It's striking how simple and affecting Devotion is as a whole. At a time when so much music is political and intellectualized, Tirzah's sincerity and candor is a breath of fresh air.

Something about its bleary-eyed shuffle, smooth jazz accents and chipmunk vocals is ineffably familiar and intimate. By drawing on memories and relationships for inspiration, Weatherall conveys emotion more convincingly than ever before.

On Filo Loves The Acid, Dozzy has held back his more radical approach, as well as his typically subtle use of the 303, to deliver an exemplary acid toolkit.

The sheer number of different tools and skills they bring to the job is staggering. That's a big reason why, nearly a decade after the scene's initial explosion, they're still propelling the sound forward.

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.

On Here From Where We Are, Cayzer takes on multiple shades of ambient music and delivers each with an expert touch.

Jakobsson's DJ-Kicks is a smooth and enjoyable hour, and a reminder that, whatever name he's releasing under, he's worth taking seriously.

Synthetic birdsong, rustling keys and a contemplative melody suggest someone pondering the world outside. The album, in turn, offers a glimpse into Kate NV's rich imagination.

Schofield often sounds downright uneasy, as if he's looking to cut the legs out from under his trademark style. When an artist slips into this mode, they rarely make perfect statements. What usually emerges instead are uneven collections full of experimental escape hatches that are engrossing for their very imperfections.

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.

Morgan sings and raps on the LP, the first time they've used their voice on their records. That helps make Power their most accessible release. The singing is charmingly unpolished.

Her robotic sing-song is more unsettling than affecting, and the synth backing is never quite immersive. Spontaneity is often this pair's strength, but with more ambitious ideas it limits them.

On K.O their ideas are rendered in higher fidelity, and while not every track on here leaves a lasting impression, the album as a whole certainly does.

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.

Essential isn't as essential as its title suggests, but don't let that stop you from seeking it out. It has more of the loveable chaos that once made Soulwax among the most important acts in electronic music. This time it's more controlled.

His latest LP isn't nostalgic. If anything, Voids proves Deijkers is as comfortable in the here and now as he's ever been.

No Sounds Are Out Of Bounds, with its stylistic and thematic missteps, too often shakes us out of this trademark groove.

Some of these tracks are simply mind-melting.

Baha's production skills are clear across Free For All. Fans of instrumental grime artists like Slackk will find much to admire in the austere yet precisely constructed "Aliens," whose sense of space is uncommonly sophisticated.

As Wet Will Always Dry proves, Blawan has pushed things forward by showing that the traditional techno template can still be sculpted in surprising new forms.

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.

Oil Of Every Pearl's Un-Insides, SOPHIE's first proper album, presents her artistic vision in a purer form than anything she's done before. It is at times unapologetically poppy, beginning with the opening power ballad, "It's Okay To Cry." But it's also utterly, defiantly weird, flouting conventions of rhythm, composition and, perhaps most of all, taste.

One of the album's key qualities is how Vynehall uses these musicians to enrich a sound that feels authentically his own. There are almost no dance beats on the record, but again, this feels like Vynehall moving farther down a path he'd already explored.

Her music can feel frustratingly fragmented one second and suddenly coalesce into something brilliant the next. IRISIRI is baffling and inspired in equal measure.

serpentwithfeet is not a project that deals in restraint, but it's the mix of melodrama and newfound control that makes soil a great record.

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.

Dream House, then, is a mixed bag. But like with everything Âme and Innervisions put their name to, from the label to the performances to the Lost In A Moment parties, the good outweighs the bad.

Age Of is the sound of an internet addict sifting through the digital ruins, part of a culture jamming legacy for future generations, should they exist.