At 16 songs and with impressive guest features, it's a sprawling portrait of James, one with mostly dark and subdued tones.

Over its 20 minutes, the EP pushes dance music through violent twists and turns until it becomes disorienting and startling.

Quivering In Time is a kaleidoscopic sequence of house music tunes that tend to blend into one another, sounding more like a DJ mix than a typical electronic album.

Agora is both a return to form and a leap into the abyss.

The mix of familiar sounds and snippets of intimate conversation makes for dance music that can feel deeply affecting, even as its spastic rhythms keep the energy at a constant high.

Inner Song's highs are very high. Beyond the bang-on production, the LP feels like as much of a journey for the listener as it does the protagonist.

Ecstatic Computation is marked by sudden breaks from predictability. Stylistic influences and sonic textures are varied, yet they're cohesive. The result is an album that's both provocative and blissful.

A comparable transition on Singularity, between "Everything Connected" and "Feel First Life," is made to feel seamless, less like a change in circumstance than an ascent onto some higher plane. Some will feel completely immersed in that; others might simply admire it from a distance.

This isn't exactly club music, but Yorke and Godrich write incisive beats and basslines, which they match with ever-interesting sound design.

Trying to follow these songs as they unfold is a bewildering experience. But if you take Hassell's advice, and "scan up and down the sonic spectrum," taking in the moments of beauty as they occur, the album's title makes a lot of sense.

This is all delectable, sure, but what's memorable is how Davidson—who has the dexterity to crack a joke uniting Friedrich Engles and LNR on 2018's "Work It"—maintains her dark sense of humour.

Like most Caribou albums, Our Love is a grower.

It may not have the broad appeal of past Steffi albums, but that was never the point. It's modern-day braindance for listeners willing to find meaning from within.

This is straight-up fight music. 2017 - 2019 isn't quite this lairy elsewhere, but most of it is jagged, hard-hitting and seriously over-driven. The change has Jaar sounding artistically replenished.

It's her strongest project to date, a thrilling fusion of classical and electronic music delivered in astounding clarity.

Patience for Take Me Apart validates her audience who saw her as the future from the start. You won't soon break free of it.

As excerpts of poetry sound like heart-stricken dialogue and foggy soundscapes take the shape of a score, it often steps out of the confines of music and begins to approach theatre.

Suddenly is a frustrating listen. Snaith's talent for writing earworms, hooks and choruses has never been so apparent. But overall he sounds like he's trying too hard, taking influence from too many places.

Where 2009's By The Throat was ruthless but exacting, this one feels genuinely unhinged--and that unpredictability makes it far more thrilling than any engineered suspense could have been.

Inspired by this sentiment, as well as Halo's time scoring a film for the Dutch art collective Metahaven, the more abstract aspects of Raw Silk Uncut Wood allow her to establish moods that are at once non-prescriptive and immediately visceral.

Sexistential is a document of Robyn the artist reaching full potential, thanks to Robyn the human reaching inner peace.

It is difficult to pick any more jewels off this dance floor diadem, making the most as it does of the long player context.

As a whole, the album succeeds at doing something tricky: pandering to fans of theory, minimalism and ambient music all in equal measure.

These tracks are rescued by gorgeous chords and melodies, which give otherwise grey arrangements rich shades of melancholy and optimism. Avery had a knack for a hook back in the days of Drone Logic, too. His attitude to the dance floor might have changed, but the important stuff hasn't.

Another excellent long player to savor from Monolake.

Van Hoen may be submerged in his own past, but the melancholic apprehension of the record is thoroughly universal.

To say that Sommer is a piece of sonic architecture of which Klein himself would be proud is more than just hot air.

With By Your Side, Ed Banger and Breakbot seem more and more lost in a Tumblr-tinged display of self-referencing: very now but just not very new.