Thanks to his savvy techniques and careful placement, his penchant for the far-out fringes of dance music doesn't seem weird at all, but delightfully intriguing.

Centralia, for the most part, goes back to the duo's tried-and-true dynamics for a seemingly exhaustive summary of the band.

A bleak and beautiful ambient record that occasionally reaches beyond its self-imposed confines.

When a dance album cannot contain a grander narrative, the next best result is certainly a selection of floor-primed productions, and on this front, Orbiting delivers.

What it may lack in sound system-minded sonics it makes up for with its distinctive mix of cacophonous rhythms and touches of warped soul that result in what is, simply put, an accomplished debut LP full of inventive house music.

Release is an impressive feat overall, one that offers up a handful of uniquely dancefloor-ready tracks while continuing to show that Pangaea and Hessle are not likely to fall behind the cutting edge of dance music anytime soon.

Although it may not represent a complete return to form, it's still a welcome stop on a production career that appears to have a lot of life left in it.

Ultimately, the restless movement here doesn't help the "classical" tracks connect to a non-specialized audience, but it does make for an inventive dialogue between the club and the ivory tower.

The thing that makes the LP so engaging is the fact that Shaw picks a mood and runs with it--this is not an album that lives up to the cliché of taking the listener on a journey; rather, it's a work that roots the listener to a spot and stares them dead in the eyes for an hour.

Despite scattered flashes of brilliance, too often it's an album that feels unambitious, as though it's content to dwell in the middle ground where the two producers' back catalogs intersect rather than forge something new.

Thankfully, most of Hauschildt's eight-track LP further explores the sounds and themes that made Tragedy & Geometry the brilliant record it is.

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.

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.

Dream On finds him utilizing the computer-processed end of his sound with a newly savage intensity.

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.

Smalhans, [is] a return to his old self that alternatively plays things a little too safe by offering six tracks of Lindstrøm-by-numbers.

Overly cool and polished music for graphic designers this isn't--but its twisted art-school aesthetics might mean it's too out there for the candy kids as well.

All of these seemingly fragmented entries would be rather disappointing were it not for the fact that they are all brought together in one final movement-a continuous DJ mix. It's like an 'aha' moment; without it, Hermansen's concept wouldn't successfully come together.

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.

It has style and character, it's both puzzling and gratifying, and above all, it's filled with solid tunes.

If the last four years were a journey through the night for these two, the dawn on the other side is all loose ends, with only a few engaging moments here and there.

Rinse Presents: Royal-T is a solid full-length debut for the budding producer, and radiates a certain charm through its sincere portrayal of new grime as a versatile genre that's able to cater to a variety of listeners.

Elemental Themes is a great movie soundtrack--the film just doesn't exist yet.

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

From the patient and methodical moments to the flashes of light and energetic dance music, the producers always seem to be in control, and following the path they take makes for a truly rewarding listen.

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

Pink is a triumph and the new high-water mark for one of this generation's finest producers.

The band now has the command of this organic/synthetic versatility in its toolbelt, often using it to find an ideal balance between highly finessed electronic soundscapes and bouts of raw, physical musicianship.

For those who seek out dancefloors in order to witness the unravelling of an electronic journey, this is one of only a handful albums this year to have delivered exactly that. Fewer still have done so with such distinctness.

Its blander additions aside, more often than not, Woolfy vs. Projection's latest proves to be a refreshing recess from the dancefloor, a lazy LP recorded in the Northern California woods that's as cozy as it is otherworldly.

It would be a stretch to call Until the Quiet Comes' disjointed tracklist and middling retreads the low point of Ellison's discography, but suffice it to say that the LA cornerstone has produced far more challenging and consistent records than this.

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

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.

Dark Crawler is the sound of Terror Danjah hitting artistic maturity.

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

While it presents many tracks worth praise, it lacks the masterful touch that made Routes such an instant standout.

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

12 Bit Blues is an enjoyable record and an exciting addition to Kid Koala's catalog.

As with all of his records, Eight takes on a slightly different shape than anything before it, further solidifying the man's reputation as a producer capable of continuing to refine his techniques while landing on new and powerful ideas with each release.

The pair has also hit on what makes the bass-music hybrid so alluring; by connecting the dots between various club-music genres, Nguzunguzu continues to invite more people of different tastes to share in the experience.

What holds this album back is a lack of direction and the vision necessary to pull his intelligent, melodic techno into a new musical landscape.

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.

Although his political ideas may be rough hewn, Doom's latest effort stands out from some of the major releases in his discography.

Minor complaints aside, Beams is a solid record, and a pretty good Dear album is nothing to be upset about.

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

All in all, too little of Mst lets us hear Gretschmann shine within this chosen framework.

Ultimately, E-Funk proves to be an effort that finds its creators trying to pull in something that's just beyond their reach.

Call it short and sweet. And the vibe is definitely sweet, all acoustic guitars, reverb synths, and Sly & Robbie-worthy bass and drum rhythms.

Raw Money Raps is fascinating and inventive, though not the game-changer many were hoping for.

Aju's adventurous boundary pushes are again a valuable addition to the Circus Company discography.

