Unpatterns is very now, yet by employing key electronic music touchstones it sounds classic as well.

There's so much blood and soul poured into Music for the Quiet Hour that it almost feels effortless. Along with the fascinatingly fragmented Drawbar Organ EPs, the box set presents what's either a closing chapter or a new beginning in the career of one of electronic music's most luminous illuminati.

It could just be good timing, or that he remains the same ingeniously innovative songwriter, but Club Rez is yet another victory for the young producer.

Quite possibly represents Edgar's most full-blooded work yet.

Its banging moments are the best of Feldwick's career, but the album's dips into gentler territory are confusing drains on the momentum, lazy Sunday afternoon beat music for nerdy kids with oversized headphones.

In its studio form, though, II remains a lukewarm, ambivalent understatement.

Sleek, confident and totally captivating, New Epoch is bound to attract interest and even incite excitement in those who might have thought the 140 BPM form outmoded and uninteresting.

It's an album of contrasts that can prove difficult and overlong one listen and breathtaking and fascinatingly complex the next, not a masterpiece by any means but a unique kind of impressive nonetheless.

Biokinetics has aged so well that it could easily pass for a new album. The production level is exceptional by today's standards, and it has more teeth than much of the music it inspired, especially contemporary dub techno, most of which sounds vanilla by comparison.

Lone hasn't fully reinvented the narrative thread he started with "Pineapple Crush," but he's enriched it with a deeper exploration of his music's other referents, finding new dimensions to a sound that was beginning to feel awfully one-dimensional.

Modern Jester is one of the most accomplished noise albums of the last several years. Excellent are the chances that it will go down as one of his very finest works.

Lazer Sword's somewhat gloomy sophomore album does still represent a largely enjoyable body of work that packs in plenty of well-executed ideas.

The best moments here are almost indistinguishable from Grouper's best work.

In some ways it's arguably dubstep's first concept album, an expansive and visionary "what if," a dreamscape of a post-globalization, collapsed multicultural society where cultures collide uncontrollably.

Reform Club is full of conventional beauty; protracted strings and pads which soar, pulse, float or shimmer on a dub-tinged substrate.

Photek's DJ-Kicks might sound like a long, dark night of the soul, but at least a soul is there.

With Teebs and Shlohmo you often float away, with Lineage your feet feel firmly planted on the ground.

R.I.P. is the most enveloping and fully developed of his cultivated soundworlds yet.

The album certainly isn't a waste of time, but most disappointing is that it lacks an intensity and message.

A surprisingly coherent record full of vignettes that feel alternately archival, ethnographic and as usual, flickering and ephemeral-glimpses of musicality that flutter away just when you get comfortable.

Even though Brighter falls short, in this context it does illustrates that the indie WhoMadeWho infuse their dance with has more funk and attitude than most.

There's no denying that Iradelphic is Clark's most accessible and friendly work in ages... Unfortunately, comfort is boring.

With nothing more at their disposal than techno's characteristically sparing palette, Dozzy and Neel have built something so rich that it has the feeling of a feature presentation.

Thirteen tracks of relatively barebones 808 funk can star to wear, and especially moving at such a (relatively) slow tempo Transistor feels a little bloated by its last third.

Ekstasis is brimming with them though [moments that are avant-gard yet instantly accessible] -an album so coherently constructed that it's perhaps more notable for its instants, its moments and sequences, than its full tracks.

The songs reunited on The Singles should be celebrated by anyone fascinated by the UK's long tradition of tuneful eccentrics.

For all its referential qualities, this is a record that is confident in its own distinct character.

It never fully sounds laid back, as if the producer is unwilling to let his sounds run as rampant or give into the funk quite like his Californian counterparts.