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

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.

"If in doubt, smile and dance" is the agenda.

There are a few tracks (including the two straight-ahead rap tunes and haunting closer ‘Suicide Pact’) where he does actually let the groove unfold naturally, but that just makes even more frustratingly clear how much better the rest of this record could be if only Shadow would just ease off on the tinkering and fidgeting.

Atmospheric, intriguing and emotional.

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.

If you’re a little refreshed and in the midst of a heartfelt festival singalong, things might sound different. But it’s hard to get caught up in some of the grandiose gestures on offer here.

An oddity, sure: but a fun one.

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

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.

There are some moments of absolute beauty here but all too often the vocalists don’t bring the character of a Horace Andy or Tracey Thorn (or indeed 3D or Daddy G), and overall it all feels a bit slick.

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

Reminiscent of a clumsier kind of guitar-drums-bass (plus synths) arrangement, the only remnant of Hung’s Fuck Buttons days is the privileging of drums in the mix. The rest of this unexpected foray is a trip into a post-punk and synth-pop past that needs no repeating.

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

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

A richly listenable collection.

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.

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.

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.

The only trouble is, it all feels a little... dated.

It's not 100 per cent coherent, but especially if you get the bonus instrumental disc you'll find proof of an important talent spreading his wings.

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