While there’s a yearning for youth about the album, it also has calibre that’s to be celebrated. Matthews’ voice, his mastery of mood and storytelling shines through, lifting this to a satisfyingly high point of achievement.

Their electronic music brims with heartfelt emotions that anyone could understand.

The project consists of six previously released remixes, which have been butchered into new edits half their original size, one remastered demo track leaked online 15 years ago ("Gone Gone Gone") and one new remix. .... This may not be the Veronica we wanted, but the Veronica we have is a pleasant enough nostalgia exercise for the golden era of late '90s dance music.

LISm is a sprawl, a circuitous meander, but one in which every second counts.

The endorphin-rush techno of "Forgive Me," meanwhile, is sure to ignite one of his main stage festival sets. That's the setting in which Boratto shows his energy and confidence as an artist. Too much of Pentagram, by contrast, feels tired or confused.

These songs still aim to elicit an emotion from you, and they're still not particularly subtle. The difference is you don't feel like it's being shoved down your throat.

Runddans is an intriguing and sometimes fun experiment, but it's not quite a meeting of great musical minds.

Listening to Imagin is like pulling on a old pair of trainers: comfortable, familiar and, ultimately, rather boring.

FM Sushi is straighter, painstaking in its own low-budget way and--bathed as it is in a potent fug of despairing melancholy--far more emotionally resonant.

Melding the jerkiness of dancehall with deconstructed house, it's raw to the point of bloodiness.

It lacks the depth, intrigue and smirking beauty of the group's best work—a product, presumably, of Blunt and Copeland's peculiar chemistry—but doesn't replace it with anything fresh. For all that, it's not bad.

Quite possibly represents Edgar's most full-blooded work yet.

If The Mainframe is a film, then it's a Michael Bay blockbuster: slick and engaging but totally adolescent in worldview, its plot tortuous, its characters flimsily drawn, all of it an excuse for a string of eye-popping action set-pieces.

Secret Life is undeniably gorgeous. But it's a mainstream, you-know-how-this-ends kind of gorgeous, like a Hollywood remake of some European arthouse film. ... It's difficult to be mad at Secret Life. But the bigger problem is that it's hard to feel anything at all.

Even at its biggest, it sounds disappointingly thin.

The duo's linear arrangements could keep a dance floor chuntering along, but they make for clunky pop songs.

For Years feels like the natural conclusion to the quest he quietly started back in 2010.

It's an unadventurous but pleasant effort from a talented artist who used to make everyone else look boring.

There's the occasional hint of another, more vivid album.... Elsewhere they often seem all too separate, like combatants squaring off in a strange, airless room.

It is a real gem.

Youth Code isn't a perfect album, but it is one hell of a first stab.

It hardly bears Moroder's personality at all.

In its studio form, though, II remains a lukewarm, ambivalent understatement.

In losing sight of the dance floor, Battle Lines does away with Bob Moses' greatest strength, and the quality that made them stand out from countless other pop and rock acts.

While Orbits is a tighter record, its joints are still too weak to hold it all up.

These tracks [with pop collaborations] amount to unremarkable radio fare and dilute the artistic voices of all involved. ... The instrumentals have more bite.