In the end, you get 44 minutes of solid beats and bars and a handful of songs to put on your best-of playlists for Savage and/or Metro. That’s not the worst thing, but on Savage Mode II it feels like there’s both too much and not enough going on at once.

It’s an electronic album from DJs who love to sample the music that inspires them, and in the past they’ve successfully done, furnishing us with some of the most golden-crisped memories. With some trimming, We Will Always Love You might have been a victory lap, but instead it feels like The Avalanches would have been better off taking another decade to fine-tune it.

While it is hard to pinpoint anything wrong with Sound Kapital on a micro-level (and a great many people are likely to be happy with the collection), the resulting picture of Sound Kapital as a whole is one of complacency, making the album easy enough to like, but difficult to love.

In the end, SOPHIE the record is a fitting tribute to SOPHIE the artist because of how well it highlights the ways in which she can never be replaced.

It's when I keep in mind the idea of Pull It Together being an album for her daughter that I enjoy the album most, as it's in this light that it sounds at its most charming and likeable.

It's an intermittently engaging set of ephemeral longevity, ultimately a little too nonspecific and slipshod to be considered alongside the rest of his full-length catalogue.

Sure, they may borderline on gimmick at times, but Born To Die has its own sound, and that is more than we can say about a lot of music that is presently being released.

His newest resembles an above-average B-sides compilation: something to tie over the diehards while they wait for his next official album.

There are echoes of the Spice Girls, Le Tigre, The Ting Tings, Kero Kero Bonito, and country-mates The Presets here, but despite its musical and stylistic nods to other acts, it still feels fresh – which is mostly down to the relentless delivery. But even at a respectable 39 minutes, it still loses steam; any album with this much energy would.

Continue as a Guest hints at what a more purposeful turn could look like for the band.

Although this may be a relative disappointment it should not be looked at as the start of a decline, but merely a curiosity in the collection.

It does sound a lot like oOoOO and under scrutiny with A-B comparisons, Our Loving Is Hurting Us is pretty starkly more of the same.

For all its spookiness, Confrontations is ultimately a pleasant listen that goes down easy and doesn’t leave much of a impression.

Where GREY Area was all about Chinese restaurants, squats, dark back alleys and illegal warehouse clubs, Sometimes I might be introvert is about office buildings, record shops, bedrooms and stage productions. It’s daring and conceptual, but lacks physicality, unity and focus.

In The Runner, Boy Harsher deliver variety for new listeners and for devoted fans, something new so they can continue to experience the band live but safe behind the big screen.

Side B is not a total miss though, nor even a miss at all. Once Mathers stumbles through this opening salvo and the awkward bits of “Tone Deaf”, the album settles into a comfortable space, and even becomes enjoyable.

There is certainly potential here, but this first Bloodmoon record definitely feels like a testing ground. There is an uncertainty in tone, and a clashing of sensibilities that is thrilling at times, awkward at others.

They write very strong songs, but aural satiation sinks in over Bones‘ 48 minute runtime.

It’s as though Jay is playfully toying around with genres without building a fully cohesive record. There are plenty of lovely moments on this LP, but without a clear structure it never truly acts as one.

Much like their genre, Clock Opera's music is nothing new, but has charming roots.

Everyone Else is a Stranger might hook in a few new fans, but they will find better work with further exploration into Lindstrøm’s discography. For everyone else, all you need to know is that it’s just Lindstrøm doing what he does best, which is no bad thing from space disco royalty.

From The Pyre isn’t quite the stunning continuation they hoped for, but with optimism, that ecstasy is still somewhere down the line.

The album struggles to find a particular voice, and make any sort of statement, leaving me more than a couple of steps off using the album's own title to describe my opinion of it.

Elements of Light ultimately feels like a stop off between Black Noise and whatever Pantha Du Prince has waiting on the horizon.

This is frivolous music best enjoyed as such. The trick to Sofi Tukker’s success is not to take them too seriously, even when they do so themselves.

These six instrumentals are pleasant if not pretty in the usual way an Andrew Bird instrumental track might be.

Like Earth as a whole, "The Children" doesn't make for the most pleasant of listening experiences, but it does represent another evolution in Richter's artistic progression.

As a whole, Tomboy is a success, but its short runtime and somewhat underdeveloped arrangements leave the impression that Jurado was more concerned with just getting this set of songs released, rather than making sure they expand his extensive catalog in a meaningful way.