From the patient and methodical moments to the flashes of light and energetic dance music, the producers always seem to be in control, and following the path they take makes for a truly rewarding listen.

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.

The results are both easily enjoyable and unexpectedly refreshing.

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.

Something happened in the shift from Games' That People Play EP to Channel Pressure. That welcome looseness was lost in lieu of Ford & Lopatin's more focused and (dare we say) over-thought songwriting and production, and it's as if there are too many cultural cues being thrown our way this time around.

An effortless, catatonic undercurrent carries listeners through Her Blurry Pictures and somehow, it manages to put the subliminal neuroticism of Mathew Jonson's music at the center of the listening experience while remaining pleasant to listen to.

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.

Van Hoesen does leave some room for improv, but it's a bit too low-key to feel like anything's at stake.

There’s youthful playfulness at hand on Oddments. There’s also a kind of majesty, one borne out by an affinity for subtly grand melodies, which works in juxtaposition to the album’s brief, jewel-like cuts--most of these tracks clock in at well under four minutes, and the entire LP barely reaches 40 minutes.

Chance of Rain will likely prove less controversial than Quarantine, but by no means is it a less challenging record.

There’s a widescreen vibe to these tracks; with their patient, sometimes nearly imperceptible cycles of accretion and subsidence, they feel as much like landscapes as they do music. But they’re vistas that have been internalized and made personal, and that process--along with the calm majesty of the songs--is the source of Phantom Brickworks emotional sweep.

It all makes for a well-rounded and fully formed debut album by a propitious new artist we look forward to hearing more from.

Revill's thoughtful selections and undeniable ability to fuse a number of moving parts into a thoroughly enjoyable listening experience make for a wonderfully ambitious venture worth every minute.

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

With Odd Blood, the Brooklyn trio has left behind its most obvious ethnic influences--and its environmental anxiety--for a tighter, more polished sound.

Ring may not be perfect--certain songs have a nondescript, meandering feel--but this kind of growth is undeniably exciting, and makes both Glasser and True Panther well worth watching.

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.

It's a confident attempt to stake out a distinguishable sound within the web of influences and like-minded contemporaries the band has been linked to, including stalwarts like New Order and Radiohead, as well as newer faces like James Blake and The xx.

There's no question that Torn Hawk is carving his own, art-damaged lane, but unfortunately, Let's Cry is not the defining statement of his aesthetic.

Raffertie by and large stays out of the way of his songwriting, and opts for subtlety over bombast--an asset that eludes many songwriters.

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.

All in all, the full 30 minutes of Kuiper seems logical as a comfortable extension of, and compromise between, Shepherd's recent discography: as he continues to unravel the additional possibilities of live instrumentalism, we can be sure to expect plenty more of the same.

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.

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

Weighing of the Heart is, to me, an unripe album. The recording is slick and the mix is by the guy who mixed the last Gorillaz album, but I just don’t feel any outstanding music-making talent or skill. I see a marketable product.

Illum Sphere's debut LP may be an elegantly produced collection of noir beat vignettes, but his next one could be a whole lot more.

Stone Breaker is the foundation of E building something new and completely different: an intense, head-down, relentless edifice of original, modern house music.

As a whole, Grime 2.0 works as both an introduction and a re-introduction to a sound that's still without an official expiration date--and won't likely get one anytime soon.