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