Few truly distinctive examples of footwork have found their into the world lately, but RP Boo's LP goes a long way towards revealing the potential diversity and immensity of the genre.

While its age can sometimes be a bit obvious, Yessir Whatever is well put together and organized; it feels less like a blatant retrospective (or worse, a "greatest hits") and more like a forgotten beat tape.

It's lurid, it's fun, it's omnipresent across all cultures, and yet no one wants to talk about it. This is the vibe that holds Women's Studies together.

The LP's strength is in that undecidedness. When he leans too far to one side, which actually doesn't happen all that often, the album can feel mournful or facile.

Earthly Delights for some, surely, and otherworldly torments for others.

From a production standpoint, When You're Gone is a simply stunning effort, one that is continually intriguing and constantly surprising.

There’s youthful playfulness at hand on Oddments. There’s also a kind of majesty, one borne out by an affinity for subtly grand melodies, which works in juxtaposition to the album’s brief, jewel-like cuts--most of these tracks clock in at well under four minutes, and the entire LP barely reaches 40 minutes.

While it's not an impeccable album, Ada's Meine Zarten Pfoten (German for "my tender paws") does offer some pretty exciting experimentation and a few really great pop songs.

It all makes for a well-rounded and fully formed debut album by a propitious new artist we look forward to hearing more from.

Yorke’s job here is to maximise the impact of the film through sound, something he does masterfully whenever employed. ... The film itself may have done some harm to Guadagnino’s reputation as a defining director of this era. The soundtrack, however, will do no damage to Yorke’s credentials as a composer.

In lesser hands, Abyss may have collapsed under the weight of its self-seriousness. Instead, Wolfe steps into the cavernous space of her ambition and fills it with an assured collection of songs that are unsettling in their commitment to sorrow.

While the album's unique collage of what seems like vintage sounds will prompt endless "is that a sample?" debates amongst crate diggers, the pure joy offered by just listening will hopefully reveal those arguments for what they are-beside the point.

While other producers are content to experiment with tirelessly looped Amen breaks, dBridge continues to push within the tradition, often to dazzling effect.

The results are both easily enjoyable and unexpectedly refreshing.

Joke in the Hole is an unusually infectious outing for an artist whose recent work with Black Dice, although intermittently catchy, remains as unrelentingly challenging as it's ever been.

Part of what makes Just to Feel Anything such a rewarding listen is its ability to quickly shift between aerial jams and understated lulls without abandoning Emeralds' unspoken ethos.

These songs, as subtle and delicate as they are, are vivid and transporting. It’s a fully-formed album, whatever its intent, and full of quiet passion.

Mi Ami continues to explore its loose-groove, jam-band tendencies on the epic "Dreamers" and album closer "Slow," but in far more reserved quantities than Watersports, making for a much more exciting and immediately lovable listen.

99% is a brilliant, well-realized combination of styles, with more than its fair share of memorable and addictive songs.

An album whose tastefulness and craft never compromise its intrigue.

Whether as background music for one's day-to-day or as a receiver of one's full attention, it is truly an enjoyable record that is prepared to fill whatever space is asked of it.

Luxury Problems may not be as unbelievably mysterious and engrossing as his pair of 2011 EPs, We Stay Together and Passed Me By, but his craft is just as sharp here, and the results just as worthy of intense, continuous listening.

Tooth is best devoured as a whole and without distractions; its singular sound and delivery is one that Raime has tirelessly honed into a steadfast concoction of brooding dystopia.

The two display perfect chemistry with the Seattle beatsmith's bangers complimenting the Philly Freezer's gruff delivery.

It's an evocative work, one that brings forth intense visual imagery.

With over 30 releases this year alone, L.I.E.S. isn't always an easy label to keep up with, but the embarrassment of riches contained within Music for Shut-Ins suggests that the effort may well be worth it.

Talabot's DJ-Kicks proves to be an essential listen, not only because it is an immaculate mix in its own right--one which moves swiftly through a graceful arc--but also because there is just so much vital music to take in over the course of its 70-plus minutes.

The duo has delivered something that is listenable and enjoyable while sustaining an overarching concept with great capability.

II may actually prove itself to be the group's most accomplished record, and one Moderat fans will come back to more often down the line.

He showcases the breadth of footwork and pushes the sound forward by building links with trap, R&B, and Jersey. In doing so, he reinvigorates footwork and brings it up to date with 2018 dance culture.

Panorama Bar 05, the latest offering, is a consistently well-crafted snapshot of the dancefloor as presided over by long-time resident DJ Steffi.

Whilst he must be commended for his ambition, Mantasy is a patchy affair containing the good, the bad, and the downright ugly.

There's a cohesiveness here hard to miss, an emotionally-charged aura and elegantly precise feel that runs from Hollowed's surging opening notes to its final, poignant fade.

