It’s an effortless comeback, then, that almost plays like a greatest hits set.

Myriad magical traditions and exemplary musicianship are boiled up in a big vat, like a transcendental potion.

Utilising his own crude, handmade instrumentation to full effect, Punish, Honey sees Vessel firmly digging heels further into his own brutally rewarding corner of noise.

The rollercoaster ride of his delivery makes it an enjoyable experience rather than a textbook headache.

Clocking in at almost 72 minutes, Sukierae is a bloated, if lulling, listen.

Accomplished again, then, and greatly engrossing throughout. It’s just lacking that crucial aspect of singular appeal to stand aside from a fiercely competitive pack.

Dark Sky, three shape-shifting bass heads from London, have turned in a belter of a debut album.

With more attention paid to plucked triads and syncopation than packing any sort of resolute punch, This Is All Yours just can’t see the wood for the trees.

A searing, soul-searching jewel.

From opener ‘Cheap Talk’ onwards, this is never anything but the purest DFA1979, served flaming hot. Which was just fine back when--but it’s definitely a disappointment to not hear the band even hinting at an expansion of their stripped-raw sound, just deep-groove bass and heavily hit drums.

Every track is excellent, ruthless, relentless.

Despite A New Nature’s ominous sound feeling hackneyed at times, EATW retain the fearless, forward-thinking ethic of their first two records through themes of finding strength in adversity, impassioned vocals and unpredictable sonic outbursts.

Brill Bruisers should finally see the band obtain the commercial success to match the critical acclaim they’ve accrued over the course of their last five LPs, as this is an almost perfect soundtrack to what’s left of the summer.

This LP is hopelessly devoid of ideas.

This is principally a marriage of simple, forlorn fretwork and O’s deliciously otherworldly vocals: impossibly, she manages to sound simultaneously seductive and indifferent; emotive yet also strangely detached.

A fine balance has been struck--along with no little gold.

Shelter is a haven that tugs you out of your comfort zone.

Sure, it’s not as good as ‘Turn On The Bright Lights’, but c’mon, it was never going to be. But as an exercise in getting back to where you once belonged, El Pintor is highly successful.

Perhaps lacking the urgency or unity of the label’s first instalment of 10th anniversary comps, Hyperdub 10.2 nevertheless successfully celebrates the diversity of a neglected side of its output.

The sugar is here, but teeth will get itchier.

They’re worth the minor missteps along the way.

It’s all over the place stylistically, but then no one ever said that feelings had to make sense.

An electrifying introduction to the future of the blues.

Lyrics like “I’ll stay young to be saved” (‘Be A Kid’) come across as self-indulgent and frontman Sam McTrusty’s reedy vocals get lost in menacing tracks like ‘I Am An Animal’.

It’s okay that this seventh album has no obvious breakout or festival showstopper.

Drenched in trademark rosy glow, it’s all tender and consolatory.

The pair still aren’t in that DFA1979 category of combatively brilliant, just yet.

All one can do is let the album play through again, though, is indicative of the great power this exhibition of completely engrossing, electrifyingly ambitious avant-dance(hall) possesses.