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.

Though far from perfect, New Energy is one of Hebden's most intimate and personal albums, with all the idiosyncrasies that come with that.

With each transition, you can tell Agius has taken the time to get the stitching just right, which allows him to cover a broad range of sounds and textures without derailing the flow.

On "Drop Down," Lunice's bass stabs align nicely with Le1f's vocal stabs. With a few more tracks like these, the LP would have made for an even more dramatic return to the spotlight.

Love What Survives won't make Mount Kimbie household names, but it finds them in a new creative space that suits them.

Lyrics like "I can't live in a world / that won't keep its shape," on "Through Your Atmosphere," sung by Faris Badwan of The Horrors, can be interpreted as a man taking a more clear-eyed view of everyday reality, rather than escaping into nightlife's transient peaks. Butler can still deliver those peaks.

Despite falling somewhere on the noise music spectrum, there is an odd sense of calm throughout Lack. Daijing presents a dream, the plot of which, after waking, you can't quite piece together. Its walls of sound become etched onto your mind's surface. It's a vision that lingers in your psyche.

Speeed finds transcendence in loudness and distortion, making noise not so much to express frustration as to heal.

Bicep have never been afraid to go for broke, and their debut album is all the better for it.

LCD Soundsystem have made a better album than they've ever done.

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.

The music on Warmth is among the duo's most powerful, and several tracks from the LP could come alive in the right kind of DJ set.

Aas Good Time shows, his skills have caught up with his ambition.

Rembo, a moreish and hedonistic album, shows an artist able to master many machines and styles.

A little less effects-led ebb and flow (and a touch more structure) might have made Square One more vibrant. The album's absorbing collection of mood pieces, though, are rewarding and evocative enough to make it worth your while.

Years into his Daphni project, Snaith can still make familiar dance music sound fun all over again.

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

Theory Of Colours works equally well as a collection of chill-out jams or club tracks for DJs. It's a dance floor album that isn't all that concerned with the dance floor, which makes it a pleasure to listen to from front to back.

Halo's records have always posed tricky questions, and Dust features her most complex and engrossing yet.

What The Journey Man most clearly captures is that taste for excess and self-indulgence. It's the work of an elder statesman who still has a special touch, but who doesn't know when to stop himself.

As a soundtrack for a wide variety of scenes, Distractions enhances Chen's reputation as one of UK club music's most adaptable artists.

Listening back now, it still pumps. But it's a palatable pump, with enough hooks and vocals to work as well over pasta as in a field at 4 AM. Funnily enough, the tracks that have aged best are the ones that pump least. ... Though other remixes in the middle section update the production techniques, they don't really advance on the festival-pleasing 4/4 or big beat predictability of the originals.

Black Origami can be intimidating: it's dark, relentless, and makes substantial demands on the listener. But it's also powerful and distinctive. In the world of rhythmic electronic music, nobody else is doing it quite like this.

The lyrics on Humanz might be Gorillaz's darkest, but the album has lots of bright music.

It is poignant and ragged with suffering, but it doesn't dwell there. It is also bright, optimistic and euphoric.

A large part of Death Peak--despite the morbid title--contains some of Clark's most accessible and melodic dance floor tracks.

Three short instrumentals fail to muster the same energy. Interesting sounds abound, but they don't always connect, sometimes feeling less like music than collections of sound effects. At their best, though, Wolf Eyes evoke soundtracks to a lost drama whose characters are always in peril, be it from physical violence or internal torment.

Whatever the differences on Narkopop, the album is remarkably true to the project's past: this is music that takes inspiration from childhood memories, bygone eras and the natural world. The results can feel like another dimension, but the album is also intensely personal.