Bicep's sophomore release Isles is much more grown-up and conflicted. However, this is not to the detriment of their characteristic eclectic abandon.
Mysterious electrosoul ensemble SAULT's UNTITLED (Black Is) is a stellar, uplifting record informed by timeless struggle, solidarity, and pride.
Call Super's Every Mouth Teeth Missing is like its own digital biosphere, rife with the sounds of the forest and the sounds of the studio alike.
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.
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.
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.
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.
Producer Roza Terenzi's Modern Bliss shows she can take on many sounds at once—jungle, dub, trance, deep house, and classic Detroit techno—without sacrificing any flair or any nuance.
Electronic producer Sepehr discusses his debut album releasing Friday, sparing no detail on life in the Iranian diaspora, the experiences of being raised by ABBA-loving Persian rug traders, and the illegal music stores that still litter modern Iran.