Throughout the Kindred EP, Burial seems curious to discover the perfect balance between gritty atmospheres and dusk-lit club music.

From its massively hedonistic club tunes to its handful of cavernous dancefloor abstractions, Drop the Vowels is an unsurprisingly quality affair.

His evolution may not be complete, but the process hasn't prevented him from making quality tunes in the meantime.

This record may be an EP in name, but it's certainly a long-player in scope.

The LP's 11 tracks play like a string of variations on two or three ideas, but most of Murray's and Smith's experimenting is strong enough that Syndrome Syndrome sounds more like a collection of singles written by a veteran outfit dedicated to perfecting one beloved sound.

It's nice to find a little mystification from a duo that often prizes rigor over imagery.

From a distance, Paradise continues to connect the dots of Hood's career, but up close, it's completely absorbing.

For those who have never heard Whitman's music, Occlusions provides a fabulous representation of both his performance instincts and how engaging and fun his music can be.

Truthfully, there's no singular tune from Modern Worship that stands out in the same unforgettable way that "Phoenix" did, but as a long-form piece, Hyetal's sophomore full-length is the most satisfying work he's released so far.

Green’s always aimed for music that’s magical, for a sound that’s transcendent--with Migration, he’s come closer than ever.

All told, Azari & III is a solid work with plenty to offer newcomers and devoted fans alike.

The record accomplishes what Eno has proposed is ambient music's main purpose: to heighten one's sense of their surroundings while allowing their own narrative to fill the music with meaning and context.

That Le Kov is so loaded with meaning and significance adds to its appeal, but ultimately it’s the emotion and sound of the songs that make it such a wonderful and unusual record.

Some may complain that Blondes hasn't radically expanded its horizons on Swisher, but frankly, such an effort isn't even necessary, as there's still fresh ground to cover within the confines of the duo's engrossing signature style.

The album may be architectural in its deliberateness, but it's not overly academic; during its best moments, Music for Objects could even be described as fun.

It's a work of and inspired by ritualized labor, haunted by the irretrievable loss of a culture.

On Punish, Honey, Gainsborough has stepped up his sound design, but he's done so with a newly brutal approach. One hopes that he hasn't entirely abandoned his earlier, more atmospheric sound, but as career turning points and transformations go, this album is an accomplished one.

Tracer is an album executed with seriousness and intelligence, and although it is never outright contemplative, the record is never jubilant either.

Third Law seems to work in a defiant way that looks to inspire a new crop of producers more interested in the space of the club than the memory of it.

Seams' sonic details are most potent when allowed to sink in undisturbed.

Despite clocking in at under 15 minutes, the plethora of ideas Teengirl Fantasy displays on Nun shows that the pair is unwilling to rest on its laurels and ultimately represents a bold step forward.

This might not be an album that breaks much new ground, then, but what it does do, it does so expertly that you cannot help but be absorbed.

The EP is an exhausting listen, one that offers an experience of immersion, not itemization. Autechre hasn't lost a step, and this EP is certainly memorable.

As a complete package, Blue Gardens comes across as impressively well thought-out and refreshingly imaginative--it's a bright flash of creativity in an already eccentric genre.

Fabriclive 73 has a formidable sense of both style and consistency--qualities that don't necessarily ooze glamor, but are slowly and steadily carving out new territory in the interstices of rapidly collapsing genres.

It's a singular, though often exciting, vision with seemingly no end, but as the scope of Sun Araw expands wider and wider, it might benefit its creator and his tools to grow along with it.

Darnell is entirely aware of his own bravado, and it's that bravado, along his willingness to keep tongue in cheek, that makes I Wake Up Screaming such a worthwhile listen.

Psutka's production on A/B Till Infinity is evocative and daring, and combines a future-oriented polish with an austere sense of simplicity, solidifying Egyptrixx's distinctiveness amongst a new crop of surface-obsessed underground producers.

LISm remains a particularly mesmerizing listen, traveling through an impressively wide range of sounds and seamlessly blending them into a unified compostion.

Under The Sun is Mark Pritchard’s most consistent piece of work in some time, one that is beautifully conceived and produced with restraint and an overall vision that, most of the time, only an artist of considerable experience can muster.

Galaxy Garden is a fine effort, an album that tweaks Lone's formula just enough to pass as a step forward.

Anxiety is a draining front-to-back listen; it becomes much more comfortable when one is able to take each track as an individual single. However, there is a reward for making it to the end of Ashin's therapy session.

As always, it's a lot to take in; even after a dozen listens, the album's too oblique to really register in the memory. That slipperiness does nothing to diminish the moments when things really stick, though.

