The cuíca-driven balearica of ‘K16 del 1’ and avant-disco drive of ‘On U’ are standouts on an album of psychedelic grooves and tribal rhythms that unfurl with shimmering intensity.

The bona-fide future-classic ‘Oh Woman Oh Man’, the soft-focused but laser-guided balladry of ‘Hell To The Liars’ and ‘Rooting For You’, and the title track are as good as anything on their debut--and in ‘Non Believer’, they may well have written their finest song yet.

Our only gripe is with its brevity--29 minutes is too short.

Bundick says the LP was born out of a growing discomfort with fame. If so, he masks it well--listening to its gorgeous, woozy pop is like lying in a Radox bath.

Toddla T delves into new territory on his first release since 2012, fusing elements of gospel (‘Ungrateful’), funk (‘BlackJack21’), reggae (‘Foundation’), grime and dubstep (‘Foreign Light’). It’s a brave move to incorporate so many styles but, on the whole, it works.

Olson’s approach is simple without being naive and challenging rather than wilfully artsy, switching from the menacing ‘Weight’ to the pared-back acid of ‘Pop’.

What it lacks in surprises it makes up for in quality music. The Toronto boys have done a great job of mixing relatively obvious tracks like ‘Home Is Where The Hatred Is’ and ‘Don’t Talk…’ by The Beach Boys with more obscure cuts that’ll send you down the rabbit hole on a Spotify listening session.

Each track is forged and precision-engineered to bolt onto the next: there are times when Snaith takes you to dark places but then he clasps your hand tenderly, guiding you back to sunnier climes. Fabriclive 93 is an astonishing accomplishment.

At times the LP’s nostalgic outlook can be all-consuming, The likes of ‘Memory’ and ‘Vacuume’ do lighten the tone, but it would have been nice to see Haley also tackle darker timbres more often, as he does on ‘Syrthio’ and the title track.

Distractions is modern club music that acknowledges its history while still moving it forward, courtesy of one of the best in the game.

Steffi provides a delectable mix that’s a testament to her curating skills.

This is what pop should be in 2017: diverse, interesting and surprising.

All the samples and rhythms here you’ve heard a million times--but somehow, with this weirdness and his sheer panache as a producer, Vibert creates brand new rave dynamite, guaranteed to get dancefloors sweat-soaked and maniacal.

This album, on Ninja Tune offshoot Technicolour, presents an idiosyncratic take on electronic music that’s imbued with deep emotional content, yet danceable. All the while his engineering capabilities shine through, giving the album a polished touch.

Not as immediately blissful as ‘Elaenia’, but a magical new direction nonetheless.

Ruinism isn’t a departure from the type of chopped foundations we’ve come to expect from Lapalux, it’s just less thick with haze: both onimous and gorgeous, it’s an album of two halves that tiptoes into a purgatory state.

[An] immersive, frequently moving, absorbing experience.

It’s obvious he’s at the fore of UK rap. Lyrically, this LP hits the same themes as on his breakout 2015 mixtape.

This is his first proper solo LP project since ‘Saturnz Return’, and it’s brilliantly, bloody-mindedly Goldie: a slew of deep d’n’b grooves offset by beatless lounge-blues arias and glamour-soaked jazz club noodlings.

You may find it tough to get past the religiosity, but if you can, there’s real magic here.

Nite Jewel’s fourth album is her most personal and lyric-driven yet.

Remastered for vinyl by Matt Colton (James Blake, Aphex Twin, Hot Chip), it still hits heavy. ... An accompanying remix album celebrates diversity with offerings from Zomby, Skream and Adrian Sherwood, but it’s Hodge & Peverelist’s jerky mix of ‘Afro Left’ that runs away with top honours. It’s a fitting tribute to the LP’s legacy.

They sound as assured as ever on Home Counties.

On Electric Lines, the fine moments are bountiful.

Translating to ‘skin’ in English, its urgent, high-pitched signal follows the melancholy first-take of the artist’s vocal, who’s sung before but never with such vulnerability. It marks the start of a soaring new direction.

If you’re a fan, you won’t be disappointed. ... If you’re new to the zoo, prepare for a 20-track musical trip you won’t forget in a hurry.

Sometimes the constant shifts can leave you reeling and wondering what Jlin is trying to get at, but it’s never long before they pick you up again and pull you back into it. This is the sound of a huge talent blossoming.

It’s a gorgeous record, from start to finish.