No Geography pushes right up to the line but doesn't cross it.

On Wenu Wenu, everything is present and correct, and that's part of the problem: it feels polished.

Given the ubiquity of some of this material, It's Album Time is a little tricky to assess on its own merit. But with tracks like "Delorean Dynamite," "Johnny And Mary," and "Old Joy," there are certainly plenty of grandiose stretches to keep us satisfied.

With just a few more jolts, a few more unexpected twists and turns, Coolen and Scholte would have had something truly special on their hands. But even without them, Weval is a hushed delight.

The Ship, his sixth Warp record in seven years, entwines various threads from these albums [Small Craft On A Milk Sea, Lux, and Highlife] into a heady amalgam that stands as his best work for the label to date.

Mod Prog Sic is the latest stop on this journey, taking the band to an evolved new place for a deeply satisfying blend of primal expression and visceral pleasure.

House of Woo may be playful and irreverent, but that shouldn't disguise its status as a potent exploration of sound.

The sheer density of his music is its most interesting quality, but also a weakness. Like the panicked crowds filling the streets in your favourite disaster movie, Stringer's tracks run in a hundred directions at once and ultimately get nowhere.

Blizzards highlights everything Fake is good at: the way his drums tend to dance in between established genres, melodies that sound like a warped Boards Of Canada record, the constant push-and-pull of dark and light. It's more of a reset than a reinvention, a return to the earnest simplicity that made him a wunderkind all those years ago.

While Active Agents And House Boys slows the aerodynamic rush of the duo's live sets, it reveals a new dimension to their work: something you could almost call songwriting.

Long's drum programming in general lacks finesse. It has neither the rhythmic spark to make bodies move, nor the sculpted precision for a mind-expanding armchair experience. Sometimes this isn't a problem.

Mood-wise, the three tracks are more in line with his debut, Hazyville, than any of his more recent output via Honest Jon's, although the techno that pulsed and glimmered through his older material is largely absent here.

On Here From Where We Are, Cayzer takes on multiple shades of ambient music and delivers each with an expert touch.

As gripping as the album is all the way through-it seems to chart an on/off relationship even more directly than their eponymous album did-its best moment is actually its first. Opener "Angels" is one of the meekest xx tracks, but it's easily among their most powerful.

Soul Music feels a bit too modern to slot in perfectly with the music it's pining for, but that's part of what makes it a success.

Hearing producers as accomplished as Ellis or Sherwood steal the spotlight from time to time makes Man Vs. Sofa all the more appealing.

Where Rashad's best work was light and agile like an expert dancer, some of Taso's tracks feel like they're dragging their feet.

I AKA I moves from peak to peak, and you're never more than a couple of tracks away from open-mouthed awe.

His latest LP isn't nostalgic. If anything, Voids proves Deijkers is as comfortable in the here and now as he's ever been.

Going back to make a new album from sessions that had already been used could have ended up sounding overworked. Instead, Anoyo is the counterbalance to what has been done. These albums shouldn't be compared, but taken in together.

Beautiful Rewind is an extended tribute to pirate radio, connecting the dots between jungle, garage and minimalist house music.

Instead of attempting to reinvent the wheel, he refines and extends his legacy, preserving the familiar while hearkening back to the uncanny moods that shroud his best ambient-leaning works.

It's not long before Punk Authority ceases to feel abrasive and is instead perceived as soothing, continuous streams of sound.

A diverse, compelling tapestry of 2-step, house and broken beats.

This is a short album that toggles around pretty familiar sounds without doing anything new with them. But in this final salvo, Walls have proven that they are a force.

Whatever James puts his name to could and should never be expected to make conventional sense, so Orphaned Deejay Selek only falters when denying his own slippery logic.

The result is an album split between brilliant and head-scratching moments, and it's all a lot take in at once. Anxiety dressed up Ashin's neuroses in glossy textures, while Age Of Transparency lets them writhe all over the floor. Like his live show, it's thrilling, confusing and uncomfortable in equal measure.

2013's Half Of Where You Live was largely built around recordings made while traveling the world, including Japan, so what's unique about Good Luck is how it sounds less like a specific place than a flurry of memories made there.