Mixing organic instrumentation, such as the ethereal guitar of ‘Vision Trail’, this album laces its cuddliness with melancholy.

Other tracks have a steady kick and soulful samples, but these are made glitchy and trippy in the style of classic Akufen (see ‘Come Close to Me’ and ‘New Love’), or have wonky synth tones that blurt out of the mix (‘Je T’Aime’, ‘L.U.V.’). And the downtempo tunes that surround them also swerve off their expected tracks and into psychedelic and deliciously weird territory. This is precisely the sort of confounding of expectations we love to hear, and bodes well for a long, interesting career.

Witty, conceptual, original and above all both musically exciting and enjoyable, it’s an understatement to say that DVA’s second album NOTU_URONLINEU is mature.

Make no mistake, it’s Jaar in microcosm: a groundbreaking artist using all the weapons at his disposal in an attempt to move you. And trust us, you will be

In particular, the beautiful and ambient narco-breakbeat of ‘4am Exhale’ and swooning downtempo of ‘9 Elms Over River Eno (Channel 9)’ are two gentle, aural hugs from these two esteemed purveyors of sonic sunshine.

The influence of earthy sub-Saharan blues is readily apparent on the choppy fretwork of ‘Walrus’, and the raw loops he creates by on-the-fly sampling have universal appeal. Similarly his voice, with its soaring inflections and echoes of Sting and Jeff Buckley, is a hugely effective tool.

A thematic sequel to 2011 breakout mixtape ‘XXX’, Danny Brown remains rap’s most unique force.

We’re a long way from Super Collider, but there’s really not a duff card in the pack.

Its 13 tracks are more versatile in lyrical depth and vocal flow than before and, when added to his trademark intensity, are proof that Mykki's moved to the next level.

Whether it’s in the tribal drums, sensual vocals or huge range of instruments, you’re unlikely to hear a more diverse collection of music this year.

It’s hugely fun and definitely full of Human Energy, ensuring that it’s an album well-named.

As a producer, Barratt is the equal of anyone working today, but what’s most amazing is that even after 30-plus years, he still seems to be as connected with the magic of dancefloor moments as he ever was.

Bolder and with increased confidence, I Remember sounds more succinct and complete than 2013 debut ‘Body Music’.

Maier’s urbane persona is as funny, funky and disquieting as ever, and this album is a righteously fresh addition to their catalogue.

Far from being austere, though, the cavernous riffs of ‘November’ or undulating synth pulses of ‘Phoenicia’ are like a warm blanket of comforting sound, while more direct and urgent Joy Division-esque kickers like ‘Complicated’ lurk elsewhere.

‘Love Sick’ is filled with sensual longing and ‘Mind Games’ screams out anger over crashing synths. ‘Trainwreck’, meanwhile, is an instant banger with Banks’ aggressive lyrics structured around trap-infused production. Elsewhere, though, soul-baring ballad ‘Mother Earth’ and stripped-back closer ‘To The Hilt’ are more easily forgotten.

As expected, the new offering from Oizo is a revelation--no-one quite does it like him. Now, with the help of his friends, he’s created another nigh-on masterpiece.

Patten’s third release is a whistle-stop tour of the UK’s hardcore continuum, never pausing long enough to get bored.

Boy King is intrusive, abrasive and in-your-face--but that’s no criticism: one can imagine lads properly belting out ‘Big Cat’ and ‘Alpha Female’ at live shows.

All of the trademark Marconi-isms are here, but they’re now emboldened by broader musical strokes.

It takes us back to the late 00s, when the likes of Martyn, Sepalcure and Joy Orbison were bringing lushness and melody to (post) dubstep--and that’s no bad place to be at all.

Nobody else sounds like them right now.

The aural familiarity of tracks such as ‘Anyware’, with its warp-speed cellphone melodies, imbibes Motion Graphics with warmth and, above all, joy.

This is the record Zomby’s always promised to make, and it’s everything we could have hoped for.

Even if you’re not spiritually inclined, the music is still proper techno: chuggy in some places and mystical in others, but always total class.

The man who won a BAFTA for his soundtrack to Broadchurch stitches his own sombre and beatless exclusives into rainy, greyscale pop, intimate ambient and frosty bass like it ain’t no thing beautiful.

An energetic, main-room mix that touches on many styles.

The whole album is perfectly paced, with hypnotic grooves and simple songwriting: density and space are constantly played off each other, helping to create something that should be taken in as a whole. It’s been well worth the wait.