You Are Eternity is like a long and endless tunnel: for all its twists and turns, you're always in the same sensory deprivation chamber.

The result is bone-chillingly gorgeous, right down to the feverish burst of pop strings that accompanies the final choruses.

While it might be beautiful to gaze at momentarily, by the end of the record it's treading water.

Many of the songs feel like they're improvised by someone with an encyclopedic knowledge of vocal pop music.

It's infectious and almost a little too odd, yet it's totally at ease. In other words, it's DJ Koze doing what he's done for well over a decade.

Miami still isn't their masterpiece, but it suggests they have one in them.

It's a boisterously enjoyable and skilfully compressed journey, and a further evolution in an already promising mix series.

LISm is a sprawl, a circuitous meander, but one in which every second counts.

As ever, there are great songs here, underpinned by sharp, imaginative production.... The problem is that Lidell doesn't go far enough.

It's not long before Punk Authority ceases to feel abrasive and is instead perceived as soothing, continuous streams of sound.

The result is a record that's sensually stark, with not one extraneous moment marking its naked contours.

Most of these tracks feel like they would evaporate instantaneously if they tried to leave the house, let alone take their place in any public space. As a debut collection of electronic oddities, it works just fine, though.

For those of us in between, it's like that aforementioned jigsaw puzzle: confounding, occasionally satisfying, and forever keeping you guessing as to what image its shapes are trying to form.

Ambitious and homespun all at once, Welcome to Mikrosector-50 is like diving into the overgrown imagination of a young child.

Taken as a whole, Incubation is an album that lures you into dark places in your brain rather than moving your body on the dance floor.

Though far from the full-on dance album Yorke's DJ gigs and 50 Weapons single had presaged, Amok does feel like a collection of tracks, not songs.

It is a real gem.

While McIlwain is operating within more rigid structures, another hangover from his ambient productions is that he can sometimes sound a bit directionless.

House of Woo may be playful and irreverent, but that shouldn't disguise its status as a potent exploration of sound.

Mood-wise, the three tracks are more in line with his debut, Hazyville, than any of his more recent output via Honest Jon's, although the techno that pulsed and glimmered through his older material is largely absent here.

[A] formidable, baffling, often delightful behemoth of an album.

The appeal of this LP lies in the adroit splicing of this aesthetic with that of dance floor techno, a combination which has the potential to be horrifically stale, sterile, smug—but ends up being anything but.

Wraetlic has the lingering feeling of prematurity, offering snatches of brilliance too easily snuffed out by its own tendency to hide its features in the dark.

Like all good pop, News From Nowhere is brief, never falling victim to the temptation to get lost in soundscaping. Instead, it builds those immersive realms in just a few minutes with each track.

It's unclear if Elements of Light represents an evolutionary mark for the producer or a one-off exercise inspired by a summer's day in Oslo, but as an effort at minimalism, it's a modest success at best.

Stones and Woods is a frustrating body of work, with good ideas poorly realised and arresting moments interrupted by annoying ones.

Rhythmically, Ben UFO is giddy, ebullient even. Which is why, even at his most corrosive, he is not just a very smart "crate-digger," but also a phenomenal party starter.

It's not often one comes across an album that is somehow both more evolved and primitive than its predecessor, yet it's a trick Container has pulled-off with LP.