Perhaps a marginally less absorbing spin than Nick Höppner’s addition to the series last summer, but judged on its own merits, Panorama 05 still constitutes a solid house mix.

Danceable, intelligent and always emotionally charged--and Dan Snaith’s most profound and accomplished piece of work to date.

Recorded in Sydney, New York and California, ‘Faraway Reach’ bursts with sun-soaked vibes.

While album three may require a reboot from The XX, that's for another day. Right now, when it comes to fusing indie rock and dance, no one pulls it off quite as elegantly.

A super-satisfying second LP.

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

We’re a long way from Super Collider, but there’s really not a duff card in the pack.

This is the sort of LP you play from start to finish while on a car journey in the sun on the way to a festival: it’ll gift you with positive feelings through its infinite groove.

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.

More than a simple change in direction, this debut album feels like the culmination of pretty much everything he's done up to this point in his career.

It’s as beguiling and bewitching as you’d expect.

For all its varied elements is all too clearly the expression of the demented but coherent vision of one man. You will find no better way to fry your mind this year.

Their second album has a cosmic disco groove ('The Following'), thought-out harmonies ('The Unknown Faces at Father James Park') and electro- pop moments ('The Right One'), creating the kind of warm glow you may get from a house party in a log cabin.

As the mix migrates to the dancefloor, Lone drops some smooth 90s techno with John Beltran’s ‘Placid Angles’ and the cyber-electro of Drexciya’s ‘Bubble Metropolis’, before signing off with Radiohead’s obscure and atmospheric mood sketch ‘Worrywort’.

A haunting memorial.

Where ‘Coastal Grooves’ felt like an indie kid playing at being an r’n’b superstar, here the metamorphosis seems complete.

The guest list on Amygdala proves his pull, boasting marquee names to help Koze construct a dense, intense and highly individual album of nuanced house.

This is music from a mind with a digitized imagination.

This is a strong, sometimes truly beautiful, maturation of Avery’s work as a producer.

Whether it’s in the tribal drums, sensual vocals or huge range of instruments, you’re unlikely to hear a more diverse collection of music this year.

It’s a place where house music melts into a joyous, shimmering gloop.

While ‘Loving Life’ channels Jermaine Jackson’s ‘Do What You Do’ but takes it to church rather than the charts. 'Fast Lane’, meanwhile, drives straight to the pop pulpit with a chorus Jim Steinman would be proud of.

Energetic, endearing and still unlike anybody else, Sleigh Bells continue to unapolegtically pummel your senses.

A heavy bass throb infects ‘Retour au Champs de Mars’, beating out a slow, muted rhythm like a submarine engine, while the pair channel labelmate Nils Frahm with the emotive strings, piano and frazzled electronica of ‘Comme on a Dit’.

Hard Love is easy to adore. [No. 139, p.61]

It’s an accomplished record.

Thanks to the string 'n' bass-fuelled opener 'Hood Wink', the Lykke Li-ish 'Don't Go' and the super-slow marriage of synths 'n' rave on the title track, these '...Gardens' continually bear fruit.

Fans of Haxan Cloak's loud/quiet drama and Rabit's fearless extremes will want to crack open yet another great Tri Angle long player, which is intense at times ('Mass') and brooding at others ('High Places').