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.

Enthusiast is a solid, eclectic offering, and, if it truly is Siriusmo's last, it's not a bad way to end a long career.

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

In all honesty, New Chain isn't so very different from the rest of the Bushwick bulk. What is worth returning to, however, is the fact that the music offered is effortlessly lovely, memorable, well-transitioned, and oddly addicting.

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.

Comfort won't be for everyone, but it's hard to argue that the risks Coles has taken don't pay off. If nothing else, it's certainly fascinating to watch her expand her aesthetic beyond the dancefloor.

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

It's a safe bet that Steffi had some form of master plan in mind when giving guidance to the mix’s artists, who are largely plucked from her deep pool of electronic-music pals. Still, it’s an impressive achievement.

Neon Indian's second album is a collection of more serious and straightforward pop tunes that separate his penchants for the past and its oddities, and shed nearly all trademarks of the dubious genre he haphazardly pioneered.

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

hat’s most striking is that the album really does tell a story. Its glorious conclusion arrives a little too soon, but it’s good enough to have you hitting rewind. Listen in a dark room, on headphones, and you’re likely to experience a few hairs-on-end moments. It’s ugly, yes, and sometimes contrived. But it’s beautiful too.

Clocking in at a breezy 37 minutes, Mount Kimbie's second album feels a bit slight by the time it's finished, though not because it's short on great ideas or compelling tunes.

Spaces is still a wonderful document of the powerful force that Nils Frahm is as a performer. At the same time, the album in some ways seems like a missed opportunity--no one has questioned the man's ability as a live act (quite the opposite, actually), so the record can't help coming off like a bit of a "gimme."

The angst and abrasiveness inherent to Adult. is still present in some form (even a quick look at track names like "Nothing Lasts," "At the End of It All," and "Heartbreak" reveals that much), but the band has undoubtedly smoothed things over and pushed its sound closer to the dancefloor.

His LNT is a soothing, calming mix for music lovers and night owls, with a human touch that’s impossible to replicate.

The Rapture's latest is both a welcome and necessary addition to its relatively small discography, a record the band should be both proud of and content to leave as the final chapter of its existence. At least until they come back again.

Fabriclive 93 might not be flawless--but it sure is fun.

It's the defiantly weird edges that make Compass cohere.

Nostalgic is an exciting journey, but during the moments when Lapalux fails to provide a coherent roadmap, it's a bit too easy for the rest of us to get lost.

Backwater, is a further refinement of their sound, fleshing it out and blanketing it with a gauzy patina that’s almost intrinsically appealing.

Considering Saul's reputation and pedigree, crafting a largely non-dancefloor album under a pseudonym is a brave move, but one that Getting Closer arguably vindicates.

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

Perhaps the album's only major drawback is its lack of jaw-dropping "wow" moments. It's as though 100% Publishing is almost a little too consistent.

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.

One of the album's strong points is the balance it confidently finds between active and passive, as if it's encouraging listeners to be aware of their attention drifting between their thoughts and the spacious terrain provided by the music.

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.

Home's biggest problem is that it can easily drift by almost unnoticed.

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.