This is Autechre operating at their highest level since 1998’s LP5.
London producer coaxes new flavour from familiar ingredients.
A double-album masterpiece from one of the most vital rock bands on the planet.
Philadelphia producer reveals a gleaming, maximalist space opera.
A sometimes messy mix of styles – but when it works, it’s remarkable.
Producer’s progress from pure dubstep is marked by moments of compelling abstraction.
A 10th album which suggests the band’s autumn could be a long and productive one.
A sophisticated blend of modern dance music genres.
Sharp, disciplined, and seriously compelling stuff from the Brooklyn band.
Dancefloor dynamics remain remote; but Actress beguiles with uncommon production nous.
Distorted, thought-provoking fare from the enigmatic production duo.
An immediately immersive work from the experimental Polish composer.
James Blake, Untold, Pariah and more line up with tracks both new and widely heard.
Waits is roaming his property, repainting the fence instead of jumping over it.
Belated physical release for these elegant and accomplished tracks.
Its most successful examples retain Radiohead DNA, reconstituted into new forms.
Hebden’s mix may not be smooth, but his musical vision is distinct.
Berlin producer aims to move hearts rather than fill dancefloors.
Post-punk outfit’s ambitious second LP of 1981 should be considered a classic.
At its best In Dust sounds neither antique nor cutting edge, but timeless.
Avoiding the obvious hits, this collection celebrates the band’s remarkable catalogue.
A mutated take on the funkier end of electro from the FlyLo collaborator.
Production duo’s long-awaited debut album is an hour of inventive dance music.
Profoundly thoughtful music that’s moved on from drone metal beginnings.
With hooks this good, who cares about derivativeness?
The Canadian sound artist’s most powerful album yet.
Lacks the otherworldly impact of their 1990s releases, but well worth listening to.
A label truly worth celebrating marks its fifth anniversary in style.
A bold and galvanising mix of mostly previously unreleased material.
These pieces actively seek to impose themselves on the listener and their environment.
SOR were a key part of “the British rave explosion” in the early 1990s.
The juke veteran’s tracks rarely drag given their frenetic BPM.
A fascinating but occasionally frustrating experience.
A debut that pinches from house music’s past, but can’t progress its cause as hoped.
Marcus Lambkin’s debut LP explores the DFA Records sound’s less-swept corners.
A hit and miss album, but its high points salvage it from inconsequentiality.
Dubstep producer’s second LP incorporates pop accessibility and old-school rave.
The brothers’ remix work remains the real Tiefschwarz legacy.
A smart, talented band carving out their own uncommon, enchanting space.
The sound of sun-stunned drift, as opposed to slacker ennui.
Despite occasional flashes of brilliance this is a patchy, derivative work.
Those expecting a worthy if belated sequel to 2006’s Movements will be disappointed.
It’s possible to disappear completely into Ikonika’s synth-painted soundscapes.
He demonstrates a gift for generating heavily melodic mazes of sound.
Volume one of what should be an impressive series of bass-centric selections.
The rise of the robots started here.
Only takes flight when it quits the dancefloor to have a cry in the toilets.
He has the ability to create dancefloor-consuming monsters.
For all its disparateness, the energy and creativity at play make this irresistible.
Ay Ay Ay barely puts a foot – or larynx – wrong.
