Stigma’s Too Long is a seven-track vortex of sinister filter sweeps, bleary-eyed synths, and detonating rhythms. As his music gets darker and weirder, it gets better and better.
If Shift Register showcased Samuel van Dijk’s mastery of sound design, Spiritual Machines is where he pushes his skill into more definitive and purposeful directions.
On paper, Matthew Dear’s Preacher’s Sigh & Potion: Lost Album seems like the kind of album that deserves to come out of the vault.
Penelope Three is not a pop record, but it is Penelope Trappes’ boldest, most straightforward work to date. On Three, Trappes holds nothing back.
Like all the best dreams, Ground’s Ozunu stays both bizarre and entertaining the whole way through. The folkloric house achieves nothing shy of perfection.
Colleen has struck out on a course all her own and continues to inhabit one of the most distinctive sonic terrains today, as on The Tunnel and the Clearing.
Twenty years ago, Radiohead stepped back on Amnesiac, deconstructing their trajectory and tinkering around the edges of their sonic universe.
Rare, Forever may be Leon Vynehall’s most daring work, but unfortunately, the result is just too cluttered to achieve any sense of artistic transcendence.
Andy Stott’s Never the Right Time may be the most inviting record in his catalogue, an entry point into his funereal sound-world. It’s also one of his best.
Sparseness aside, there is an explosive energy lurking just under the surface of Floating Points and Pharoah Sanders’ Promises.
Lyrically and sonically, Smerz’s Believer is a bold, risk-taking LP that charts a wild, uneven ride through trance, classical, R&B, and hip-hop.