88 is not the most consistent Actress album to date, but it is probably the wonkiest. Parts of it sound like relics from the analog era; others sound like nothing else on earth.
Jessy Lanza's All the Time is a lush and spacious collection that shows a hard-fought mental clarity, a deliberate effort to resist the instincts on display on "VV Violence" in pursuit of digging deeper into oneself.
Electronic music is one of the broadest reaching genres by design, and 2015 showcased that spectacularly well with a bevy of albums still heavily represented on playlists today.
As an artist who loves surprises, Photay ensures no two tracks sound the same. Pick a random track from his discography, press play, and let the love of it all sweep through you.
The most impressive thing about Nahash's Flowers of the Revolution is that it's so unabashedly political despite being almost devoid of vocals. The politics come through in the struggle of contrasting elements.
Experimental sound artist Evicshen brings uniquely crafted dissonance to her striking debut LP Hair Birth.
Populous produces coolly electronic tracks that range from dreamy to pure dancefloor, pulling sounds from Argentina, Brazil, Japan, Mexico, and Mangia's home country of Italy.
Electronic composer GS Sultan's Music for a Living Water is experimental but also warm and highly accessible.
Despite its reverence for the roots of house music, an appealing eeriness blows through electronic producer Shinichi Atobe's Yes like a salty sea breeze.
On Wicked City, UK art-pop duo Jockstrap run through a gamut of styles and sounds, sometimes gracefully, sometimes forcefully, but always seductively.
Because it occasionally breaks new ground, Daniel Avery's Love + Light avoids being an afterthought from start to finish. The best moments here are generally the hardest-hitting ones.
Alice Ivy walks a fine line between chillwave cool and Big Beat freakouts, and her 2018 debut record was an electropop wonder. Now, in the middle of a pandemic, she tries to keep the good vibes going with a new record decked out in endless collaborations.
PC Nackt kicks off a unique series of recordings dedicated to creating new music by "plundering" unexpected historical sources such as classical piano pieces or chamber orchestra music.
Regis' music often feels so distorted, so twisted out of shape, even the most human moments feel modular. Voices become indistinguishable from machines on Hidden in This Is the Light That You Miss.
100 gecs' follow up their debut with a "remix album" stuffed with features, remixes, covers, and a couple of new recordings. But don't worry, it's just as blissfully difficult as their debut.
On Half Price at 3:30, Art Feynman again proves himself adept at building colorful worlds from unexpected and well-placed aural flourishes.
Experimental electronic artist Gábor Lázár spins his wheels with a new album that's intermittently exciting but often lacking in variety.
Listeners who prefer dense rock/pop timbres will no doubt prefer Mikal Cronin's 'Seeker'. However, 'Switched-On Seeker' will surely delight fans of smaller-scale electronic filters.
Britsh trio IYEARA offer the first taste of a forthcoming reworking of Mark Lanegan's Somebody's Knocking with a remix of "Playing Nero".
Amnesia Scanner's Tearless aesthetically maps the failing Anthropocene through its globally connected features and experimental mesh of deconstructed club, reggaeton, and metalcore.
On Céu's APKÁ!, blissful interpretations of late-night dance music styles and high-heat MPB make for a multidimensional album of soulful energy, replete with her effortless sophistication.
Mourning [A] BLKstar's The Cycle is necessary, secular gospel for the healing of a truly damaged nation. Their music somehow sounds like salvation.
Beats producer Mux Mool returns with Skulltaste II, ten years after the first and delivers the banging new single "Latest Sulk" as his statement of intent.
Down Into Light feels like the album Lee Jones was always born to make. He's always had a lightness of touch, but here, his touch is more delicate than ever.
Symbiosis shows Nathalie Bruno (Drift.) wiping the mascara, leaving the dance floor, and striking out for solitude, occasionally dragging a few beats with her.
Stereolab spin-off project, Cavern of Anti-Matter thrive in alchemizing varied and abstruse influences to elicit transfixing moments of frazzled disquiet and dread on In Fabric.
Drew Daniel: "Trump has weaponized a kind of insincere, smarmy trolling manner. I didn't want music that similarly relied upon that stance. I wanted something that was, in a way, the opposite. Something that felt affirmative and warm."
On the instrumental version of last year's Flamagra, Flying Lotus makes conspicuous variety feel coherent and ordered.
Experimental Taiwanese group Mong Tong draw on mysticism and arcade games for their darkly psychedelic debut album Mystery.
Chromeo's Quarantine Casanova is the light-hearted silver lining we all need in the dark cloud that we are all facing together.
The brilliant London trio Benin City return with the hard-hitting new track "Hostiles" that articulates what it means to be Black in the 21st century.
Drab City combine sultry vocals, superlative songwriting, vibraphone chords, twangy guitar, and shadowy atmospherics to conjure an intense trip-hop fever dream on Good Songs for Bad People.
Matmos' Drew Daniels rebrands his solo work to meet the trying times, offering up an ambient techno classic for the ages under his Soft Pink Truth moniker.
Maurice Fulton (BOOF) is a maestro of production value, adept at so many different sub-genres, and he's been at it for so long that he seems guaranteed not to fail. Almost 30 years since "Gypsy Woman", Rebirth of Gerberdaisy affirms all his gifts.
Electronic music of the sort that Photay creates doesn't typically have much to say lyrically, but on Waking Hours, Photay has a message, and he gives the human voice much more space than ever before.