Electronic music is a huge tent with so many diverse approaches, and it's more international than ever with producers around the globe pushing music forward. The year's best albums featured returns from established talents, as well as ground-breaking newcomers, and a host of women changing the old boy's club of electronic music.
Following a series of fantastic EPs, Bristol-based Giant Swan produce a work of exquisite hard hitting techno, while calling upon their hardcore punk roots.
To say Underworld's Drift Series 1 is an immersive experience is an understatement. It's an album that invites you to pitch a tent in it and hunker down for a month. Both Rick Smith and Karl Hyde sound inspired.
Floating Points' Crush is an album of profound contrasts. For every track designed to electrify the dancefloor, there is a gentle sweeping orchestral piece.
Cabaret Voltaire's Richard H. Kirk talks about two new collections of the legendary post-punk band's early music, an upcoming new album, and how he prefers to listen to music.
On Ways of Seeing, electronic producer and visual artist Konx-om-Pax moves away from dark ambient and rave to melodic electronica, alluding to the roots of Berlin techno.
Two recent videos from Rammstein and Hatari offer a study in contrasts and speak loudly to the challenges involved in authentically confronting colonialism through popular music.
Prolific electronic artist and label head, Carl Craig reflects on his most recent work, the state of music today, and his illustrious career.
Experimental electronic producer Burnt Friedman documents the musical melting pot of Berlin and Central Europe generally on his latest album. Watch his new video for "Supreme Self Dub".
Zoospa finds producers Machinedrum and Jimmy Edgar finding plenty of shared musical ground, laying charges, and then detonating them.
Brits in Hot Weather features five of the best new British songs. In this edition, we have trap-infused indie from 13XL, the compelling electronics of Le Module, anthemic indie from the Polarity, barrelling post-hardcore from Cagework, and sunshine filled house from Disciples.
Peter Ibbetson strips away the more soulful electronic elements and softens the edges of Harlequiin's "Eat Me Up Astoria", immersing the track in a hazy, digital mist.
On his debut album ATAXIA, Rian Treanor has mastered a whole new sonic vocabulary that gradually destabilizes and erodes existing principles and practices of electronic music to create something wholly unique.
Bjarki's Happy Earthday can be understood as a reflection of the artist who made it, as a representation of the power and majesty of nature, or simply as a brilliant, intricate electronic album.
Silk Road Assassins use sci-fi sound design as a means of exploring the minimalist structures of trap and grime on the magnificent State of Ruin.
Brainfeeder X is an important collection for those who are new to the label's output and for those who want to revel in its glories. A worthy celebration of a genuinely groundbreaking label.
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