Glow dumbs down Niemerski's music into mass market-ready chunks.

With Signals, Wen has nearly perfected the claustrophobic grime sound he started sketching in 2012.

Love Letters is more mature, doleful and disconnected from club trends.

Even at its biggest, it sounds disappointingly thin.

There's an excellent 12-inch (or two) hidden in Addison Groove Presents James Grieve.

Despite his mainstream flirtations, Cashmere Cat is more about delaying pleasure than instant gratification.

Lyrically, this may be the work of a 49 year-old woman, with its ruminations on family, married life and paying the bills, but, in terms of its energy and sheer lust for life, it could not sound fresher.

ESTOILE NAIANT is perfectly pleasant while it’s playing, but you might not remember it so well afterwards.

Like most of his records, his self-titled LP shows a talent that stretches well beyond house music, weaving together funk, soul, hip-hop, jazz and R&B into a rich and unpredictable bricolage.

Death After Life is so seamless and consistent that it might grow tedious for less patient listeners.

It has hooks galore, but embedded in brilliantly strange music.

It always felt like the UK dance community was collectively cheering for Katy B's success, and Little Red shows how much she deserves it.

Melding the jerkiness of dancehall with deconstructed house, it's raw to the point of bloodiness.

They make some mistakes, sure--the vocal spots from JODY and Yen Tech are fumbles--but they're more adept than ever at stewing their idiosyncratic set of sounds into one deliciously strange brew.

Pop Ambient 2014 is the fluffiest, most cushioned set of zone-outs in the series' recent history.

Ghettoville doesn't sound like the work of a producer who's no longer able to make wondrous music; there's enough craft and intention here to suggest that, for whatever reason, he just didn't this time.

Thanks to its quieter passages, Alternate/Endings breathes in and out gradually, never lingering or sprinting for too long.

You'll have to cherry-pick the best moments from Wonderful Frequency Band, but that's Justus Köhncke. He may bemuse you, but you can never write him off.

For a techno mix, Fabriclive.73 is a surprisingly breezy affair.

Pangaea Ultima is equally rewarding to those who dive in and devour every minuscule detail as it is to those who listen more passively.

Caramel is a collection of half-finished songs that force you to fill in the blanks. It's just as frustrating and occasionally enlightening as that sounds.

Lyrically, 7 Days Of Funk offers little to muse on. Snoop's mainly concerned with discussing how funky he is and what a good time he's having. It's largely free of the misogyny and gangsterisms that have defined his past work.

The title might tell you they're not too concerned with dance floors, but the music itself suggests otherwise.

It's a record more about sound design and structure, an abstract deconstruction of Night Slugs' sleek chrome aesthetic.

Hardcourage is not necessarily his most exciting music--in fact it gets a little sleepy after a while. But once you're drifting away to the dreamy "Bells," as it saunters half-lidded to a close, you might wonder if that's actually the point.

Culled and then cultivated from her live set, these tracks have the dance floor in their sights, but with a skewed focus.

Debate will rage indefinitely on its merits, but to my ears Rival Dealer places Burial in a new creative sweet spot.

Even with an album's worth of new material, there's something missing here; the format might be Herculean in scale, but Craig's efforts don't match up.