Third Law trades emotion for physical power and presence. Porter has figured out how to channel the aggression of his early material into the maturity and otherworldliness of his solo work, and it's as breathtaking as it is bruising.

Love What Survives won't make Mount Kimbie household names, but it finds them in a new creative space that suits them.

This is their most focused mix yet, and even though they're ostensibly working with a finite number of resources, the well of obscure disco cuts seems far from dried up.

If things occasionally become one-dimensional it's arguably the admission price for the many successes this album packs.

One of the album's key qualities is how Vynehall uses these musicians to enrich a sound that feels authentically his own. There are almost no dance beats on the record, but again, this feels like Vynehall moving farther down a path he'd already explored.

While it's called The Kid, the LP shows Smith has matured as an artist.

The result is bone-chillingly gorgeous, right down to the feverish burst of pop strings that accompanies the final choruses.

Da Mind Of Traxman Vol. 2 might not be Traxman's most innovative album, but that's fine. It's still one of the genre's most singular records so far.

It's another triumph for Friends of Friends, and it's a breakthrough for a young producer finally emerging with an individual and inventive style previously only hinted at.

Though Spawn only features on about a third of the album, the AI's conceptual impact is key to Proto. ... The compositions elsewhere are dense and overwhelming.

While the record is certainly appreciable on purely musical terms--this is evocative, heart-tugging stuff--when knowledge of Kirby's intent lurks underneath the damaged acetate grooves, it becomes something else entirely: A poignant interrogation of memory loss and aging.

The final result is up there, but as it jumps frantically from idea to idea, it dulls the impact of its best ideas in favour of others that might have been best left in a folder along with hundreds of other loops on his laptop.

Lyrically, this may be the work of a 49 year-old woman, with its ruminations on family, married life and paying the bills, but, in terms of its energy and sheer lust for life, it could not sound fresher.

Where his best music was like reading pages from a diary, Rojus can feel like a passionate retelling of memories that were never his.

Programmatic as it is, ATAXIA has style and personality.

It still sounds like music from the furthest reaches of the galaxy, but after three decades of getting to know Sean Booth and Rob Brown, the feelings wrought in their work have never been clearer or more heart-rending than on SIGN.

Listening to WOW delivers genuine warmth, happiness and light. Within these settings, Shilonosova expands her ever-evolving and inquisitive personal soundworld of beautiful music for the body and the mind.

The Night Land lands in beautiful and occasionally unexpected places.

Like Dogsbody, Pirouette is a wildly feral album. This time, though, we're inclined to sway with the beat rather than thrash against it.

Her music can feel frustratingly fragmented one second and suddenly coalesce into something brilliant the next. IRISIRI is baffling and inspired in equal measure.

It sounds contemporary and creative, lush without being overproduced, but nowhere could you pick out the fingerprints of, say, Hudson Mohawke. It's all Richard, sounding tighter, stronger and more assured than ever.

Rhinestones is a skeletal, mostly acoustic continuation of this sound, gripping in its own mysterious, quiet way.

For a jingle writer whose album is almost relentlessly upbeat, his music can cut surprisingly close to the bone.

Cherry's latest references the refugee crisis, gun violence, fascism, racism and a collective sense of despair. But Cherry knows how to wrap these subjects in something sweeter. The scope of Broken Politics takes in both our outward political moment as well as its effects on our interior life. The music that accompanies her has an equally wide scope.

R.I.P. is the most enveloping and fully developed of his cultivated soundworlds yet.

Scattered brilliance makes Shelly's On Zenn-La a compelling listen. At its best, the LP showcases a composer with an uncompromising will to experiment, even if it yields mixed results.

Vibrant, dynamic displays that veer towards transcendence. Rife with the yearning for more prevalent love, Lovegaze is a bewitching offering of psychedelia and astral folk that goes beyond the mind, and peers into the soul of a distinct talent as she exalts beauty in its rawest forms.

A pop album brimming with imagination, vibrant melodies and, yes, a fair bit of formula.