Electronic albums by Canadian artists

Trans is the twelfth studio album by Canadian musician and singer-songwriter Neil Young, released on December 29, 1982. Recorded and released during his Geffen-era in the 1980s, Trans baffled many Neil Young fans upon its initial release—a Sennheiser vocoder VSM201 features prominently in six of the nine tracks. While the album was poorly received, some critics point out that the melodies are strong and that the album involves Young addressing new musical movements, as he did previously on Rust Never Sleeps and later with the grunge movement on Mirror Ball.

Certain Kind of Magic is the second studio album by Canadian electronic music producer Rezz. It was released by Canadian record label Mau5trap on August 3, 2018. It contains eight songs, including collaborations with electronic music producers 1788-L, Deathpact, Kotek, 13 and Flytch. The album was released with three singles, a music video, a tour and later gathered generally positive reviews.

Mass Manipulation is the debut studio album by Canadian electronic music producer Rezz. It was released on August 4, 2017 through Canadian record label Mau5trap. The album was released with four singles, a music video and a world tour and later gathered generally positive reviews. The album peaked at number 16 on the US Billboard Dance/Electronic Albums chart on release. In 2018, Mass Manipulation won Electronic Album of the Year at the Juno Awards.

99.9% is the debut studio album by Canadian electronic music producer Kaytranada, released on May 6, 2016, through XL Recordings worldwide and Ultra Records in Canada. The 15-track album features guest contributions from the likes of Anderson .Paak, Vic Mensa, Little Dragon, Syd, Craig David, AlunaGeorge, and BadBadNotGood amongst others. 99.9% was supported by five singles: "Leave Me Alone" featuring Shay Lia, "Drive Me Crazy" featuring Vic Mensa, the Karriem Riggins and River Tiber-assisted instrumental "Bus Ride", "Glowed Up" featuring Anderson .Paak, and "Lite Spots".

Jiaolong is the sixth studio album by Canadian musician Daniel Snaith, and the first under the moniker Daphni. It was released on October 16, 2012 by Merge Records.

Contact from the Underworld of Redboy is an album by Robbie Robertson that was released in 1998 by Capitol Records. The album is composed of music inspired by Native Canadian music (including traditional Native Canadian songs and chants) as well as modern rock, trip hop, and electronica, often integrated together, and features many guest artists.

We Are the Halluci Nation is the third studio album by Canadian electronic music group A Tribe Called Red, made available to stream at CBC Musicon September 14, 2016, and released on September 16, 2016 by Radicalized Records, an imprint of Pirates Blend Records.

The Way-Out Record for Children is the fourth album of children's music by Canadian electronic musician Bruce Haack with his collaborator Esther Nelson. It was recorded in 1967 and released in 1968 by their record label Dimension 5, and was the fourth in a series of children's records they created together with Ted Pandel. The album, like its predecessors in the series, contains a set of songs, stories, dances and other activities for young children to engage with, in order to enrich their learning development, and features an array of disparate musical styles.

The New Deal is a live album released by the Canadian electronic music trio The New Deal in 2001. The bulk of the album was recorded at performances in Atlanta GA, Ithaca NY, Northampton MA, and Montreal PQ, though it was sculpted into a larger piece in the studio.

Crystal Castles is the debut studio album by Canadian electronic music duo Crystal Castles; at the time of its release, the group consisted of producer Ethan Kath and singer Alice Glass. The two met each other in 2004 and both had an interest in noise music acts like AIDS Wolf. This inspired the two to start a project that made noise music, but instead of guitars, they would using electronic sounds made with a circuit-bent Atari 5200, which led multiple journalists to describe their genre of music as a chiptune style they did not intend it to be categorized as.