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Special Request offloads his third album on 2019, OFFWORLD, with "237,000 Miles", an amalgam of vocal house and Detroit techno, and "Shepperton Moon Landing" continues this, with the vocals adding atmopshere instead of being the central focus. "Offworld ... See full review

Dub is the name of the game for Djosos Krost's debut NO SIGN OF BAD from the first digital drippings on "Straight Upfront." Though their electronic take on dub isn't anything new, they manage to evoke sun-drenched island vibe. "Trompet" and "Kaba Kaba" ... See full review

Special Request kicks off his second album, BELIEF SYSTEM, on the melodic, ambient note of "Chrysalis" that seems to harken back to Detroit before "Adel Crag Microdot" and "Scrambled In LS1" bring in the bass and old-skool electro rave flavors. An ... See full review

For their second album, the Wackdaddies see a RETURN OF THE WACK PLANET, with more dancefloor-ready beats. "Defectors" gets things kicking with a steady drive, and "Fight the Power" offers a funky-electro groove before segueing into the hip-house ... See full review

The retro grooves of "Gamble" kick off Tokimonsta's debut, MIDNIGHT MENU, on a gentle note, and the dubbed-out horns on "Sweet Day" only reinforce this sense. But she doesn't shy away from messier sounds, as the Asian-inspired clatter on "Sa Mo Jung" ... See full review

Though Disrupt has his own label, Jahtari, that didn't stop him from releasing FOUNDATION BIT on Werk Discs, the Ninja Tune offshoot. It's leans heavy on the dub, like the slow throb of "Tubby ROM Module," mixed with 8-bit tones and samples, as on "The ... See full review

As a concept album, Slam's ATHENAEUM 101 is an interesting one. Keeping the tempo at or below a steady 101 BPM, the tracks segue seamlessly into one another. Indeed, the album was meant to be listened to as a whole -- the individual tracks don't ... See full review

Sadly, Abraham got lost in the trip-hop shuffle of the early 2000s, despite having two secret weapons: Rachel Cumings' earthy vocals and production by Hefner. The slinky funk of "God" is offset by Cumings' earnest lyrics (a mode revisited on "The ... See full review

As a bit of pop-breaks, Kosheen's CATCH is perfectly good on its own, but Gordon Kaye gives it a house mix that's slightly more subdued than the regular progressive house, while Decoder brings back the breaks with a touch of a bass gurgle. Finally Hiver ... See full review

Kosheen kicked off their career with RESIST, sliding comfortably into their breaks with "Hide U," augmented by Sian Evans' strong vocals, pushing the energy further with "Catch." The electro takes a softer tone with "Cover," sliding into the slower chug ... See full review

Future Funk's THE EARLY YEARS gathers some of their material from various 12"s and presents them here for you easy consumption. It's pretty straightforward house, with some tech touches, like the vocoder and sweeps on "House Market II." They toss a ... See full review

Guy Andrews is all about his layered compositions, and you can hear the thickness in the bass rumble through on the opener of OUR SPACES, "Higher Waters," which is offset halfway through by the swelling strings. "All Our Flaws" leans much more heavily on ... See full review

Blue Foundation decide to live the LIFE OF A GHOST for a while, and at first, they're "Stuck in a Hard Place" with poppy synth-rock hybrids like "Enemy." But the quiet growl of "Eyes on Fire" adds a pleasing texture, as does the blipping electro of ... See full review

HTRK returns to Ghostly International with PSYCHIC 9-5 CLUB, an album that immediately delves into a deep melancholy from the outset with "Give It Up." The mood lingers into the echoing vocals of "Blue Sunshine" -- and, really, across the entire album. ... See full review

For their second album, SWEEP OF DAYS, Blue Foundation brings forth a meditative moment to open their cinematic track "History," and while the album sticks closely to familiar trip-hop beats, they do allow a sense of grandeur to grow on "End of the Day" ... See full review

With the rocking intro of "Stay Frosty," Apollo 440 seem determined to prove that THE FUTURE'S WHAT IT USED TO BE and that almost no time has changed since their debut in 1996. The singing on the title track only reinforce that brief period when it ... See full review

Boys Noize sends out a MAYDAY, and a slew of like-minded collaborators heed the call. But first, Mr. Ridha gets things going with the slow build of "Overthrow" before the title track blows things up from the outset. The pure club flavor of "Dynamite" ... See full review

For these remixes of OUT OF THE BLACK, Boys Noize recruits a slew of au courant artists to take on his work, from Jimmy Edgar's choppy electro on "What You Want" or its smoother brother as delivered by Chromeo to the straight-up EDM of MMM's remix of ... See full review

Milanese shifts over to Planet Mu from Warp, and, let's be honest, it was an inevitable move, as his aesthetic matches Mu much better. And what's the aesthetic? Grimy bass and crazed breaks. "Mr. Bad News" showcases the bass, with growls and sharp ... See full review

Bet.e and Stef's delicate pop bossa nova ventures over to Compost Records for IT'S ALL RIGHT, a double album that focuses on their own work gathered from their first two albums before moving onto remixes. "Day by Day" gives you a hint of gentle soul, ... See full review

Digitalism continue their upbeat, energetic electro with MIRAGE, as the throbbing, shiny "Arena" takes the stage before the rock stabs of ""Battlecry" holler their way forth. "Go Time" keeps the tempo up, but aims more for more brightness, and the ... See full review

Lali Puna compiles a bunch of loose tracks and remixes into I THOUGHT I WAS OVER THAT, spreading their findings over two discs. The first disc focuses on their own tracks as well as remixes for other artists. For the Lali Puna purists, the staticky ... See full review

The intro of Metronomy's NIGHTS OUT sounds like a horn-dirge, all plaintive notes and guitar plucks, but this goes out the window with "The End of You Too, which lays on the handclaps and sharp drum snaps, with an occasional harmonica. The cool 80s-style ... See full review

For LOS LAGOS, Thomas Fehlmann goes deeper into the dub than before, as “Lowenzahnzimmer” skims near the bottom of the sub-bass, sparely looking for a way to go deeper. “Window” accelerates somewhat, but maintains the subterranean tones, and a ... See full review

With GOOD FRIDGE, FLOWING, Thomas Fehlmann migrates from R&S Records to its ambient sister, Apollo, though the beats haven’t entirely dissipated. Instead, they become the backing for more tracks, from the breaks with smooth refractions of ... See full review