Dream-folk's Clara Engel sets the stage with an opener on Hatching Under the Stars that's a masterclass in minimalist expansion.
Burial's Tunes 2011-2019 is music that describes our alienation while it also provides us no little comfort in the face of that gloomy reality. This is flawless music of bewilderment and compassion in equal measure.
BAILE's "Winte" is a richly detailed electronic piece that sees him connecting the dots between the organic and the synthetic.
On Weather, chillwave's Tycho proves he can incorporate all of his signature elements into a traditional pop song structure without having to compromise the core.
Still on My Mind is another rich outing for Dido in every way, with some truly awe-inspiring combinations of singer-songwriter radiance and novel sonic juxtapositions.
Leon Vynehall crafts a crate-digging set which, while not always satisfying, at least remains one of the bolder entries in the long-running DK-Kicks series.
Disregarding a legacy footnoted by a cameo in a film, the Beta Band's collection of The Three E.P.'s is remastered and reissued in celebration of its 20th anniversary and the band's too short career.
Experimental artist Penelope Trappes has created a photobook and video to go with Penelope Two whose stark images appropriately mirror the sounds. As in the pictures, Trappes finds being naked of value in that it allows her to be herself.
On Beacon's Gravity Pairs, every gentle breath of synth, gliding piano note, and softly tapped pad is expertly cultivated to enrich the song with Thomas Mullarney's voice drawing out the humanity, compassion and empathy.
On Nothing Is Still, Leon Vynehall has woven a rich tapestry of complimentary sounds that serves a purpose far bigger than the music itself.
All India Radio has always been a spacey, dreamy band. With Space, they head further out into even deeper space.
Brazilian Girls' Let's Make Love is filled with an unyielding blend of love, defiance, and fearless beats of every kind, all topped off with Sabina Sciubba's incredible voice.
After Woman reintroduced smooth, raw sexuality to indie pop, Michael Milosh returns five years later with new collaborators and an aim to further explore the sonic territory of his previous work. The same pleasures are there, but they feel more hollow the second time around.
Rhye's Blood is slightly rougher around the edges than Woman; it's less polished and precise, with more air in the arrangements. But the music is still strikingly tender.
Blending a dazzling array of musical influences and directions for more than two decades now, Thievery Corporation have come to represent one of the 21st century's boldest bands in both genre-blending style and lyrical impact.