For better or worse, TNGHT's objective for its debut EP is straightforward: to craft big beats. Sadly, this leaves Mohawke's noted penchant for sonic adventure really nowhere to be found.

Purity Ring suffers from the all-too-popular idea that pitch-shifted vocal samples and well-calibrated washes of reverb are enough to create haunting, enigmatic music, as opposed to crafting singular worlds of sound that convey the soul of their creator and resonate within the listener.

Every selection here is strong, and though scholars may have heard the lion's share of these tracks already, this is a sturdy, enlightening gateway into a realm that isn't easily penetrable for those who weren't there.

Passion may be an ambitious record from beginning to end, but listening to it is a breeze.

An LP that restlessly moves between ideas and struggles to find a solid footing, but not without touching on some real promise and originality along the way.

The music grows in richness with ritual, an evolution from the material scarcity and obscurity of Basic Channel releases.

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

It is what he decides to do with his production skills that is questionable, and although glimpses of solid tunes do show up every so often, Ask the Dust is nonetheless a disappointment.

Digital Native is missing a large amount of the substance and general cohesiveness that any artist's "first proper album" should rightly offer.

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.

Salton Sea is good, but ultimately doesn't leave as strong an impression as it intends.

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.

Bass Clef may have created a solid album, but, in the end, this lovely exercise leaves a sense that it was all a bit too easy for him.

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

What takes shape is a solid, unflinching artistic statement, an effort at moments challenging and bizarre, and at others dreamy and utterly inviting.

Preset instrumentation and uninspired song structures notwithstanding, you could tack on just about any other blog-buzzing name--like, say, Washed Out, Blackbird Blackbird, or Houses--to these songs, and no one would second guess it.

Clearly, Rathbun is a talented producer, and his debut full-length appears to imply that he's nowhere near to running out of ideas.

With this album, Slugabed firmly asserts himself as a first-rate producer, having turned in a debut LP that is short on subtleties, packed with triumphs, and hopefully telling of a career set to only continue impressing.

What they discovered lies beyond DJ mixes and radio rotations; it's their magnum opus.

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

Mohn is not a cheeky effort, nor is it pop or minimal.

Light Asylum is the product of two very talented purists whose focus on a particularly stylish bygone era has actually surpassed its roots to sound unexpectedly modern.

When the strings rise into the mix as the song comes to a perfectly timed close, it's readily apparent that oOoOO's patience and time spent growing as a producer and a songwriter has paid off tremendously.

Transistor Rhythm offers the proverbial mixed bag.

For those interested in zany experimentalism, Black Dice's latest is a welcome addition to a long line of solid releases, but for those who have never been awed by this brand of cacophony, Mr. Impossible offers little besides noise.

For those on the outside of that process, fans who are frantically trying to connect the missing links of Iradelphic's lineage with its beloved forefathers, more apt descriptors might be "unexpected," "unfamiliar," and "unfulfilling."

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

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

DVA is most successful when he edits out the excess and focuses his production on a handful of strong elements. As a producer, it's self-control, not talent, that he's lacking.

Despite what its title might imply, The Keychain Collection feels very cohesive, more like a planned progression than a mere combination of tunes.

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.

Personality is less a cohesive statement than a scattered reflection of the experimental process that's come to define Scuba's output in the new decade.

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.

There's no doubt that Visions is an excellent album.

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

Planet High School is obviously not perfect, nor should it be, but it is a step upwards and onwards for Mux Mool.

It's a little bit of everything, which is perhaps why ƒIN is such a rich, fulfilling listen.

The music continually jumps between dubstep, house, techno, and beyond, almost never losing its propulsive motion. That kind of flow--matched with top-shelf tunes from around the globe--helps make Pinch's installment for Fabric's ongoing series an outstanding and even-handed display of contemporary soundsystem music that won't likely grow stale any time soon.

While not as complete or precise as any major release from Hot Chip, this is a strong debut album, even after factoring in the slightly elevated expectations based upon Goddard's previous successes.

A brand-new EP on Smalltown Supersound that picks up where his last left off.

Whether you're an old fan of Drexciya or you've just arrived late to the party, Journey of the Deep Sea Dweller I is about as close to an essential compilation as you're going to get.

His Headcage EP, released yesterday via Ghostly, continues on that trajectory, moving toward music for a wider audience while maintaining much of the oddness that makes him popular in the world beyond the mainstream.

Hauschildt's new opus is certainly just as captivating and varied as some of his band's [Emeralds] best work.

If it all sounds just a bit too familiar and seems a tad forced, no one could really blame you for saying so.

As Seplacure takes form, a consistent emotional ground that exists somewhere between stoney reminisce and melancholic introspection is reached.

In terms of song choice, and as an exercise in breaking boundaries, Scuba's DJ Kicks stands as a solid effort on par with the good work he's done with his recent productions.

The producer has undoubtedly severed himself from his past work, and in turn, put himself in a class that few hold claim to.

That ability to present such harnessed disarray through fresh and exciting music makes Replica a compelling listen from start to finish and a brilliant new direction for Oneohtrix Point Never's sound.