a particularly mesmerizing listen, traveling through an impressively wide range of sounds and seamlessly blending them into a unified compostion.

Under The Sun is Mark Pritchard’s most consistent piece of work in some time, one that is beautifully conceived and produced with restraint and an overall vision that, most of the time, only an artist of considerable experience can muster.

Galaxy Garden is a fine effort, an album that tweaks Lone's formula just enough to pass as a step forward.

Anxiety is a draining front-to-back listen; it becomes much more comfortable when one is able to take each track as an individual single. However, there is a reward for making it to the end of Ashin's therapy session.

As always, it's a lot to take in; even after a dozen listens, the album's too oblique to really register in the memory. That slipperiness does nothing to diminish the moments when things really stick, though.

It's a solid effort, and one with some ace tunes that will certainly be snapped up by intrepid DJs, but as a full-length, it might be better with a reorganized tracklist in your iTunes music folder.

Black Jazz Signature seems intended to shepherd people toward the Black Jazz reissue series. It no doubt does a terrific job doing just that, but it stands nicely by itself as a personal "best of" and a great DJ mix. Fans of Parrish--and anyone receptive to this sort of jazz, really--will very likely appreciate what's on offer here.

It’s a delicate, naked offering that flits between mournful vocals, processed backward synths and serrated edges of what sounds like guitar distortion.

Credit Egyptrixx for making a debut album that sounds at once so unified and whole, yet like absolutely nothing else.

When this record lands on a great idea (which is certainly a regular occurrence), the captivating qualities of Vessel's songcraft and his strength for piecing together textural marvels make up for any confusion along the way.

Thankfully, he's enough of a careful, diligent, and experienced artist to make even the lackluster experiments feel vital and significant in the larger scope of his oeuvre.

Needless to say, it ["Nothing Here"] makes for an underwhelming close to an otherwise tenderly crafted and beautifully arranged debut album from a producer who has already proven his worth and will undoubtedly have plenty more bright moments in his future.

The record may not be Dragging A Dead Deer Up A Hill, but pieces like "Living Room" are the essence of Harris's singular oeuvre.

Ghetto Madness is an expertly constructed effort showcasing one of the most energetic and recognizable outputs in dance music.

What he's given listeners may be imperfect, but it's also freakishly musical, completely synthetic, and utterly human.

II’s songs can glide by like a benevolent mirage, not quite registering but still leaving an afterglow. That afterglow is exquisite, however.

On Love What Survives, Mount Kimbie have emerged from their chrysalis to become something new altogether. Some might be disappointed that, for now, they’ve moved further away from dance music. But in the process, they’ve made a bewitching kind of music that’s uniquely their own.