The chemistry between Agius and Redway is palpable.

This is some of Willner’s most enriching and captivating work yet.

The finest moment is ‘Fantasie Mädchen’, a manic banger on which Gudrun Gut provides borderline psychotic vocals.

Still puzzling, but for the most part very lovely.

When Nils Frahm curates a Late Night Tales installment, expectations are high. Does he deliver? Of course he does.

Overall, the hybrids hold together: as their No. 1 single ‘Feel The Love’ has shown, this may well be an experiment with the mainstream that pays off big time.

Greene has spoken of striving to create a paracosm himself with his lyrics, although his stoned drawl often renders them indecipherable. Still, they add to the sunlit, woozy, mysterious world that Washed Out has built.

Sometimes the album’s pacing drifts a little, but that’s a price worth paying for being taken to such mysterious places.

This new album works hard to add several new jams to his inimitable canon.

This is his first proper solo LP project since ‘Saturnz Return’, and it’s brilliantly, bloody-mindedly Goldie: a slew of deep d’n’b grooves offset by beatless lounge-blues arias and glamour-soaked jazz club noodlings.

Here, they sound comfortable as a band rather than an electronic duo who use guitars, with off-kilter songs that nod towards Joy Division and My Bloody Valentine and are full of fizzing synths and weeping accordions confirming their status as one of alternative pop’s finest acts.

Infectious and groove-laden, Lose My Cool manages to be both forward-thinking and vintage at the same time.

[Ron Morelli] actively dislikes clubs--but he’s managing to infiltrate them with this insurgent electronic music.

Ruinism isn’t a departure from the type of chopped foundations we’ve come to expect from Lapalux, it’s just less thick with haze: both onimous and gorgeous, it’s an album of two halves that tiptoes into a purgatory state.

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.

Swapping sixth form studies for her real passion of singing, writing and producing music, the 19-year-old’s mature debut is an autobiographical “art project”.

Not as immediately blissful as ‘Elaenia’, but a magical new direction nonetheless.

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

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

Trippy instrumental ‘Traanc’ is probably the most quintessential Audion track, while ‘Destroyer’ and ‘Sucker’ scream Circoloco 2016 until their production lungs run out of steam.

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.

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

Written in her producer’s garden shed rather than the confines of a studio, Laura Mvula sounds confident and free throughout her second album.

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.

It’s just him, a piano and a bunch of songs (some original, some standards), and they feel so raw that listening to them borders on the uncomfortable.

Soulful, grown-up, dancey synth pop is hard to do well, but Toro Y Moi nails it.

Prepare to get emotional and elevated in equal measures.

Eve is no ground-breaker, but Booka Shade’s solid reputation remains safe.