Ultimately, Rustie's purism exposes the limitations of his style.

This is not Jaar's best album, nor is it his strangest, but it's a wonderful listen that tempts you to get lost in its many layers. It is beautiful but confounding, an artwork whose "solid form" still passes through like water trickling down between your fingers.

At almost 70 minutes, Where All Is Fled may take a few unnecessary detours across its 14 tracks, but it's ultimately Hauschildt's most cohesive work. Here, he's matched his well-established talents as a composer of cosmic ambient with a new depth of artistic direction.

What she's lost in subtlety she's gained in star power, off the back of two years of touring and a slow-burning hit album.

There isn't a bad track on Black Boulder and it is certainly an accessible crossover release that's suited to the long-player format. But it's not very original either.

The result is an ingeniously crafted album that, under the right conditions, heightens the senses and inspires heartfelt reflection.

Ikonika has delivered one of 2013's definitive summer albums. It's time to get happy.

Patten is clearly willing to toy with his numerous ideas in lieu of easy hooks, and he concedes remarkably little here.

Product is simply forward-thinking, flawlessly-produced electronic music that wants no more than to slap a grin on the dance floor.

Shackled to the piano, the album's range can feel a bit limited. It's worth sticking it out, though, if only for the moments when Gold's grand vision finally comes together.

Ancestor Boy's world is one of filial love, of kinship through blood or spirit, of otherness and self-reliance.

Without knowing it was made by a young Paul Woolfword, it might come off simply as passionate and touching hardware sketches with classic techno components. Nevertheless, these tapes show signs of promise in Woolford's ability to work within his limitations to create something powerful and personal.

Lyrically, 7 Days Of Funk offers little to muse on. Snoop's mainly concerned with discussing how funky he is and what a good time he's having. It's largely free of the misogyny and gangsterisms that have defined his past work.

Many of the tracks on Hangin' At The Beach, much like Pink's low-key classic "Life In LA," grapple with the paradox of feeling lonely and alienated in paradise. Perlman's able to evoke these ideas without lyrics, using a casual, collagist approach to create his most profound work to date.

The result is a set of tracks that, compared to the prickly, experimental music of Shaking The Habitual, are purposeful, propulsive and emotionally direct.

The result is a thrilling meditation on the weirdness of now.

Factory Floor's aesthetic is rarely comforting, and yet their new music settles into itself as it revisits old habits.

Much like its musical parent, Without You effortlessly inhales and exhales strands of musical influence past, present and future.

The Shakes is worth hearing for the sonic detail alone. The best tracks have an inclusive, sweeping abandon that rivals the high points of Scale.

Ultimately, Reachy Prints is a bravura performance that lacks bite.

Culled and then cultivated from her live set, these tracks have the dance floor in their sights, but with a skewed focus.

There's still plenty of juice left in the ideas Four Tet favours. ... This club/non-club ratio is similar to that of New Energy, the last Four Tet album, but Sixteen Oceans surpasses that LP through the strength of its ambient and electronica.

An irresistibly fun listen, even at its simplest. DOOM's role is honestly more like a supporting cast member here, but when he shows up, his husky ramblings still have the same gravity they always did. The production plays to his strengths.

For something as weighty as a debut album from a hotly-tipped artist, Parallel Memories feels a little too light for its own good.

In recent years, Stott has alternately spurned and embraced the nasty side of his sound, but on Never The Right Time, he nails a difficult balance between bass weight and pop vulnerability.

His third album is easily the tightest record yet. Jumping from sound to sound, Ital Tek has covered a startling amount of ground in a short time.

Some of Orbiting still sounds a little sketchy, like a bunch of good ideas that have yet to coagulate into fully-rounded, purposeful bangers, but clearly Jeremy Guindo is a real maverick talent.

Where Moderat sounded at times tentative and disjointed, II is in every regard a better and more well-rounded record. If there were no third Moderat album, this would stand as a definitive statement.