Their album together is a beautiful take on doom and gloom, but be warned: there's no promise of a happy ending.

Dis Fig transcends In Blue's origins in genre exercise into an otherworldly fever dream, an album of tectonic bass and thundering drums that somehow feels intimate and sensual. It's as much her triumph as it is his.

Anyone who's seen her DJ could tell you about the confrontational aggression she hasn't yet captured on an official album. KicK iii tries, pushing the choppy, freeform and unrelenting part of Arca to the fore and pulverizing the listener over its brief, 36-minute runtime.

Fear In A Handful Of Dust is a very approachable Amon Tobin record. It is highly unconventional, full of alien timbres and strange logic. But, as was the case with much of his music in the past couple decades, you don't need to be in a specific kind of mood to enjoy it.

Shades feels like a group effort. Khan's deadpan but catchy vocals are a huge part of the appeal, and the whole band sounds locked in, especially Calderwood and his wild soloing. ... It's the kind of quietly brilliant record that makes you fall in love with a band all over again, sharpening their approach—and songwriting—without losing the shambolic charm that made them so loveable in the first place.

Left bruised and raw from the previous entry, the soft pads and thick walls of synth noise on tracks like the Planningtorock-featuring "Queer" feel like weighted blankets. ... kick iiii plays like a surrealist diary of Ghersi's experiences as a queer person and transgender woman.

This album tells a deeper story that only grows more vibrant with every listen.

These songs are whittled down, a rare moment where the overwhelming density of Arca's music falls away, raw and stripped of any protective coating. ... There's a newfound and striking intimacy—the last gasps of the KiCK series before the explosive climax "Crown," where kiCK iiiii's softness is ripped apart by cathartic blasts of noise. It's one final, triumphant punch that leaves everything on the table.

Shygirl remains tough and unforgiving across ALIAS, and her voice as an artist has never been stronger. She's a full-blown pop star driven by her luscious fantasies.

Despite his mainstream flirtations, Cashmere Cat is more about delaying pleasure than instant gratification.

You may not always know what's going on or why, but that hardly matters when it's such a joyous whirl.

Black Jazz Records is a label worth knowing. As far as introductions go, you could do worse than a tribute mix by Theo Parrish.

Rapping with Paul White combines a series of moods and ideas and ties them together with quirky skits and a varied palate of samples, all with the charm we've grown to expect from White.

Machine is as visceral as anything he's ever put out, but the album's use of negative space—a cornerstone of what, in that Electronic Beats interview, he identified as dub's "alien unknown quality"—creates a sense of heightened focus you don't get from his vocal albums. These tracks are certainly "floor weapons," as Martin has billed them in liner notes. But they'll work just as well for those looking to quietly meditate on bassweight at home.

A large part of Death Peak--despite the morbid title--contains some of Clark's most accessible and melodic dance floor tracks.

If The Inheritors was the sound of the former trance artist undergoing a spiritual rebirth, The Animal Spirits is as close as he's come to transcendence.

The mix of familiar sounds and snippets of intimate conversation makes for dance music that can feel deeply affecting, even as its spastic rhythms keep the energy at a constant high.

Conatus is Zola Jesus' most gratifying offering so far.

Whatever's at the heart of these sonic fictions, it drove Crampton to reach for new audio possibilities, not for the sake of novelty but to keep pace with the futurity of her visions. It sets the album apart from other pieces of audio collage because it's not sound design for sound design's sake: it's what's required to bring the drama to life.

The mixtape moves through a few different sections, starting off slow and dreamy, taking in woozy hip-hop and twinkling dance pop and ending up in UK club territory. There's a wistful vibe throughout.

Rinse Presents: Brackles is a cohesive, singular statement that finds his sound truly rising to the occasion.

Thanks to its quieter passages, Alternate/Endings breathes in and out gradually, never lingering or sprinting for too long.

With In A Dream, Maclean and Whang have crafted some of most expertly tuneful music of their career.

It's almost too easy to become completely enamoured with the very sounds it's employing, rather than the mood it's ostensibly trying to convey.

It might be dismissed as dinner party music by those with a hunger for more experimental fare, but The North Borders is charming, fascinating and a touch mysterious.

still slipping vol. 1 is an honest and humanizing document, giving us a deeper look into the musical styles and influence that drive Joy Orbison than anything else we've heard before.

It's his most mature and realised vision to date.

It's meant to be experienced in one fell swoop. Once the record works its magic on you, it'll be hard to pull out a single moment.