Splazsh and R.I.P. remain Cunningham's most novel and creative full-lengths, but this thrill-filled one, whatever it's about, is his most direct.
As always, Ghersi pushes his boundaries on Arca, and the vulnerability he displays makes it some of his most exciting and moving music yet.
As its title suggests, The Centre Cannot Hold constantly seems on the verge of collapse, but it never descends into utter chaos. It gets abrasive and engulfing, but it isn't accurate to describe it as a noise album. Frost and his associates expertly harness levels of sheer energy, resulting in a brilliantly forceful, commanding work.
Hushed yet haunting, Phantom Brickworks offers a beautiful new perspective on Bibio's music.
Considering his legacy, it's all the more impressive that Power found even more challenging places to go with his music, but World Eater's focused chaos is some of his finest work yet.
Death Peak reaffirms that Clark's music isn't constrained by clearly defined concepts; if anything, he's liberated by them, and this is some of his finest, widest-ranging music yet.
With Iteration, Haley has retained all of the qualities that made Com Truise so appealing while blowing everything up into a higher resolution than before. If this is truly the end of the Com Truise saga, then it's the project's definitive release.
Most impressive of all ... is how Fabriclive 93 feels like a perpetual loop of creativity. Not only is it a special volume of Fabric's impressive series, it's a living piece of music that presents Daphni at its most vital.
Sounding like neither a typical modular synth or industrial record, Unnatural Channel is highly inventive and original, and intoxicating from start to finish.
Far from ordinary, Pure, Beyond Reproach is a trippy, dreamlike album that finds Egyptrixx further abandoning dance music conventions, resulting in some of his most fascinating work yet.
New Energy is one of the most accessible, listener-friendly releases in the Four Tet catalog, but it still maintains the creativity and unpredictability that have always made his work stand out.
Fully maintaining the trademark Gas sound while adding new dimensions, Narkopop couldn't be a more welcome return.
Richly layered and emotive even by Hercules & Love Affair's standards, Omnion is equally committed to moving hearts and bodies.
If you're up for a highly creative, exhilarating sugar rush, Neō Wax Bloom will undoubtedly be one of the most joyous surprises of the year.
With Kwiaty, Jacaszek builds on past triumphs like Treny and Glimmer, taking his sound sorcery further than before and resulting in some of his most engrossing material yet.
Black Origami is a monumental achievement, yet it still seems like Jlin is just getting started.
Lapalux seems to thrive on these sorts of light-meets-dark juxtapositions, and while such combinations could result in a confused mess, he maintains a razor-sharp focus. Ruinism is a bold reinvention of Lapalux's sound, and is undoubtedly his best work to date.
Mnestic Pressure is a challenging but thoroughly stunning album that finds Gamble significantly pulling his vision more into focus than before.
It's easy to hear why Good Time won an award before the film was even in wide release: The way Oneohtrix Point Never's score bridges character, setting, and mood offers much more than a passive backdrop.
Taken together, for its somewhat lofty inspirations and complex construction, Onism is above all a fun listen, full of discovery, whimsy, and musicality. And it's got a good beat.
Async is certainly not one of Sakamoto's most accessible albums, but if the listener is willing to devote several listens until it all makes sense, it ends up being quite powerful.
More conceptual than his prior releases, the album is a continuously flowing suite that incorporates many sounds from nature: rainfall, fire, birds, even purring cats.