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.

Restless Idylls is Lobo's most polished statement yet.

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

Slow Focus has the sheen and seemingly high stakes of a blockbuster movie--and enough easy thrills to compensate for the stakes being, in reality, pretty low.

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.

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

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.

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

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

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

An effortless, catatonic undercurrent carries listeners through Her Blurry Pictures and somehow, it manages to put the subliminal neuroticism of Mathew Jonson's music at the center of the listening experience while remaining pleasant to listen to.