Lindstrøm: It’s Alright Between Us As It Is review – back on track with bubbling beats, jazz piano and goth feathers

Oslo producer Hans-Peter Lindstrøm, already known for being pretty cosmic, went further out than ever before with his last album, a collaboration with Todd Rundgren that turned them both to spaghetti in a psychedelic black hole. He’s now back out … Continue reading →

Jessie Ware: Glasshouse review – smooth soul, ramped up when the diva lets loose

Emerging at the tail end of the dubstep movement, south London’s Jessie Ware has long been the musical equivalent of a minimalist Scandi clothes store, all restrained vocals thoughtfully draped over barely there electronica. On Glasshouse, she manages to harness … Continue reading →

No Bounds festival review – pristine rhythms, punky noise and visceral electronic thrills

Terre Thaemlitz’s polemic kicked off an extraordinary festival celebrating everything electronic, from Jeff Mills’ minimalism to Giant Swan’s improv rave

Organ Reframed review – kitsch, rapture and white-knuckle intensity

Indie rockers join doyens of the electronic avant garde for a festival of new music exploring the otherworldly sounds of the pipe organ

High Contrast: Night Gallery review – muscular rhythms, winning melodies

(3 Beat/Universal)

Kaitlyn Aurelia Smith: The Kid review – a charming electronic exploration of life

The Los Angeles artist examines human existence with the help of a swirling array of electronics and other tricks

Kaitlyn Aurelia Smith: The Kid review – analogue psychedelia with some growing up to do

With modular synths growing densely around her multitracked voice, this album from Pacific-coastal artist Kaitlyn Aurelia Smith becomes as lush, heady – and occasionally trying – as a rainforest. It’s an ambitious record in four parts, with each quarter representing … Continue reading →

Kelela: Take Me Apart review – future-facing glitchy R&B with traction

When Washington-born singer Kelela released her first mixtape, Cut 4 Me, in 2013, her fusion of sumptuous R&B vocals and harsh, avant garde electronica made a splash. But in the four years since, alternative R&B has gone from bleeding edge … Continue reading →

Andrew Weatherall: Qualia review – sumptuous take on dancefloor solitude

(Höga Nord)

Four Tet: New Energy review – hardly true to the title

There are those for whom Kieran Hebden’s drift towards the dancefloor is something to lament, and those for whom it was an unexpected flash of excitement in the subtle folktronica master’s largely super-chilled career. But even for the latter camp, … Continue reading →

Tricky: Ununiform review – stark and slinky

(False Idols/!K7)

The Horrors: V review – spindly indie survivors hit their sweet spot

Against the odds, the Horrors’ fifth album is their best yet, with Faris Badwan’s commanding, world-weary vocals adding to the synthesised thrills and sparkling guitar-pop

LCD Soundsystem review – euphoric dancefloor pop reignited

Six years after a farewell tour, frontman James Murphy gets back under the glitterball to revive his special brand of thunderous, emotional dance music

Gary Numan: Savage (Songs from a Broken World) review – pop gleams amid the dystopian gloom

Once a fading 1970s synthpop star, Gary Numan’s career has been gradually revitalised since Sugababes’ 2002 smash Freak Like Me mashed up his Are “Friends” Electric? and Nine Inch Nails and Marilyn Manson hailed him as a pioneer of electronic … Continue reading →

Zola Jesus: Okovi review – a perfect hybrid

(Sacred Bones)