A charming, understated record.

Love School Of Seven Bells and The XX? You'll like this.

While it’s hard not to view the five solo instrumentals as some of the strongest work here, overall Getting Closer is well worth some private investigating.

If you stop trying to hear it as grime, and listen to it as a sci-fi movie of an album, a classy electronica dream journey through a high tech Orient, then that gloss becomes a strength, and it really does stand up on its own.

This debut from Tinie Tempah producer Labrinth sits comfortably in the Kanye West school of autotuned mid-youth crisis, yet this album isn't without merit.

Sticking with a winning formula can be commendable, but this is pales in comparison with past glories.

Another patchy long-player from a proven producer.

Despite its length, it's not pushing any boundaries: it's smooth and sweet, with nothing to give you nightmares, but as a piece of high-class chillout music, it works very well.

Their darker second album leans more towards mid-80s baroque-pop.

The squelchy synths and intergalactic funk of the record's first half stand tall, but at 20 tracks long, it becomes a tad tiresome at the halfway mark.

Directional swerves are admirable, but make an uneven set, especially as the material from their first three albums has more palpable sparkle than the rest.

Although some of the arrangements and electronic embellishments are lavish, there are few obvious peaks and troughs apart from the epic throb of ‘Thea’.

Even when the groove lessens, doubters are liable to be persuaded by their innate knack for epic choruses.

Is it a fun, well-selected mix to throw on at a party and dance to? Yes. And, sometimes, that's enough.

Groundbreaking it may not be, but Huxley brings a touch more class than some of his contemporaries.

As culturally diverse as it all is, it’s the tonal depth of the assembly that creates an engaging synergy.

It can be difficult listening, but stick with Prinz's half-spoken vocals and Horn's snaking basslines, and your reward is an album of raw, rhythmic energy.

This remix compilation is a Who's Who of the electronic left field, but doesn't quite retain the character of the album.

They’re solid tracks though few approach his greatest moments.

Sometimes great, often fun, but mostly quite confused, it’s not a focused LP--though it’s certainly an expression of the oddness of 2014.

Atmospheric, intriguing and emotional.

It’d be nice to hear voice and production crack and cut loose even more--but he’s heading in the right direction.

As it is, the high points still make this essential, but shorn of a few tracks, this album would be so much better.

The less fluffy tunes are the best: ‘Elevate’ and ‘Go All Night’ both have old-skool house elements and a jacking groove that mean there’s more to this LP than a collection of festival sing-alongs.

During the more hurtling crescendos the arrangement gets a little cluttered and abrasive, but on the whole, Walking Lines is a notable addition to the shoegaze category.

While you could argue that Soul Clap have made better tracks than the 13 on offer here, there's no doubt that EFUNK is an enjoyable party album filled with jovial invention and several major tricks up its sleeve.

Unashamedly one-dimensional, this mix will continue to divide.

There are some excellent tracks here--‘Lights On’, ‘Two Weeks’, ‘Pendulum’--and her talent is obvious, but the men at the production desk could perhaps have been braver.