Bursts with textured atmospheres and danceable beats, all led by the unwavering might of Kelela’s lungs.

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.

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

This is street-tough tech-house, happy to wear its hip hop, jazz, disco and Latin influences on its sleeve.

Mastered by Berlin’s leading engineer Tobias Freud, the craftsmanship is simply untouchable, but the absence of any absolute stormers creates a slight shortfall.

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.

All of the trademark Marconi-isms are here, but they’re now emboldened by broader musical strokes.

It can be tough going, but it’s really worth getting your teeth into.

As a producer, Barratt is the equal of anyone working today, but what’s most amazing is that even after 30-plus years, he still seems to be as connected with the magic of dancefloor moments as he ever was.

An extraordinary talent at the top of her game. [Jun 2018, p.113]

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.

Olson’s approach is simple without being naive and challenging rather than wilfully artsy, switching from the menacing ‘Weight’ to the pared-back acid of ‘Pop’.

[Ron Morelli] actively dislikes clubs--but he’s managing to infiltrate them with this insurgent electronic music.

It's hard not to get emotional. Cavernous drums and multi-layered vocals characterise 'Open Your Eyes', which has the ambitious sweep of classic 80s pop (think Berlin) and, with glacial, droning chords and Deheza's quivering, velvety vocals, the beatless 'Confusion' may well reduce you to mush.

For the most part, it’s a sweaty journey of ribcage-rattling techno from the genre’s biggest players.

Seaton, as Call Super, invokes Peel’s memory on Fabric 92--if not in sound, then in the personal nature and spirit that percolates throughout.

If you’re looking for some immersive and emotional electronica, just Call Super.

Textures plough and pound throughout the album, revealing yet another new, unclassifiable side of OPN's musical brain as he brings more disparate sounds to the fore. [Jun 2018, p.115]

'All I Need’ and ‘Simulrec’ are highlights in what is a confident and mesmerising debut from Avery, one that deserves to go down as one of the best of 2013.

Sebenza ranges and explores, opening sonic doors that deserve more regular use.

It’s an album you’ll want to return to again and again.

Meditative house music moments from Italojohnson and Vin Sol also bring the heat in the first hour, while for the final furlong, he opts for two peak-time Audion exclusives and brings the mix to a close with DJ Khalab & Baba Sissoko’s ‘Kumu’.

Steffi provides a delectable mix that’s a testament to her curating skills.

Lanza, the antithesis of the ululating, overwrought antics of the X Factor school, has an arsenal of talents that puts her in a league of her own. She’s very much for real.

Bold, brilliant and beautiful.

This deft new album [is] a delight.

Witty, conceptual, original and above all both musically exciting and enjoyable, it’s an understatement to say that DVA’s second album NOTU_URONLINEU is mature.

Other tracks have a steady kick and soulful samples, but these are made glitchy and trippy in the style of classic Akufen (see ‘Come Close to Me’ and ‘New Love’), or have wonky synth tones that blurt out of the mix (‘Je T’Aime’, ‘L.U.V.’). And the downtempo tunes that surround them also swerve off their expected tracks and into psychedelic and deliciously weird territory. This is precisely the sort of confounding of expectations we love to hear, and bodes well for a long, interesting career.