A super-satisfying second LP.

It’s essential for anyone looking for new, truly underground music--but not quite perfect.

At points it’s utterly lovely--you can’t beat the combination of strings and Tony Allen’s drumming--but at others it’s slightly silly.

While some may find it a little self-indulgent, judged in its entirety the depth of sound and overall arrangement are nothing short of masterful.

Whatever you read into it, this is powerful, living dance music, above all else.

Impassioned rather than impatient and delicate where others opt for too-sweet delicacies, If You Wait is going all the way.

All the off-kilter rhythms and layers of organic sound loops are there, but it’s all a little bit bigger, the drama a little bit more heightened, and whatever oddness she might be singing about in Spanish it feels like a powerful personal statement.

A richly listenable collection.

There’s footwork based on deep, soulful sensuousness and hip hop wooze as well as face-melters, making this the finest, most engaging example of footwork we’ve heard yet.

'All I Need’ and ‘Simulrec’ are highlights in what is a confident and mesmerising debut from Avery, one that deserves to go down as one of the best of 2013.

A thrilling creative renaissance on so many levels.

Although some of the arrangements and electronic embellishments are lavish, there are few obvious peaks and troughs apart from the epic throb of ‘Thea’.

It’s an ethereal experience from start to finish, Machinedrum eschewing his love of UK funky, future garage, r’n’b, footwork and other low-end strains in order to concentrate on lush, rhythmic, utterly transportive productions.

Laced with menace and atomically sonic, this second coming is nothing short of a masterclass in dark craft.

This album is something that any open-minded Mixmag reader could appreciate.

It’s frequently funky and witty, the production and melodies burn themselves onto your memory, and while occasionally it’s more impressive than lovable, you can’t argue with its clarity of vision.

Tracks regularly clock in at eight, nine and 10 minutes, yet Blondes never outstay their welcome.

Greene has spoken of striving to create a paracosm himself with his lyrics, although his stoned drawl often renders them indecipherable. Still, they add to the sunlit, woozy, mysterious world that Washed Out has built.

As with anything this ambitious, it occasionally over-reaches itself--but the highlights are magical, and should see Moderat reach ever bigger audiences.

Springsteen cover ‘The Last To Die’, is a witty aside, but throbbing 4/4 dominates as the electronic legends make a welcome return to their roots.

They’re solid tracks though few approach his greatest moments.

On the whole, Sleep Of Reason is a stirring and cerebral venture into avant-soul.

The Inheritors is an extraordinary, unique record from one of electronic music’s most vivid minds.

Despite falling short of its higher-octane predecessor, this difficult second album isn’t without its moments.

AlunaGeorge could well be challenging old touring partners Disclosure for pop crossover supremacy this summer.

Slow Focus is a grisly journey into the unknown, but an exhilarating one--if you’re willing to take it.

As cute and quirky as the band themselves, this is instantly up there with LNT mixes from Air and Lindstrøm.

Another patchy long-player from a proven producer.