Homogenous and slightly predictable, Panorama Bar 05 is not Steffi at her most adventurous.

Black Jazz Records is a label worth knowing. As far as introductions go, you could do worse than a tribute mix by Theo Parrish.

While Self's experimental productions showcase the versatility of the voice, his poppier songs luxuriate in its timbre.

Fear In A Handful Of Dust is a very approachable Amon Tobin record. It is highly unconventional, full of alien timbres and strange logic. But, as was the case with much of his music in the past couple decades, you don't need to be in a specific kind of mood to enjoy it.

By stripping down his sound, making it more like punk, he ups the energy levels without crowding the sonic field. It proves Schofield is as much a master of subtlety and balance as he is of feral chaos.

Dis Fig transcends In Blue's origins in genre exercise into an otherworldly fever dream, an album of tectonic bass and thundering drums that somehow feels intimate and sensual. It's as much her triumph as it is his.

Like Reed, Tarelle and Inyang are involved in gritty, street-level investigative poetics. ... This is detective work, through which they hope to discover their own place—figuratively and literally—a sense of purpose, of honest labour.

Where her past work could sound like it was written for a grandiose 18th-century opera house, Living Torch is closer to the long-lost sonic component of a modern art installation, endless in its possibilities and imagination.

Crash Recoil relishes in the same spontaneity offered by Child's live performances, composed of songs that feel more structured like cinematic scenes than traditional techno tracks.

The spirit of those dance floors lives on through this second volume of the Legacy series.

Tyla's music hovers in a zone that occupies amapiano, Afrobeats, and R&B all at once. That she's able to occupy all these spaces in a way that feels familiar is a testament to her poise and ingenuity.

On You Said You'd Hold My Hand Through The Fire, they lay bare their heartbreak through squalls of sound, managing softness even in the album's more hardened sonic environments.

Behind swirling clouds of synth and reverb, her perspective is clear as day.

Muzeyyen's technical proficiency is undeniable, but somewhat beside the point. Beside Myself comes off less like a manifesto than a scream—and it's all the stronger for it.

Of course, this repetition is the point of a record titled Endlessness, yet it feels like a central motif seemingly existing for its own sake.

Though Autobiography may seem like a departure from Jlin's past work, many of its themes have been present throughout her catalogue. The LP succeeds in challenging expectations for a ballet score while expanding the possibilities for the artist's post-footwork sound.

It may have taken him a long time to release a mix in this way, but the quality of DJ-Kicks makes it worth the wait. At 30 selections, the tracklist is remarkably long, but nothing feels rushed.

Because Of A Flower pieces together a similar set of songs to ~~~, but with a more open and assured mindset.

From start to finish, Nothing To Declare poses scintillating questions that have no answers, leaving genre tropes smoking on the electric chair. DJ Haram proves the perfect dance partner for Moor Mother.

Ekstasis is brimming with them though [moments that are avant-gard yet instantly accessible] -an album so coherently constructed that it's perhaps more notable for its instants, its moments and sequences, than its full tracks.

Angels & Devils marks an evolution of the sound that made London Zoo a classic.

Holter has always taken pop and presented her own masterful version of it. But her desire to break through the distressing clatter of the present is what makes Aviary her most captivating album yet.

Despite the name, Crooked Man's greatest fault is ultimately how straight Barratt plays it.

Elysia Crampton isn't always an easy listen. In fact, it's a little bit ugly at times. That intentional clash is exactly what makes her sound so compelling. She cultivates a juicy, electric tension by combining pieces that aren't made to fit evenly together.

Even when Clark is firing sounds at bewildering speeds, it's never a chore--in other words, it's a lot more fun than Clark's reputation might suggest.

A series of instrumentals pivot and twist slyly, dropping hints of chord and lithe rhythm, but the bolder moments of the album's opening section aren't repeated. Instead it ends with a track called "Antiform," two minutes of hiss and vague metallic clanking. At first this is sort of a disappointment, but on repeat listens it deepens the album's appeal.

Not only is Looping State of Mind Willner's most diverse and satisfying statement to date, it's an album that establishes him as one of electronic music's more subtly lateral thinkers.

It's a confidently self-referential record that goes with her own flow, settling into a sensual downtempo sound as effortless as it is studied.