Iif you’ve got a predilection for Vampire Weekend’s baroque alt-pop, Tame Impala’s psychedelica or the hazy bombast of M83 you’ll find this a comforting, welcoming destination.

Put intellectual conceits aside and Untogether’s dense, throbbing undercurrent, a soundtrack to some alternative dancefloor, proves alluring.

Woman is a really good record and an accomplished, confident body of work, but it may leave those hankering for something with more venom feeling a little impatient.

Laced with menace and atomically sonic, this second coming is nothing short of a masterclass in dark craft.

Hard Love is easy to adore. [No. 139, p.61]

As it is, the high points still make this essential, but shorn of a few tracks, this album would be so much better.

Thankfully, it doesn’t veer too wildly from his solo work, as Man Duo dive into shuddering Krautrock rhythms, slow-burn electro and stoner synth-pop.

Zombie Zombie are clearly aiming for the lysergic head as well as the ecstatic feet and the end result is an organic concoction that doesn’t disappoint.

Still puzzling, but for the most part very lovely.

It may not be as groundbreaking as Kölsch's debut album, but it still hits all the right notes. Fans will be chuffed to bits with this.

It’s like the best bits of MGMT, The Scissor Sisters and The Sleepy Jackson rolled into one.

A charming, optimistic LP, delivered with a smile.

At points it’s utterly lovely--you can’t beat the combination of strings and Tony Allen’s drumming--but at others it’s slightly silly.

Black Is Beautiful is nigh-on indescribable--in a very good way.

A charming, understated record.

An album that is as melancholic as is it banging.

He’s a soundboy at heart, so you’ll hear bass-propelled elements at play (dewy jungle breaks, grimey synth stabs, low-end bumps, the no-bullshit patter of MC DRS), but ‘Presents James Grieve’ is all about exhilarating propulsion and the power of drums.

If you’re looking for a new album with real depth to play on repeat, with horns, pianos and cowbells to spare, this is it.

The bona-fide future-classic ‘Oh Woman Oh Man’, the soft-focused but laser-guided balladry of ‘Hell To The Liars’ and ‘Rooting For You’, and the title track are as good as anything on their debut--and in ‘Non Believer’, they may well have written their finest song yet.

He's hijacked techno, destroyed its propulsion, and created something intriguingly spaced out.

Eve is no ground-breaker, but Booka Shade’s solid reputation remains safe.

It’d be nice to hear voice and production crack and cut loose even more--but he’s heading in the right direction.

We The Generation is full of catchy, radio-friendly earworms tailor-made for maximum impact at their blistering live performances.

It's certainly more nuanced and wide-ranging. It's all the better for it.

If you stop trying to hear it as grime, and listen to it as a sci-fi movie of an album, a classy electronica dream journey through a high tech Orient, then that gloss becomes a strength, and it really does stand up on its own.

[The first track, "Celebrate" is] a stunning start--and thankfully, the songs that follow are just as strong.

[Ridha's] third studio album is a reliable journey into thrashing, powerful and industrial electro and techno.

The tomfoolery may alienate some listeners, but across all genres of music, few concept albums have been crafted with such a level of infectious invention.