Some of Orbiting still sounds a little sketchy, like a bunch of good ideas that have yet to coagulate into fully-rounded, purposeful bangers, but clearly Jeremy Guindo is a real maverick talent.

If there's one major criticism of this record it's that its excessive length--13 tracks totalling 58 minutes--means that standout tracks can be missed through sheer volume of material.

The sound of Pangaea doing his thang, then? Yep. Ahead of the game? On this evidence, most certainly.

It's a more expansive, more ambitious and more accomplished Raime than we've heard before.

As you unspool slowly into Aimlessness, you can't help but wish for a more mediating human touch.

The truly ambient moments of Living With Ghosts are easily its most arresting, providing brief periods of respite amid the album's unrelenting greyscale grasp.

And while there's no percussion in any conventional sense, the likes of "Uptown Psychedelia" jerk manically to their own spasmodic rhythms. Yet where those tracks are marked by an almost feverish nervous tension, from "Racist Drone" onwards Hecker and Lopatin seem to drift into an almost tranquilised state-one which strays closer to ambient clichés.

There are no new tricks at hand here, no experimental forays into the goonier psych-prog ends of the space disco genre. And you know what? Thank f*** for that.

His third album is easily the tightest record yet. Jumping from sound to sound, Ital Tek has covered a startling amount of ground in a short time.

Though he's had plenty of strong releases in the past, this one has the inspired feeling of an artist truly finding his footing--a breakthrough, in other words.

With By Your Side, Ed Banger and Breakbot seem more and more lost in a Tumblr-tinged display of self-referencing: very now but just not very new.

Dusk & Blackdown have an idiosyncratic grip on texture and structure, which Dasaflex wholeheartedly emphasizes.

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.

Atonal but definitely not without its charms, it's the producer's most distinctive statement yet.

For the most part, Mantasy is a serious record that confidently takes its own sweet time.

With its intrepid nonconformity, masterfully undercooked programming and swagger, it's hard not to view Transsektoral as anything other than a resounding success.

Fleshed out with flecks of African-style guitar and tumbling bass...there's still the trademarked bedrock: that motor-fueled, machine-grind churn.

Pink sits in between: not sonically and melodically rich enough to be digested with the bedroom fervour of, say, Rounds, but somehow not fully metamorphosed into whatever new form Hebden is pushing towards. Nobody's doubting the man's incredible skill as a producer, and the delicacy, intelligence and maturity of his ideas. But here, alchemy isn't quite achieved.

JIAOLONG is one of the year's most consistently compelling LPs, whether as home listening evening fuel or out and about in the sweaty rooms for which it was designed.

Fetch picks up right where Horizontal Structures left off: von Oswald allowing the group's myriad tones and timbres to bleed out and coagulate.

Pleasant is the word. But not simple. Quiet has just as many corners worth peeking down.

The Predicting Machine sounds more like a homage to various styles, from the naive, exploratory ambient works of Radioactivity-era Kraftwerk ("Radio Channel"), to the whimsical homespun techno of label-mate Superpitcher ("Orbiter").

This album represents an intriguing compromise between Fell's distinctive language and the friendlier environs of the contemporary dance floor.

Amidst all the flying debris and heart-stopping drama you have the most cohesive and powerful single statement from Terror Danjah yet.

It's one of the most engaging and gripping techno albums of the year anyway.

Dependent and Happy sounds like the hungriest dance music that Ricardo Villalobos has recorded in some time.

To say that Sommer is a piece of sonic architecture of which Klein himself would be proud is more than just hot air.

With Steam Days, Fake returns to the fuzzy melodies and subtle, static-laced gleam that marked not only much of his best early work but also his better remixes.