The whole thing feels vast, a lunar soundscape ripe for exploration.

Nite Jewel’s fourth album is her most personal and lyric-driven yet.

It’s essential for anyone looking for new, truly underground music--but not quite perfect.

An album full of gorgeous electronic folk and psych-pop, with Trogdon’s observations of the minutiae of life, love and nature (“the kindness of rain”; “everything on its way to being something else”) sitting perfectly in the mix. And it’s great.

It may sound dark, cold, gothic and rough around the edges compared to software-produced music, but these sounds have proved over the decades that they will set your synapses alight with delight.

Like his pioneering UK heroes, this hour-long LP works best lost in the moment with your ears nestled between a pair of good speakers and your head in the clouds.

This is Matmos doing what they do best: taking a strange idea for a wild digital ride until it turns into something completely magical.

On occasion the constantly shifting patterns can get a bit itchy and unsettling, but for the most part it’s a joyful creation.

These 12 pieces of crackling, thrumming electro, dub, techno and other less-definable rhythms are held together by a certain warmth, a love of the crisp sounds that make them up, and by adherence to the groove. [Apr 2018, p.92]

It's rare an album creates a world so weird yet so coherent and absorbingly musical, but DVA has done it here; the only reasonable response is to take a deep breath and dive in.

There’s something about CEO’s second album that’s so wide-eyed, so full of wonder that even when it approaches absolute sugar overload it’s impossible to dislike.

As you might guess, it’s not all fun and games, but there’s bone-dry lyrical wit and absolute clarity of voice (no guest spots!)--and its understanding of bleep and bass tonality gives it instant appeal. [May 2018, p.116]

The operatic IDM of the previously released 'Mountain Divide' is hard not to view as the pick, but even so, Tundra still has all the sonic intensity of an R&S classic.

On some songs it feels like it’s still an experiment in progress--it’ll be fascinating to see how they evolve on the live stage and in remixes--but just as often, Orton is absolutely on top of her game.

It makes for a tumultuous trip that has all the highs and lows of a real relationship, and one that sounds as good alone, on headphones, as it will in the club.

Here, psychedelically hypnotic robot incantations weave through ambient soundscapes and piercing synths to brain-frying effect. [Jun 2018, p.113]

An album of magic and wonder from the mystical mavericks of Norwegian disco.

Whether doomily atmospheric or dissonant like 'Insulin', Crystal Castles successfully nail it for the third time running.

By going back to the first principles of house he's built something very new and very wonderful.

The Keychain Collection is a sensuous LP of love songs and well engineered instrumentals.

Tender, beautifully melancholy urban electronica.

It's imaginative and endlessly intriguing.

The Inheritors is an extraordinary, unique record from one of electronic music’s most vivid minds.

He throws minute snippets of deep soul, techno, funk, liquid acid, Kraftwerk, Eurythmics, cosmic jazz and more into his blender, chops them into freaky, twitchy rhythms and underpins them with monumental bass--and it is amazing.

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

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.

Easy listening it isn’t, but from the barest of palettes, Kowton has built something with personality and raw power.

Their fourth mix offers a vivid explanation of their enduring popularity.