From Major Lazer‘s gargantuan beats to the icy minimalism of Floating Points, what 2015’s best electronic music had in common was an adventurous urge — a willingness to find a place for any beat or scrap of sound in a wobbling, pulsing symphony. Here’s what we’ve deemed the best of the year.

Holly Herndon, Platform

Tennessee-born, San-Francisco-based, and one-time Berlin expat, Herndon is, more than anything, a digital native. Her sophomore album is closely attuned to the two sides of technological life: the title track’s bouncing beats and the deep bass rumble on “An Exit” are powerfully cheerful, overjoyed to be making people move, while the jagged synths and looped, fractured vocals that surround them cast an anxious, sometimes lonely pall. –Theon Weber

Giorgio Moroder, Deja Vu

Pioneering disco producer Giorgio Moroder returns 30 years after his last release, sounding less like an elder statesman than a fresh-scrubbed pop savant, and with some of the best voices in the biz helping out. Sia adds husky depth to the string-swept “Déjà Vu,” and Charli XCX brings the requisite sass to the techno-pop “Diamonds.” Kelis sounds unusually sleek on the trap-inspired “Back and Forth,” and Kylie Minogue adds glamour to the Daft Punk-influenced “Right Here, Right Now.” While the songwriting is hardly groundbreaking, Moroder’s synths haven’t lost an ounce of sparkle. –Philip Sherburne

Oneohtrix Point Never, Garden of Delete

Produced in alleged collaboration with a ’90s-slacker space alien named Ezra, Garden of Delete is composer Daniel Lopatin’s weirdest, busiest album: a collection of ideas and sounds that do sound as if they came from deep-space radio broadcasts. Dense beats and fluttering vocals sculpt the crowd pleasing build-and-drop of dubstep into a disorienting haunted house. For a sampler, sink into the brief “Sdfk,” and let its dark waters carry you toward snarling rapids. –Theon Weber

Jamie xx, In Colour

Who would have thought that a member of The xx could be boisterous? In Colour leaps into the fray with “Gosh,” a throbbing paean to the glory days of pirate radio. Later, we also hear from Atlanta’s Young Thug and dancehall crooner Popcaan — though his bandmates’ vocal and instrumental cameos sound more like the trio’s typically hushed work. Combining steel pans, shimmering synths, rough-edged breakbeats, and doo-wop samples, In Colour balances carefully between U.K. dance-music tradition and its creator’s own melancholy vision. Even its shouts feel like whispers. –Philip Sherburne

New Order, Music Complete

New Order’s 10th studio album — and first without founding bassist Peter Hook — digs back into the elements that sustained New Order in the ’80s: gleaming synths, icily artificial strings and Bernard Sumner’s voice floating atop limber bass lines (from Bad Lieutenant‘s Tom Chapman) that are dutifully indebted to Hook’s knotty, melodic lines. –Theon Weber

Arca, Mutant

Bright, radiant and harsh, like floodlights on snow, this sophomore solo album from in-demand producer Alejandro Ghersi doesn’t believe in letting up. The delicate melodies of tracks like “Sinner” float over waves of hissing static and colossal industrial crashes; “Anger” turns the rattling click-spray of an aerosol paint can into a swooping beat. When the album lapses into peace, it’s for brief, eerie interludes that are more restless than relaxed like the lonely piano floats above spare, cavernous crashes on “Else.” –Theon Weber

Hudson Mohawke, Lantern

In the six years after his debut LP, Glasgow’s Hudson Mohawke produced for Kanye, Drake and Lil Wayne, and pioneered trap-rave in the duo TNGHT. But Lantern steps away from hip-hop as HudMo explores the furthest reaches of his sound, from positive, power-ballad affirmations (“Warriors”) and overdriven soul (“Ryderz”) to Disney-ready fantasias (“Kettles”). Antony lends gravitas to the elegant “Indian Steps” and Miguel brings heartbreak to “Deepspace,” while Jhené Aiko helps turn “Resistance” — a riff on a Glasgow electro-funk staple by Fatima Yamaha — into gauzy R&B. –Philip Sherburne

Floating Points, Elaenia

Spare, simple, and often achingly quiet, the music moonlighting neuroscientist Sam Shepherd records as Floating Points and builds strange, textured soundscapes from tiny details. Gentle sounds, like the almost subaudible groan of bass on the title track, or the ancient, massaging synth on “Argente,” build to an orchestral explosion of exuberant, fully danceable joy on “Peroration Six”. –Theon Weber

Four Tet, Morning/Evening

Four Tet’s ninth album is also, in a way, a single: two tracks, roughly 20 minutes each, a double-sided record for our no-sided era. With an assist from Lata Mangeshkar — the unseen singing voice of uncountable actresses in over a thousand Hindi films — Four Tet’s Kieran Hebden sculpts two graceful, interlinked symphonies from pattering beats and washes of synths: one evoking the groggy acceleration of the A.M., the other the tired bliss of the P.M. –Theon Weber

Major Lazer, Peace Is the Mission

Diplo opens his third installment of post-modern dancehall with a slow one, “Be Together,” featuring moody duo Wild Belle, but don’t be fooled: patois-enhanced club jams are still the reason we’re here. Big hit “Lean On” is obviously accounted for, but try Elliphant declaiming over “Too Original,” or the great Chronixx on “Blaze up the Fire.” Too bad obvious choices Ellie Goulding and Ariana Grande crowd out female Jamaican vocalists. Then again, Trinidadian legend Machel Montano does his best to outshine Grande on bonus Hunger Games remix “All My Love.” Bombastic? You bet. –Jason Gubbels