Huxley's pop forays might not be for everyone, but there's plenty on Blurred to appeal to both his underground acolytes and, perhaps, a new crop of fans as well.

Rundell and Goddard are still crafting warm, well-balanced tracks, but the parts that reveal their personalities—namely the lyrics--are often awkward and strangely didactic.

Wonder Where We Land pads its vocal tracks with plush instrumentals, morsels of melody that would have been strong points if they weren't so half-baked.

What she's lost in subtlety she's gained in star power, off the back of two years of touring and a slow-burning hit album.

With In A Dream, Maclean and Whang have crafted some of most expertly tuneful music of their career.

The whole album bleeds into one magnificent mess, thanks in part to some incredibly short track times, but also to the nature of the music itself.

Like most Caribou albums, Our Love is a grower.

Amid all this diversity, Abaporu is a remarkably steady work, with Boratto's consistent sound palette and knack for melody running strong throughout.

With KOCH, Gamble has found a canvas that's just the right size to fit everything on, to hold the whole beautiful thing up at once.

These are synthetic sounds that have a sense of natural decay built into them, but Prudhomme unleashes them with such carefully built momentum, the music can't help but feel optimistic.

A standout record in an already peerless discography.

Endgame excels when its structures are more orthodox.

Now, in 2014, Vessel has given us one of the year's best electronic music albums, and it's hardly electronic.

Listening to Imagin is like pulling on a old pair of trainers: comfortable, familiar and, ultimately, rather boring.

It's nice indeed, but it may leave you craving something a little stronger.

For what is essentially a composite of three "live" performances (all produced on a deliberately limited set-up of two modular synths, two sequencers and a mixer), Whorl is surprisingly cohesive.

There's a near-perfect EP buried in here somewhere, and an inventive musical personality waiting to burst out, but Moiré's debut album does a better job of showcasing his potential than realizing it.

Whyte has made an LP that rises and falls gracefully, proving that even his brand of everything-all-the-time dance music has room for nuance and subtlety.

Angels & Devils marks an evolution of the sound that made London Zoo a classic.

In the end, LP1 is probably the most singular pop album of the year. It's testament to how emotionally affecting one person's realised vision can be.

As expected, Hyperdub's output retains a pretty sophisticated tone even when it's dealing in pop hooks and party tracks.

Taking touchstones from familiar genres and refiguring them into something completely new, it's like a microcosm of the label as a whole.

The instrumental and production prowess on display is fairly stunning.

It's a fascinating mosaic in which every tiny detail lends colour and depth to a work of real, high-minded seriousness.

It's a powerful formula, and Dall and Ander have basically perfected it here.

A solid diversion from two artists who we know can do better.

Imperfect as it is, International is proof that the group's future is limited only by the force of its wanderlust.

The whole album sounds like it was mastered from a chewed-up old C90--it's post-chillwave music, busy and glitchy, but as relaxing as a soak in a warm bath.