Elasticity rewards repeat listens from start to finish.

Bring Me the Head Of... will not win Dunn an army of new fans, you are either on his wavelength or you're not. It is, however, among his finest work to date and shows an ever-growing refinement and understanding of his chosen medium.

What's most impressive, though, is Gainsborough's commitment to integrating classical music on Queen Of Golden Dogs. The results, far from being grandiose, are rough, eloquent and compassionate.

Edge Of Everything, a harsh, relentless and evocative techno album, is an impeccable showcase of Temple's artistic voice.

JIAOLONG is one of the year's most consistently compelling LPs, whether as home listening evening fuel or out and about in the sweaty rooms for which it was designed.

As expected, the Norwich-based producer's first full-length culls together another mass of genres, this time with the fresh additions of footwork and UK funky flavours.

Kompakt's recent box set for Voigt's Gas project is arguably the ne plus ultra of emotionally resonant ambient music from the past two decades. Its influence looms over Pop Ambient 2017, but this music can nonetheless be its own soundtrack for daydreaming. On that level, the series continues to be worthwhile, but if its reach was just a little wider, it could be even more.

Overwhelming as Delphi's mood swings can be, they're worth putting up with. Douglas's production is full of elaborate ideas and strange tricks, even if it sometimes feels cheesy or overwrought.

Absorbing a Squarepusher LP in one sitting has always been for more adventurous or diligent listeners, but the dank final section means that, outside of more hardcore fans, Be Up A Hello will probably need to be navigated in exactly the right sort of mood.

Actress is still working at something like the peak of his powers, and there's never a wrong step on Statik—never an idea that falls flat, never a moment where Cunningham feels like he's compromising his sound rather than simply choosing to work in a smoother style on his latest whim.

A masterclass in brooding, uncompromising techno.

Early Riser recalls '70s LPs by the likes of Herbie Hancock--with whom McFerrin Sr. collaborated--and actually evokes the process of remembering, insomuch as it's full of teasing hints and hazy feelings that ebb and flow throughout.

This is machine music for a machine-ruled future made by someone who truly loves machines.

Essential isn't as essential as its title suggests, but don't let that stop you from seeking it out. It has more of the loveable chaos that once made Soulwax among the most important acts in electronic music. This time it's more controlled.

A singularly impressive work.

Though far from the full-on dance album Yorke's DJ gigs and 50 Weapons single had presaged, Amok does feel like a collection of tracks, not songs.

This is a record of great technical skill and imagination, and one that's also nonetheless soulful and sincere.

Aa isn't a disappointment, but clocking in at 34 minutes with a handful of tracks that feel unfinished, it's not exactly a home run either.

hej! is one of PC Music's most well-rounded records yet.

Oft-delayed, long-overdue, but quietly, subtly worth the wait.

Under The Same Sky might not be the most original or ambitious album you will hear this year, but it's arresting, it moves quickly and it never looks back.

Both tracks [Love In The Time Of Lexapro and Last Known Image Of A Song], though, are dreamscapes of ineffable yearning. The EP's other cuts feel almost like a letdown, though only by degrees.

The haunting chorus and zither strings of "Cry Winds Or Flames," the distorted, swampy drama of "Enter Venus" and the propulsive "The Water Sibyl" all offset the LP's drowsy qualities. Perhaps most crucially, Calypso also feels personal.

You can spot similarities and name-check influences throughout, but Principe Del Norte still stands as Hermansen's most distinctive and satisfying record to date.

By drawing energy from Garcia’s abundant source, these remixers try to answer those questions in their own respective sonic languages, offering intriguing answers and new ways to hear Garcia's potent energy.

Hye Jin refines her sound, pulling from trap and boom-bap, not to mention dubstep and techno, to turn out a coming of age hip-house album. Before I Die is the clearest artistic vision we've heard from Hye Jin.

Sadly, tracks like "Years Ago, Days Pass" or "Wired"--even with their intricate array of digital ornaments--remain badly in need of a proper tune; album closer "Nights," on the other hand, simply comes across as an anemic piano-led ballad: clocking in at seven minutes, it easily outstays its welcome and ends the album on a lukewarm note.