Another patchy long-player from a proven producer.

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.

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

A charming, understated record.

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

This is a largely dejected and sombre affair that is perhaps only for those of a darker disposition.

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

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

Atmospheric, intriguing and emotional.

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.

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

Funchess' extraordinary voice will get much attention, but this is the full package.

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

Mostly it's party music, pure and simple.

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

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.

Fun, if a little two-dimensional.

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.

The results, all shimmering synths and echo effects noodle along on 4/4, often for the best part of seven minutes, and we can't help but feel that some of this has been done before.

There's no distinct personality to be heard, or the kind of dynamic ideas that could give it the ability to totally dominate a room.

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.

An oddity, sure: but a fun one.