So we have an artist who's found a very comfortable groove, continues to produce from it, and plenty of people love him for it. It may be an enormous cop-out to say that if you like Recondite you'll probably like Dwell, and if you don't like Recondite (or you're a music writer) you probably won't. But, like Brunner's music, some things really are that simple.

From the way the melodies climb through the hanging atmosphere of "Ripples" to the Sasha-like glitter of "Cloud Refuge," Swirlings is full of lovely, considered music that sticks in your mind long after the synth fog dissipates.

Ghostly and grim, with the radiance of Stott's synths allowed only to penetrate the gloom in periodic bursts. It's telling that Stott somehow makes this aesthetic seem so compelling, a type of dark energy that makes you want to hit a punch bag or chair dance rather than wade in self-reflection.

Stern's use of repetition is powerful and carefully considered, making space for deep thought and reflection. Pockets of silence strengthen this concentrative quality.

Tunes 2011 To 2019 frames the artistic development of someone whose older music sounds more inspired but is still capable of greatness. ... 12 years since his last album, we at least get a large chunk of his often incredible catalogue in one place.

Like all of Lustwerk's music, it's moody, it's sensual, it's vaguely ridiculous. It's a total fantasy—which makes it all the easier to get swept away.

The album as a whole is accomplished, but it still hasn't entirely caught up with the precision of his visual multiverse. Still, I am glad that Labyrinth offers another glimpse of Kanda's alternate realities.

By carefully balancing these ideas with unambiguous dance floor moments, Tangerine hits the sweet spot that many of the best electronic albums occupy.

Without knowing it was made by a young Paul Woolfword, it might come off simply as passionate and touching hardware sketches with classic techno components. Nevertheless, these tapes show signs of promise in Woolford's ability to work within his limitations to create something powerful and personal.

The album has bags of character and is big on ideas. Unfortunately, not all of them work. ... Jarring sounds and heavy-handed ideas dominate the album's second half and ultimately spoil the record.

Volume Massimo embodies Cortini's deep connection with the Buchla. His commitment to melody, though it makes the album approachable, often detracts from the music's noisy (and more interesting) imperfections. Even if you follow Cortini's instructions to play the LP at "a very loud volume," the full heft of his sound fails to translate outside of its onstage setting.

Sonically and conceptually, Wrecked is a more mature work than Techno Animal's last LP, the rowdy, energetic The Brotherhood Of The Bomb. Most significantly, they have the monolithic voice of Moor Mother, AKA Camae Ayewa. Her cool-headed but threatening lower register delivery is a perfect match for the music.

In her latest album, Analog Fluids Of Sonic Black Holes, she relies on a reconfiguration of negro spirituals, scattered jazz and roiling punk vocals to embark on an arresting travel through time with lucid narratives of black protest. ... While preserving the erratic nature of an arresting live set, her productions appear clearer and more controlled than on previous albums.

On Giant Swan, the duo display a fearsome mastery of techno dynamics, but it's their detachment from that world that makes their music so compelling.

This more mature approach to storytelling is what makes MAGDALENE a raw and outstanding album about love. The lyrics have more depth than LP1, bearing a universality that perhaps one can only write after an especially honest heartbreak.

By most measures, Crush is an excellent record. But its aggression and obtuseness, for me at least, is relative—once the shock wears off, there remains a slight reserve, a sense that Shepherd's innermost rage has only fitfully overpowered competing aspects of his psyche.

If things occasionally become one-dimensional it's arguably the admission price for the many successes this album packs.

Their music is timeless but pulls on nostalgic heartstrings—it can be goth, earnest, sad, happy, distant and close all at once. It scratches a very specific itch for atmospheric pop and rock music that most of their imitators still can't touch.

The LP boils down a generation's worth of London music into a restlessly creative mix of dance music, infused with emotions both celebratory and mournful.

While her music is hyper-stylized, it never feels contrived. Look Up Sharp neither panders nor willfully obfuscates, residing in a dreamy space in between.

Dreams Are Not Enough is a remarkable return that achieves things the first three Telefon Tel Aviv albums were never quite able to.

After so many records, a debut novel and another book on the way, it's a privilege to be invited into Hval's private mental space. Like picking up a conversation with a much wiser friend, each new album compacts her advancing thought into a kind of guidebook for those who aren't quite so mentally together, all her latest learnings folded in. ... Obviously, Hval is anything but ordinary.

Without succumbing to simplicity, Klein's latest release delivers an intimate vision of the mayhem, loss and detachment that can ensue from a whirling cycle of panic and redemption.

Resonant Body is filled with joy and self-empowerment. Where the artist's past work felt delicate and introverted, this LP whips its untamed hair, gearing towards higher tempos, wilder breakbeats and more party-rocking vocal samples than before. Even with this more upbeat approach, the music still sounds distinctly like Bouldry-Morrison.

While this scrappier, DIY vibe feels like a natural fit for HTRK, Venus In Leo lacks some of the depth and mystery that makes their music so powerful. ... Still, HTRK create something their fans will never tire of: a dark, sensual, poetic languor that's theirs alone. Venus In Leo delivers a welcome fresh take on that sound.

Overwhelming as Delphi's mood swings can be, they're worth putting up with. Douglas's production is full of elaborate ideas and strange tricks, even if it sometimes feels cheesy or overwrought.

That Devour is such a tiring album is a testament to its cohesiveness. These tracks flow elegantly into one another, and the attention to dynamics and tension allows for seamless listening.

By simultaneously disavowing and embracing the church, Malone has crafted a record of rare heft. The plaintive melodies that sit at the core of The Sacrificial Code often feel like they're stretching into eternity.