For an artist so intent on self-mythologizing--with his grand pronouncements, rare interviews and mask-wearing anonymity--With Love feels like a surprisingly comprehensive piece of work. But it's still a rambling outpouring of quick-fire songs.

This sounds like a coherent album rather than a string of collaborations, with his creamy tones-and occasionally clichéd lyrics-providing a common identity throughout.

Yoyogi Park is at its best on the tracks where Kersten wanders out of his comfort zone.

The producer's peacenik ambitions are never far away, though, and the more naked they become, the more his music loses its depth and subtlety.

The twists and turns can be compelling, but they make The Catastrophist feel somewhat lopsided, with scattered ideas too disparate to congeal as a cohesive listen.

Even if Graef and Astro don't seem to be headed anywhere in particular, it's still fun to hitch a hot-boxed ride with them.

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

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.

Sonically, Take Off Mode is not as ambitious as Da Trak Genious. ... But among these standouts, many of the other tracks lack the chaotic charisma key to the DJ Nate sound. His apparent abandonment of footwork in recent years could be at the heart of the LP's uneven quality. But changing one's style doesn't mean losing the soul of the sound.

Where his best music was like reading pages from a diary, Rojus can feel like a passionate retelling of memories that were never his.

For all the dub diehards, Late Night Endless is a must-have. For the rest, it's a leisurely detour in the catalogues of two great artists who proved themselves a long time ago.

At 43 minutes long, Human Energy is so dizzy and quick that it's hard to find your bearings. It makes for a fun, if exhausting, ride.

It's clear that Hello Happiness is not the full album experience. Still, a few easy summer hits from Khan are a treat.

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

Designed to be listened to as a continuous mix, From Deewee is as much about the flow between songs as the standout anthems.

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.

Whether you like Long Trax 2 depends in part on how much you hear this message. ... Long Trax 2 runs the risk of monotony instead. But that seems to be Long's message: we're stuck, sorrow repeating without end.

Sometimes Walker can have his cake and eat it, too, and on the best moments of Knockin' Boots, he does.

As far as home-listening goes, Alpha is too inflexible to give a dynamic front-to-back experience. But that's not surprising: Alpha was made with DJs in mind. And on that level, the music has plenty to offer.

Days Gone By focuses on the band's smoky, bedroom-ready style. It's only half the story, but it's still a pretty good one.

There's a nagging feeling that the project uses such a vast grab-bag of references to mask a lack of clear, foundational ideas. That could be slightly unfair though. Moffa and Troxler wouldn't be the first artists to take up residence in a maze of their influences, and as muddled as things appear at times, on Lost Souls Of Saturn they do some pretty striking work.

Byen could use more of Torske's signature sense of chaos. Listen to this one when it's time to unwind. Save the others for when you really want to visit space.

He's essentially building sonic environments, the kind a listener can enter and explore. That experience is less about the details than the journey, which Gengras carves out with the skill of a seasoned designer.

The gussied-up politeness that has followed Greene throughout his career is still an issue here, making the less adventurous material sound slightly anonymous. That's why the thick textures on "Folle" stand out so much, or why it's so exciting when Greene lets it all float away on "Lately." There are more than enough of these moments to make the record worthwhile.

Sometimes it works, sometimes it doesn't, but Fatima Al Qadiri, Nguzunguzu and J. Cush have delivered a surprisingly solid record with a global outlook and more than a few surprises surprises up its sleeve.

This album's been seven years in the making and it shows. Many of the songs, including most of the instrumentals, might've sounded fresh sometime back, but I find myself forgetting them as soon as they're played through.

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.

DJ-Kicks isn't the best mix Jackmaster's ever done, largely because his taste in new house and techno is less convincing than what's in his record collection at home. There are, however, flashes of brilliance that confirm his status as one of the most skilful and thrilling DJs working today.