This count-down will be peppered with little summaries of the dozens of albums that didn't make the final list. That includes compilations and rereleases, which I have excluded for simplicity.
So before we kick off the top 20 proper, here are some also-rans.
There's no space for hardcore getting dirty on the reissued broken breakcore of Christoph De Babalon’s overlooked 1997 album If You're Into It, I'm Out Of It (Cross Fade Enter Tainment) or the experimental South American drumism of Suba’s early-90s work Wayang (Offen Music). Nor did I include Time To Tell (Conspiracy International), a reissue from Throbbing Gristle’s Cosey Fanni Tutti which was a more interesting album than suggested its inspiration suggests – namely, a lecture at Leeds Polytechnic.
I also didn't include Takecha’s ear-tickling skeletal house retrospective Deep Soundscapes (Love Potion) was a real ear-tickler, the wonderfully familiar IDMisms on the unearthed Challenge Me Foolish (Planet Mu) by µ-Ziq, the messy joy of the superb compilation Don't Mess With Cupid, 'Cause Cupid Ain't Stupid (трип) or the expanded box-set reissue of Move D’s 1995 techno album Kunststoff – if the name rings a bell, he was on Volume Four of the Trance Europe Express series.
I also tried to keep my list as techno / IDM as possible, because that's what rings my electronic bell. So not much room for hip hop or jazz, with a couple of notable exceptions. And, to my shame, I excluded two classical behemoths. Firstly, Nils Frahm’s All Melody (Warp Records), which was delicate, like a unicorn made of snowflakes, if it was armed with a piano in each hoof. And Jóhann Jóhannsson’s Englabörn & Variations (Deutsche Grammophon), which was overflowing with melancholic elegance like bins wot ain't getting collected until some time after the new year.
Scroll all of the best 2018 electronic albums by clicking here.
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