It's a solid effort, and one with some ace tunes that will certainly be snapped up by intrepid DJs, but as a full-length, it might be better with a reorganized tracklist in your iTunes music folder.

Black Jazz Signature seems intended to shepherd people toward the Black Jazz reissue series. It no doubt does a terrific job doing just that, but it stands nicely by itself as a personal "best of" and a great DJ mix. Fans of Parrish--and anyone receptive to this sort of jazz, really--will very likely appreciate what's on offer here.

It’s a delicate, naked offering that flits between mournful vocals, processed backward synths and serrated edges of what sounds like guitar distortion.

Credit Egyptrixx for making a debut album that sounds at once so unified and whole, yet like absolutely nothing else.

When this record lands on a great idea (which is certainly a regular occurrence), the captivating qualities of Vessel's songcraft and his strength for piecing together textural marvels make up for any confusion along the way.

Thankfully, he's enough of a careful, diligent, and experienced artist to make even the lackluster experiments feel vital and significant in the larger scope of his oeuvre.

Needless to say, it ["Nothing Here"] makes for an underwhelming close to an otherwise tenderly crafted and beautifully arranged debut album from a producer who has already proven his worth and will undoubtedly have plenty more bright moments in his future.

The record may not be Dragging A Dead Deer Up A Hill, but pieces like "Living Room" are the essence of Harris's singular oeuvre.

Ghetto Madness is an expertly constructed effort showcasing one of the most energetic and recognizable outputs in dance music.

What he's given listeners may be imperfect, but it's also freakishly musical, completely synthetic, and utterly human.

II’s songs can glide by like a benevolent mirage, not quite registering but still leaving an afterglow. That afterglow is exquisite, however.

On Love What Survives, Mount Kimbie have emerged from their chrysalis to become something new altogether. Some might be disappointed that, for now, they’ve moved further away from dance music. But in the process, they’ve made a bewitching kind of music that’s uniquely their own.

Revill's thoughtful selections and undeniable ability to fuse a number of moving parts into a thoroughly enjoyable listening experience make for a wonderfully ambitious venture worth every minute.

With fingers in this many pies, Modeselektion Vol. 02 really shouldn't have come across as a cohesive statement, yet it does.

Midland has created an imagined experience within the confines of a night at the club, the full evening from expectant queuing to frazzled come down condensed into 74 minutes. And as a master of that realm, he manages it with aplomb.

Some of the best moments on I AKA I are when the producer plays it relatively straight.

Sisterworld maintains Liars' sonic trappings but apparently deals with subcultural scenes as a means of maintaining identity in a city like LA.

Disregarding the CD's tacked-on bonus cuts, what takes place between the record's two "Voiceprint"s is a richly detailed, time-dilating set from a producer who can make the most out of narrow limitations.

Total Loss is an overwhelming album given the rollercoaster of emotions Krell goes through over the course of its 11 tracks.

Through it all, in the music and in Weatherall’s characterful vocals, Public Image Limited is a clear influence. The album is at its best, though, at its most cosmic.

At a time when dance music's past is often treated with elegiac reverence, the fact that Re-Engineering takes a clever, witty, and irreverent approach to its influences feels bracing rather than tired.

The album is relentlessly cinematic, almost oppressively so, which makes listening to Lost Themes from start to finish a bizarrely visual experience; whereas a great deal of electronic music is remarkably open to interpretation.

On its own, Yoyogi Park is a highly engrossing record of dream-like dancefloor sounds, but when sat next to Until Then, Goodbye and A Day In The Life, it’s an intelligent melding of its predecessors and exemplary final chapter.

In spite of its occasional missteps, it ably bridges futuristic synthscapes with the rhythmic dexterity of footwork's foremost practitioners.

Skating along on smooth sounds that seem almost effortless, these outer-galaxy footwork songs-along with the energy and aura they display--are Ital Tek's strong suit.

Ultimately, only time will tell, but as things stand now, his Death After Life LP is unquestionably a strong and inventive first full-length.

Nearly all of the album's pieces feature a gorgeous accord of a large number of electric and acoustic guitars-call it folk maximalism, or perhaps Wall of Kieran.

For the most part, it's simply a pleasure to sit back and plug in.

It remains as disquieting and spectral as anything Stott has done, but its newfound guile is such that it no longer needs to bludgeon listeners into submission to strike a killer blow.

Had he trimmed the fat a touch and maybe tacked on an extra track or two in its place, Ital's LP might have been something closer to remarkable.

Digital Solutions is worthy of its place in the Model 500 discography. The fact that the LP even exists--and that people are excited to hear it--reinforces the music's enduring power, even if the record largely sets aside aspirations to be innovative.

Ring may not be perfect--certain songs have a nondescript, meandering feel--but this kind of growth is undeniably exciting, and makes both Glasser and True Panther well worth watching.