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

This is street-tough tech-house, happy to wear its hip hop, jazz, disco and Latin influences on its sleeve.

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

Dive in and experience Slugabed's amazing imagination for yourself.

Slightly dark and just a little experimental, this is quality, innovative, of-the-moment dance music.

Smoky, slow- paced, disco soul with Bee Gees-style falsetto harmonising, it's the type of grown-up pop Scissor Sisters can pull off like few others.

Prepare to get emotional and elevated in equal measures.

[An] ambitious, oddball, lush, relentlessly sexy electro-funk and twisted disco record.

It's kind of unexpected, but Brackles has created a sunny storm.

Black Is Beautiful is nigh-on indescribable--in a very good way.

This deft new album [is] a delight.

Fixers--a new five-piece experimental pop act from Oxford--have what it takes to enter the fray.

Absolutely sterling work, very possibly the most consistent album yet from the duo, and not a star guest in sight.

He's gone several steps further away from standard dance structure and into abstraction and ambience here – and it's all the better for it.

It's the smart weaves in and out of expectation--the jolts, the swerves--that make it an instant classic.

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 are atmospheric, rough around the edges but captivating, unique and extraordinary.

It's rare an album creates a world so weird yet so coherent and absorbingly musical, but DVA has done it here; the only reasonable response is to take a deep breath and dive in.

They forge a magicalworld of trippy vocal electronica.

Most electronic acts, when asked to sound-track a film, dump pop sensibility in favour of atmospherics, but we're happy to report that, as astute players for over a decade, Air have gone the other way: to the moon and back.

Nearly 30 years in the game have not withered them a jot.

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.

The Keychain Collection is a sensuous LP of love songs and well engineered instrumentals.

While the bold brush strokes of Personality may alienate some hardened purists, it may just turn out to be the defining release of Scuba's career.

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.

An album that is as melancholic as is it banging.

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.

Their second album has a cosmic disco groove ('The Following'), thought-out harmonies ('The Unknown Faces at Father James Park') and electro- pop moments ('The Right One'), creating the kind of warm glow you may get from a house party in a log cabin.

It's imaginative and endlessly intriguing.

A welcome 40-minute excursion indeed.

You'd have to be fairly joyless not to find the lighthearted lyrical content and unifying party vibes infectious.

All in all, hugely ambitious enjoyable fun.

The Glasgow quartet have put their talent for irresistible hooks to good use and come up with a solid new LP that splices towering post rock with potent dancefloor sensibilities

A brilliant, breathlessly exciting, sunshine-dappled album of melodic, electronic alt-pop.

Wiley's finally made the album that his talent warrants.

It's an all-encompassing experience ideal for Mixmag readers seeking transportation to a Balearic state of bliss.

An oddity, sure: but a fun one.

Dillon's rustling electronics plink, twitch and occasionally spin out, set apart by a cutesy vocal style and eccentric lyrics that sound a bit like a baby-voiced Kate Bush.

Opener 'Halo' finds Albarn at his melancholic best, while 'K-Town' demonstrates a vitality that often seems missing from African music in its WOMAD-friendly guise.