Black Radio 2 is a good, albeit safe recording.

The Betas were a formidable live band, and the radio session tracks here are as good as, and sometimes better than, their studio counterparts. There’s little in the way of actual rarities, though.

Some may find something deep and spiritual amongst the cuts on Outside, but it just makes this reviewer want to stay indoors.

It’s precisely this collection’s dry, detached, robotic angles that appeal.

What the album lacks in genuine surprises--it features fewer floor-filling basslines than its makers’ previous LP ‘proper’, 2010’s dance-designed ‘We Were Exploding Anyway’--it more than makes up for in comprehensive consistency.

A fine sound indeed, but one that could have been better with a shade more variety injected into proceedings.

Drone Logic has peaks that dwarf its troughs, though, making Avery’s brave debut worth buying for its four best tracks alone.

Taking pleasure in the observations of daily life, ‘ilp’ comes bathed in highly saturated colours and rich textures.

This is written by someone who’s a kid right now, about what it is to be young right now. Consequently, this isn’t a “you” and “I” album. It’s a “we”, “us” and “them” album.

Most bands master a sound, but there’s the distinct feeling here that TOTS are merely vessels for a force operating somewhere beyond our comprehension of what can, and does, qualify as pop music.

A daringly deconstructed soundtrack of the spheres.

Repent Replenish Repeat is their most mixed work to date.

Although Lousy With Sylvianbriar lacks the violent eclecticism of their 2007 classic ‘Hissing Fauna, Are You The Destroyer?’, it’s a genre-morphing triumph that reveals new surprises with each listen.

This range of styles on New could have been distracting if not for the material’s solid foundations, spontaneous energy, and frequent naked emotions.

This set is teeming with energy despite its down moments, and demands to be played again in its entirety as soon as it ends.

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.

Interiors is an expansive, fiercely intelligent investigative work.

All dark atmospherics and empty space, Jaar’s spectral production for collaborative project Darkside creates the void where rhythm, and seemingly time, are allowed to infinitely float on.

A far darker piece than her debut album, this is a downbeat yet profoundly affecting second act.

Sleigh Bells might have got a little softer on us, but they haven’t lost their charm.

As his flow goes off at a regular double time that his chart-scaling peers can only dislocate their jaws for, Dizzee’s personality shrinks into a tediously shallow pool of female ogling, obeying your thirst and his latest holiday snaps.

It’s clear Danny is dealing with some demons, but his issues don’t dampen the mood.

‘It’s Never Over’ is this band’s best TV On The Radio impression, and ‘Porno’ almost goes G-funk: a pleasant surprise. But undercooked electronics, impotent rhetoric, too-familiar crescendo-ing structures and an overall feeling that this needs further post-production attention render Reflektor an entirely substandard album.

Bonkers in parts it may be, but Take Me proves hugely enjoyable.

As a whole, Breaks & Bone is a little samey, but as a showcase of one of Glasgow’s finest musicians, it’s a gem.

There’s no denying the worth of the latter sort, but the electrifying nature of the first cut comes as a bit of a tease, setting you up for a (albeit nicely ambient) fall.

She’s perhaps bringing the sweetest voice so far to Hyperdub.

Imitations comes at the right time of year: like autumn, it has a decayed feel. Yet, this is more triumphant than simply bleak.