It’s purposely chaotic and skeletal in places, but when the disjointed pieces are viewed as one, you get an album that is a fascinating and hypnotic listen.

From Out Here is another beautifully crafted voyage into electronic music's substrata.

Despite the songs' far-off beginnings, Change Becomes Us is like an aggressive, steroid-pumped continuation of the band's excellent 2011 album Red Barked Tree, a testament to the band's consistent faithfulness to the key signatures of ice-sheet psychedelia and jackhammer punk.

Luminous is a great record, but it's an awkward bugger at times, and I suspect that in the long run the album will prove all the more rewarding for just that reason.

[Government Plates] is bursting with kinetic energy and texture, and never focuses on one particular sound for overlong over its economical 36 minute run time. It's that sense of ever shifting energy and momentum that characterizes Death Grips best work and it's a relief to see it returned to.

Musically, this is Anderson at her most assured: she has synthesised her various musical interests and influences--noise music, metal, grunge, folk and country--into an entirely idiosyncratic musical lexicon.

While Murray's lyrics are consciously evoking images of old timey Americana – desolate arcades, voodoo rites, thunder in the mountains – your mileage will vary on whether you find it charming or cheesy. Regardless, The Last Exit is a road trip worth taking. Murray’s sultry croon is effortlessly affecting.

Ladytron are back, and with Paradises, their danceable and thoughtful pop music seems to have gained new resolve.

This is music that transcends the detached nature of its making.

Wolf Eyes were never one-dimensional, but they're adding an increasing number of strings to their duct-taped noise bow and more moods, techniques, textures and subtleties to their bile-splattered palette.

Only the live recording, Manhattan is not essential here, given that, as is often the case with much archival material from the period, the sound quality is uneven, but it at least gives a glimpse of what the band was like onstage. Elitism For The People confirms two things, essentially: that Pere Ubu were possibly the most original band to emerge from the embers of America's punk scene and, more importantly, one of the best rock & roll bands to have ever spat out riffs, lyrics and noise.

This is some of the raddest music you’re likely to hear this year. Rad in its overall excellentness and radical as to its forward-thinking nature, sounding so even today, though recorded at the height of Ceausescu’s suppression and censorship.

Their distinct blend of hypnotic African blues provides a glimpse into another world with profound concerns about the fate of their people, nomadically shifting across the desert in search of an elusive peace.

All the pieces constitute a splendid array of transnational collaboration, a brilliant collage of ideas.

Happier Than Ever is a record of many layers and nuances. It is primarily a deep dive into the dark side of overnight celebrity and the internet’s industrial-scale objectification of young stars. But the project is also is a study in loneliness and a baroque, at times almost gothic, picking apart of adolescent melancholia. It’s Lindsay Anderson directing an episode of HBO’s Euphoria. Or Edward Gorey illustrating Judy Blume.

Though it is not articulated directly, the heart of this record is about the potential for a genuine and communal response to that hopelessness, and about an empowering, defiant joy that can be forged even in the depths of despair. Soundtrack to a soon unceasing summer.

This album is more grounded than the last: $ilk and Khalil Blu’s arrays into progressive soul, as well as their Soulquarians-style samples and wavy melodies, counterbalance the former’s intensity with a sense of calm befitting introspection. Their refined production creates the kind of depth wherein $ilk’s more personal lyrics can come through.

This is all instrumental, and as in Billy Idol's haunting 'Eyes Without A Face' these are songs that say so much without ever saying a thing, piercing windows into the soul.

The composer with the Radio 6Music soul has constructed something elegant, thought-provoking and comforting that will genuinely make you wish it was October.

Rest is still the most French record you’re likely to hear all century.

‘v2’ is narrower in its oscillations, but all the more incisive, with zither-like textures and guitar screams that morph into sharp pulses and tinnitus-evoking tones. ‘v3’ radiates with a sense of melancholy and loss, and makes for a fitting final manifestation of what is another triumph for Kali Malone.

Listeners willing to put in the hours to engage with Saltland on their level will find reams to love about their debut , a record so carefully considered that making a song and dance about it all feels a little garish.

With Tunes, 2011 to 2019, a collection of songs released originally in EP form over the last eight years, sequenced by Burial himself and released to commemorate Hyperdub’s fifteenth anniversary, we are able to make cohesive sense of how Burial’s aesthetic grew more expansive and conceptually concise while mirroring our evolution through a decaying society.

Above all, it’s the melodies that stand out, whether in the wonderfully whacked out melodies of ’You Make Me Forget Myself’ or pacy ripples of ‘Sequence One’, all delivered with an insouciance that’s rather satisfying in these times.

Mint Chip is full of misdirection but never feels contrived. ... Their songs are tightly composed, danceable streams of consciousness.

A thoroughly good larksome house record.

Crisp, rich tones leave space for the imagination to flood in, and take us to a location that exists only in the mind. Sidings is Craven Faults’ best, most irresistible work to date.

This new music is carefully constructed, cerebral, intrinsically heavy, and has the quiet amazement of someone looking at their near-forgotten reflection. It’s not a complete transfiguration, but owns its corner of darkness, and shines precious shards of light on what might come.