Feeling > Neil Landstrumm Restaurant of Assasins - bleep and bass with ARP and Moog basslines. A dish it's almost impossible not to happily lap up. Various Rinse 01 - slamming dubstep and grime with some great Skepta and Devilman lyrics. "I used to hit boys with the ruler". Some shatterproof business.

Really feeling > Dopplereffekt Calabi Yau Space - glacial, beatless electronics, almost as weightless and vertiginous as Larry Heard's Alien. Sublime in the proper sense of the word. Surgeon "Whose Bad Hands Are These" and passim - rigid and rigorous of course, but above all there's a sense of control and even fun there, as Surgeon throws all sorts of mad sounds into the mix and streches them to breaking point. Much less minimal than one may think, except in the sense of it's sheer unyielding architecture. Thomas Fehlmann Honigpumpe - the loose album concept relates to a bulding which apparently pumped honey throughout its rooms. In any case, it's utterly spellbinding. The parallax effect of all these layers fading in and out is almost too much, one has to almost forget the forward momentuum beat and turn your head sideways to absorb the widescreen of accumulated textural detail, almost losing sense of time in the process.

Not really feeling > Animal Collective new album - less pristine and busier than Feels, but there never seems any real sense of closure or resolution, just a set of over embellished sketches. It's disatisfying in the same blissful, blithe way as the less good bits of The Beatles' Yellow Submarine and Magical Mystery Tour.

Really not feeling > Tinchy Stryder album - poor hip hop beats and a bright, brassy DaVinche track that sounds like The A-Team or something. Big but not clever.

The new Burial 12", eh. Is it any good? It feels perilously like a footnote to the self-titled album. somehow (which is not to say it's therefore bad). But the use of louder vocals ("love you...") seems self-consiously elegiac, as if deliberately bringing repressed emotion to the surface to achieve a kind of closure. Overall, it's not as arresting, although it's certainly formally enjoyable enough on its own terms. It sounds not unlike the Future Sound Of London in places, which again is not to say it's therefore bad.

Went to see Clipse at the Shepherd's Bush Empire the other week. To be honest, the magic of the record isn't quite there; the subtle twang in their voices, the inflection which seems to suggest they are pointing a gun at you under the table, Han Solo style. The magic of their records is this sense of them always being two steps ahead; if drugs dealing is a chess game (which is usually stated blandly), at least Clipse render the dialectic of such a face off. The problem live was the duo shouting into their mics, hyping the atmosphere effectively but losing the flow. But the night still had moments of greatness, the beats sounding absolutely astonishing. The Neptunes' beats aren't just up and down in a headnodding style, they're side to side, the DJ's head reverberating like a little toy on a spring. Not sure how they create this feel; by reversing the kicks and snares a lot, perhaps, so that it's not just a boom and bap. It's more abstracted, decentred percussion brutalism.

Only a fool would deny how fun Dizzee Rascal's "Old School (Pussyhole)" and "Sirens" are. However the words no longer seem to precise, it's just a dense cloud of invective. Is it just me, or have his vocals been turned down a bit too? They seem to exist in a different domain to the beats, two rooms at the end of the universe. He's been reduced to mere flow, a tap you can turn off and on.