Pink is a triumph and the new high-water mark for one of this generation's finest producers.

For all of its turbulence and dislocations, R Plus Seven is an astounding thing to behold, a perfectly imperfect and downright breathtaking masterpiece.

the Norwegian superproducer has been intermittently working with Christabelle since 2001 and all the years of back-and-forth were clearly worth it, as Real Life is simply stellar.

The third full-length from Hendrick Weber maintains the high quality of previous efforts while pushing certain elements of his shoegaze-y, minimal-inspired techno sound further.

In short, it is rare to find a producer who can craft many types of tracks so consistently well, but with You Stand Uncertain, FaltyDL has cemented himself as such.

It's a fantastical story of aliens, spirits, and children told by one breathtakingly gifted artist, and it's utterly remarkable.

Half of Where You Live is a considerably more rewarding album, one that creates lush, sophisticated, and disarmingly inviting music using the simple building blocks of sample-based beats and deeply personal musical storytelling.

Space Is Only Noise might be one of the most ear-opening techno records in recent memory.

There's no doubt that Visions is an excellent album.

An ambitious and eclectic album that packs tons of ideas into its runtime and manages to pull them all off with a great deal of style.

As Seplacure takes form, a consistent emotional ground that exists somewhere between stoney reminisce and melancholic introspection is reached.

Whether you're an old fan of Drexciya or you've just arrived late to the party, Journey of the Deep Sea Dweller I is about as close to an essential compilation as you're going to get.

More so than any of his other releases, Burial seems to have something to say throughout Rival Dealer, and that message helps tie together the record's diverse 28 minutes and give its three tracks the impact of a full-length album.

What they discovered lies beyond DJ mixes and radio rotations; it's their magnum opus.

Glass Swords feels and sounds like a cohesive statement, and a strong one at that.

Thanks to his savvy techniques and careful placement, his penchant for the far-out fringes of dance music doesn't seem weird at all, but delightfully intriguing.

It's an undefinable musical culmination of our collective conscious-reminding us that the more we've changed, the more we've stayed the same.

While the songs are still complex and full of countless moving parts, each melody and note plays a specific role, leaving There Is Love with a real clarity of vision.

A brand-new EP on Smalltown Supersound that picks up where his last left off.

Looping State of Mind might just be the finest document of his craft yet.

Jones' voice is an instrument shaped by age, not youth, and Hard Way proves she's just hitting her stride.

Everything from the album’s sharp, shimmering opulence (its cover could be a still from Annihilation) to its thematic interactions between machine and being align it with Garland’s apocalyptic work. Objekt--whether artist, producer or mad professor--is on top of his game, and his latest creation is as beautiful as it is powerful.

Adventurous but not selfish, intelligent but not difficult, a victory lap of sorts but hardly congratulatory, Terje's first album is astoundingly balanced and astonishingly broad, a wider serving of the man's artistic vision that ultimately proves just as satisfying as his single servings have in the past.

Regardless of whether they're successful or not isn't quite the point; what makes Shaking the Habitual so important is that The Knife used an important moment in their own history to truly subvert the hierarchy that both the band and the album exist in. Thankfully, they also wrote some near-perfect music in the process.

With Dedication, Zomby's first release for the legendary indie label 4AD, he's turned increasingly inward-and it's an entirely welcome trajectory.

It's a little bit of everything, which is perhaps why ƒIN is such a rich, fulfilling listen.

A record notable not only for its considerable length (16 tracks) but its sense of cohesion and staggering brilliance.

Despite (or maybe because of) the absence of Braxton, Battles has soldiered on into new musical territory, and discovered a place that is simultaneously confrontational and inviting, esoteric and playful, technical and infectious-and very, very good.