‘Recursion’ sprawls across its six minutes like modern-day Bach, while ‘Prism Pt 1’ is loping analogue house that jerks and pivots to an idiosyncratic tempo.

The xx have undergone a gentle makeover, but what lies at their heart remains the same. Songs for lovers. Songs for the rejected. Songs for all of us.

Lonely Planet is an exquisitely lush and naturalistic affair with humid jungle atmospheres, bird calls, yawning chords and fluttering melodies all encouraging you to lay back in the sun and let go.

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

It’s what one might call a ‘proper’ LP, with its theme providing the foundation for some fantastic techno.

Charming, incredibly soulful and emotionally charged, this record introduces us to a whole new, golden side of Donald Glover--and should elevate him to a new level of stardom.

For large parts, it’s funky, luxurious and giddy, with the Tony Allen Afrobeat collab ‘2nd Chance’ just the icing on the cake. A pleasant surprise.

Energetic, endearing and still unlike anybody else, Sleigh Bells continue to unapolegtically pummel your senses.

There are times when it does feel a little dry, but it’s still an album that’s definitely deserving of your time.

Undulating melodies, exquisite sparkling detail and a sense of vast space all add up to a blissful listening experience.

His new LP feels like a return to the resonance of his earlier work.

Flashes of 80s electro sleaze, throwback house and glossy diva vocals all add to the fun.

It’s a labour of love, with edits laid over each other in places like sheets of fine filo pastry. There are officially 19 tracks, but it takes 42 records for Scuba to build them from.

This isn’t going to win over any newcomers but, when you tune in to its ebbing and flowing intensities, it can be totally transporting.

The key, though, is that each track will slot effortlessly into their famously hypnotic live shows.

There’s enough in the graceful deep techno and misty synths of ‘Far Away From A Distance’ and the subtly jacking ‘Flying Or Falling’ to satisfy both head and feet.

There remains something unknowable about them; their presence is always somewhat enigmatic, served only by the gilded sheen of their music which remains ornate but, crucially, as approachable as ever.

Album number three is her finest, and most topical, yet.

Woman is a really good record and an accomplished, confident body of work, but it may leave those hankering for something with more venom feeling a little impatient.

Mayer has always had an ability to weave the richest dancefloor cheese into forms both experimental and emotional, and here he’s chosen exactly the right people to amplify different sides of his music.

The album’s percussive moments are perfect for sunny festival slots. Elsewhere, ‘London Lights’ is comparatively relaxed, though its slow-burning synth-line stretches into club territory, and the expansive sonic landscape throughout ‘Black Prism’ could be a James Blake cut.

Strings also form the structure of ‘Fuel The Fire’, one of the album’s standouts. And then there’s the ominous ‘Paradise’, which places light and darkness side by side in a tremendous exercise of juxtaposition. That same balance is present through the album and, combined with Illum’s knack for making everything sound so exquisite, makes it a superb little record.

Mixing organic instrumentation, such as the ethereal guitar of ‘Vision Trail’, this album laces its cuddliness with melancholy.

Other tracks have a steady kick and soulful samples, but these are made glitchy and trippy in the style of classic Akufen (see ‘Come Close to Me’ and ‘New Love’), or have wonky synth tones that blurt out of the mix (‘Je T’Aime’, ‘L.U.V.’). And the downtempo tunes that surround them also swerve off their expected tracks and into psychedelic and deliciously weird territory. This is precisely the sort of confounding of expectations we love to hear, and bodes well for a long, interesting career.

Witty, conceptual, original and above all both musically exciting and enjoyable, it’s an understatement to say that DVA’s second album NOTU_URONLINEU is mature.

Make no mistake, it’s Jaar in microcosm: a groundbreaking artist using all the weapons at his disposal in an attempt to move you. And trust us, you will be

In particular, the beautiful and ambient narco-breakbeat of ‘4am Exhale’ and swooning downtempo of ‘9 Elms Over River Eno (Channel 9)’ are two gentle, aural hugs from these two esteemed purveyors of sonic sunshine.

The influence of earthy sub-Saharan blues is readily apparent on the choppy fretwork of ‘Walrus’, and the raw loops he creates by on-the-fly sampling have universal appeal. Similarly his voice, with its soaring inflections and echoes of Sting and Jeff Buckley, is a hugely effective tool.