Safe is an incongruous blend of calm and anxiety. It's also full of raw human emotion.

It's just Jamie Teasdale, an already accomplished producer, freely chasing his inspiration and coming out the other end with near genius in the process.

Klein's work exists entirely on its own terms. It's a vocalist and her piano presenting a form of singer-songwriter music that doesn't need words to get its feelings across.

A nicely well-rounded debut album from an artist who's only been releasing music for a couple of years.

There's an admirable level of refinement to Hubris, even as it also feels brilliantly alive and ever in the moment.

The album bops and bangs as he explores throbbing Detroit techno and bouncy Kraftwerkian synth pop, overlaying those genres with recordings of his time in Hong Kong to create a deeply spiritual album that fuses traditions, lineages and memories.

While some of Black Up isn't a million miles from his former group's darker corners, it's not particularly like much else. It's all present tense, in a way too little is, and brash, bold, and weird about it. Per one of his more baffling lines: "up, or don't toss it at all."

I wouldn't necessarily say Cenizas is challenging, but listeners accustomed to Jaar's more smooth and structured early work may need to persevere as he leads them through this freeform landscape

Sebenza sounds like nothing else out there and yet LV's knack for genre-mincing produces an album that sounds both timeless and completely of its time, crossing musical and political borders with confident finesse.

The striking concept alone is enough to make this album worth a listen. That it turned out to be so inspiring is a happy byproduct of the whole experiment.

It feels like a miniaturized epic, and it sees Mendez touch on all the established hallmarks of his already renowned sound, embellishing it here and there with grandiose flourishes.

An infinite number of sounds are now at his disposal, opening up vast new landscapes to be harnessed.

By carefully balancing these ideas with unambiguous dance floor moments, Tangerine hits the sweet spot that many of the best electronic albums occupy.

Although Spirit Exit, both more expansive and more restrained, doesn't oscillate as wildly as her previous expeditions, the heart strings remain plucked in gorgeous loops and motifs that spiral out into infinity.

A work with a fighting spirit so potent that tipping the world over begins to feel like a genuine possibility.

The dark liquid that once represented Björk's emptiness becomes a source of love that gushes and flows through her. Where once it felt suffocating, here it feels open and endless.

The mixtape jumps from acid basslines to Daft Punk-style chops in the time it takes to draw a breath. Just take "Stateside," which layers a goody bag of textures (scratchy percussion loops, vinyl scratches, stratospheric leads, and no fewer than three different bass tones) that whirl away from a breathless hook like petals. With her third full-length project, PinkPantheress refurbishes the refurbishers for yet another new generation

Resonant Body is filled with joy and self-empowerment. Where the artist's past work felt delicate and introverted, this LP whips its untamed hair, gearing towards higher tempos, wilder breakbeats and more party-rocking vocal samples than before. Even with this more upbeat approach, the music still sounds distinctly like Bouldry-Morrison.

It's a testament to Lennox's dexterity that these brief detours into soft introspection only enhance the wondrous breadth and vision of Panda Bear Versus The Grim Reaper.

Even as a mix of two halves, Dear's assured pacing means his DJ-Kicks entry rarely sounds disjointed. Two new Audion tracks near the end of the mix stand out, in ways that are both positive and negative.

As the dubstep/bass music continuum continues to splinter, recombine and reinvigorate itself ... Sepalcure seems to string all of these timbres and sub-sub-genres into a physically and emotionally bewitching take on post-everything dance music.

Like the phantom motion you feel laying in bed after long hours in transit, Themes for an Imaginary Film is bound to stick with you, drawing you in deeper with each turn of the ignition.

Sometimes producers catch a wave, sometimes they wipe out. But this theory is quickly rubbished by Hauff's own back catalogue. She's released consistent albums and EPs that said a lot with a little. Qualm achieves the same, but only in moments.

It's tricky to make music this mopey without sliding into shtick, but Holy Other pulls it off, balanced right on the brink of bathos.

Without a straight house or techno beat to be heard, fabric 94 is a meditative set from a DJ with more sides than most.

Keszler has been able to turn the overwhelming nature of urban life into something beautiful, and it's one of his best records as a result.

In Hecker's uncanny knack for blending noise and ineffable sound together, he makes for a turbulent sonic trip that ultimately feels redemptive.

Polymer's best parts show a keen balance of emotional and technical qualities. ... Still, Polymer gets soft roughly midway.