Though it's way too long to listen to in one sitting, Grime 2.0 is catnip for the grime fan, and good bait for those new to or curious about the genre.

Huxley's pop forays might not be for everyone, but there's plenty on Blurred to appeal to both his underground acolytes and, perhaps, a new crop of fans as well.

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.

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.

In bold terms, this is quite possibly the commercial mix of the year.

The jolt you get from Tiger & Wood's best work is missing. Perhaps the songs are too ornate, or maybe they're too similar to so much other retro-themed club fodder. Tiger & Woods haven't lost their spark, but their music shines less brightly than before.

Music For Installations doesn't offer a single listening experience: these tracks make far more sense looped, either alone or in small groups, to create a particular, sustained mood.

While her music is hyper-stylized, it never feels contrived. Look Up Sharp neither panders nor willfully obfuscates, residing in a dreamy space in between.

When she steps away from the overproduced big drops and focuses on body groove, Kelly's world is worth stepping into.

There is a feeling of accomplishment throughout Invite The Light.

Quantum Baby still delivers on the kind of smoky, sexy numbers that we'd expect from her.

The lyrics on Humanz might be Gorillaz's darkest, but the album has lots of bright music.

As a survey of Africa's influence on contemporary dance music, Basar is an inspiring document. As an album, it's every bit as good.

As you would expect on a 17-track compilation, in places the experiment really works and elsewhere it probably could have been left alone, but there are enough killer moments here to make it all worthwhile.

On Tundra, the duo's debut long-player for R&S, Lakker seem fully in their element. The ideas have room to breathe and consolidate themselves.

But what comes off at first as blistering and self-deprecating actually reveals her deep reverence and respect for her own complexity.

I Hope You Can Forgive Me, ten songs under a half hour that move quickly but stay with you long after, is a full-fledged real-time resume that demonstrates how complex rhythms and careful arrangements can elevate the human voice to the ultimate instrument.

The language of contrasts she creates only immerses us further in Laini Tani's transcendent, nearly purgatorial atmosphere as it builds. But beyond its conscious atemporality, Laini Tani's beauty is what makes it so entrancing.

It's slightly ludicrous, highly theatrical and great fun.

As esoteric as the use of language translation software might seem, Doran and Carlile work their magic on these dialects and accents.

As its title implies, Migration was meant to be about Green's experience moving to a new home and traveling around the world. But rather than taking his sound anywhere, Migration stays put.

For the most part, Mantasy is a serious record that confidently takes its own sweet time.

The sound of Pangaea doing his thang, then? Yep. Ahead of the game? On this evidence, most certainly.

Re-Engineering is very much an album designed to be played as a seamless whole. It's warm, fun, curious and deeply entertaining.

Portraits resonates at a level of button-pushing sentimentality, but Maribou State are such deft directors of their sound, and so melodically gifted, that they still create moments of magic.

This is a dense, longform piece of near future sci-fi that clothes abstract storytelling in visceral, goosebump-inducing club music.

Unrestrained emotion is ultimately III's defining attribute, and that richness can be too much to bear.

It's quintessentially him, stuck in the little world he's created. And there are worse places to be than his realm of video games, rap music and pop so sweet it tickles the back of your throat.