The voices are huskier, the music juicer, the innocence of yore starting to chip away as Paradise sees them explore the dark side of vice and life. They're are all the better for it.

A soup of electronic interference, exhausting percussion and smothering bass-cloud. It's stultifying like a bad case of screen fatigue; tangled and sparking - the sound of frazzled, short-fusing nerve ends.

Divide And Exit is a record that demands you sit up and pay attention, unable to do anything else while it's on, a ticker-tape of frustration and smart tension blocking out peripheral vision.

Whilst bands like Tame Impala made a quick buck imitating aspects of Dungen's sound, Allas Sak shows that Gustave Ejstes will continue to perfect and update his craft.

Under the Sun is well crafted, interrogating the listener and experimental where it needs to be, gifting you with something to gain throughout.

The music is satisfying for Nine Inch Nails longtime fans who get to hear old music replayed with energy – and is even fun at times – but there’s not that much to it beyond that. .... The project feels curiously unimaginative.

Yes, it really does nod towards Sound of Music and backs this cleverly with an illuminating barrage of steely industrial noise. Of course, the album will only truly explode into life when it surges into the live arena. A lavish and unique operatic gothic party that promises, as ever, to be a scream.

It's ambitious, personal, unusual and, crucially, touched with brilliance.

Although Blood Lust remains their crowning achievement to date, Mind Control's highlights shine just as true.

While it’s so clearly a record about loss, it’s not one that reverberates with grief. In fact there’s a joy in the bold, restless exploration – messing with the machines until something human came out. And there’s also a joy in treasuring Parker’s memory.

One of their most rewardingly mysterious and perplexing releases in quite some time.

An album on which Underworld reestablish themselves as supreme dance music architects.

Although slightly more intricate, the artist’s second offering shows her boldly stepping further into the do-it-yourself territory where a sense of home plays a major role.

There is a dichotomy at play of denser, more distorted electronics at one pole and soft, minimalist arrangements at the other; gauzy sounds cut against metallic harshness within songs and across the album. But with this expansive approach, Afternoon X feels focused and cohesive.

Thematic and tonal dexterity accounted for, The New Sound is undeniably an entertaining body of work which highlights Greep’s strengths as a singular songwriter and performer. However, there are instances (the bizarre final minute of ‘Walk Up’) where Greep throws too many ideas at one song, resulting in misaligned structures.

For longstanding Mega Bog fans, Life, and Another immediately stands out as one of Birgy’s finest records from start to finish. There’s a maturation to the stylistic choices and general trajectory of the instrumentation.

It's a fine and enjoyable listen, and it's certainly Lone's most consistent album to date, but at times it can't help but feel slight.

I suspect that you'll be unlikely to come across a better mixed and more punchy summary of current underground dubstep this year.

Flatland feels perfectly formed out of the clay of a multitude of styles, and, with rhythms this tight, it's something of a triumph, even if it reflects nothing back but strobe lights.

Like all Zedek's music it leaves you reeling with questions, the perfect balance between the dead-ends of despair and the realisation that this turbid onward drift, eternally unresolved and unrequited, is perhaps our only option.

Their bravest and strongest work to date.

There’s an endearing earnestness permeating Tuttle’s amble through the various landmarks of his beloved Alexandra Hills. Along the way, his arrangements, in a stream-of-conscious flow, create a childlike wonderment depicted in Miyazaki’s films, providing a restorative portal of escapism.

Using mournful drones, haunting vocal arrangements and the judicious inclusion of foley-type sound effects, Cotton communicates not simply the details of the story but the emotional journey of its characters.

A Firmer Hand is such a thrilling listen because it eschews the platitudes of empowerment for something far more gritty, tough, self-critical – yet also unafraid to dish it out.

DePlume composed, arranged and recorded each of the songs on A Blade. The result of a departure from his usual method of siphoning off the best parts of long improvised sessions, is a meticulous, focused record.

In an era of genre-less music, it’s nice to hear an album that does one thing and does it well, capturing a landscape so old it never really gets old.

This Material Moment, is her most accomplished and inventive yet.

Once you allow it to sink in, WIXIW becomes a hushed collection of voices.