Ultimately, for those who find Travis Scott’s work to be style over substance, ‘JackBoys 2’ isn’t going to win them over. For those in thrall to the style, however, there’s much to chew on.

As with all their output, ‘Ohio Players’ is a few tracks longer than necessary (the cover of William Bell’s ‘I Forgot To Be Your Lover’ is superfluous) but otherwise finds the duo in spirited form.

Evelyn offers up the wiles and wisdom of a neighbourhood good guy, or more accurately, the distinction of an original Warp beat sage, providing contented listening caught lacing up a shelltoe.

It’s a declaration that cocktail hour is officially over, having also ditched any collaborations for this knotted beat scene bow, while still able to rise up in glory like sun pouring through a stained glass window (‘Tiptoes’) and sport the luminosity of a screwball gent just when you think the batteries are fading.

After an unimaginably tough year, Surfer Blood should reap the rewards of soldiering on. Inspiring stuff.

A solid return, there’s a lot to recommend here – for those familiar with Slow Pulp’s influences, or otherwise. Engaging songwriting with a real punch, we’re already looking forward to catching them live.

Despite the lack of progression from the first album to the second Take Control is a perfectly listen-able album--and perhaps album three will be where they shine.

As a whole, the album begins strong but unfortunately strays a little towards the end. Overall, Ali Barter’s follow-up to ‘A Suitable Girl’, is more than honest, more than genuine and more than just good music. However, it also has more than a fair share of missed marks.

If you sometimes need to reach for songs that make you smile, that deliver adrenaline or emotional balm, then you could do an awful lot worse than Everything At Once.

With 21 tracks on display, Lil Durk clearly has a lot to unload. He’s justified in utilising this length – he’s got a great deal to process, after all – but there are aspects that could be edited.

There’s a vision and attention to detail here that’s led to an decidedly individual record that, like a new love, shares a little more with you whenever you spend some time together.

The understated nature of the score makes it doubtful this will bag many awards or turn many heads but, never mind: grab some headphones and enjoy the ride.

SG’s talent as a producer, multi-instrumentalist and vocalist is undeniable, and it’s on these less predictable tunes where he demonstrates the extent of the originality and flair at his fingertips that he shows us his true potential.

Stars Are The Light is an aural journey, one which forces the listener to reconnect, or at least reconsider, their relationship with nature. In doing so, it encourages individuality and challenges one to break-up with the conventions of modern life.

It’s schizophrenic and really quite silly in places, Broke is never less than entirely entertaining.

Prone to playing one too many familiar games--the compressed vocals and the clunky convergence of beats ducking down--though as the sole Brit on Brainfeeder, you can’t knock him for being a team player.

The production is an expertly judged combination of radio-friendly pop and club-influenced, sparse trap beats. Iggy’s the real deal.

For a four-piece rock band from Texas, they still remain pretty difficult to classify and almost impossible to ignore. Play loud and enjoy.

Wanting more of something is hardly the worst criticism to be leveled at an album. With this long-awaited release, Santigold has once more shown the world she’s one of the game’s most unique, imaginative, and fun creators. It’s good to have her back.

Utterly lovely.

While ‘Leaving for Japan’ is a beautiful, delicate song with something of the Twin Peaks theme, ‘Don’t Follow Me’ and ‘Push On’ show, dal Forno is just as adept at creating drama from sparsely layered atmospherics and a forceful beat.

Though hit and miss, Brighter Wounds is a solid addition to the group’s catalogue.

With only a few elements, Kowton crafts expansive, diverse compositions that, while still being functional, take the idea of the dance floor in novel directions.

As palate cleansers go, ‘DON’T TAP THE GLASS’ does its job: a mash-up of shrewd and slinky dancefloor capers that dials back the conceptual overload and hits the reset button.

Typically rich, but this time, a playful outing.

This is enduring evidence that the purest, most interesting music inevitably comes without hefty production or marketing budgets.

It meets its pre-release hype head on, and comes away the winner.

To hear tracks like ‘Dizzy Dizzy’ or ‘Halleluwah’ hacked down to mere Can-ettes for the humble 7” format feels a little like trying to make sense of a vast painted canvass simply by focusing on, say, the top left corner. Once you get over that, with singles typically being the most accessible or marketable moments in a band’s trajectory, this collection represents a superb introduction to the Can catalogue for anyone lacking the willpower or patience to trawl their albums or the goldmine of material presented on 2012’s essential ‘The Can Tapes.’