This is a Chinese whispers record, one that has been passed through enough cultural and aesthetic filters as to make it utterly meaningless.

It’s Too Late is a woozy, scattershot thing--Late Night Drake, if you will.

James never really follows it through.

Even if his chops as a producer aren’t in question, the writing on Xen is too patchy to fully realise Ghersi’s ambitions. Still, it’s hardly lacking in ideas.

It’s a record that masks its lack of content under swathes of super-hip production tics.

Adrian Thaws is not without its moments.... Elsewhere, it’s a story of misfiring ideas and botched experiments.

My Everything isn’t quite everything, but it’s enough.

By and large, Overjoyed works when it rocks--the snarling chugga-chugga of “Do It Nation”, the nursery-rhyme feedback shredding of “Overjoyed And Thankful”--and falls a little flat when it doesn’t.

Up and down we go, and each time the adrenaline rush lessens.

How you find Document And Eyewitness will depend on your appetite for artistic bloody mindedness. Still, if you’re a fan of Wire, you’ll know it can be moreish.

It’s a creditable enough compilation as a whole, although a couple of relative oldies, Burial’s ‘Shell Of Light’ (from 2007’s Untrue) and DJ Rashad’s ‘Only One’ (from last year’s Double Cup) rather make me question the aims of the exercise.

There’s no pandering to musical tastes, no whimsical experimentation, but instead real unity between a song’s musicality and meaning.

EX is not awful, but it’s certainly not good either.

In My World is a counterpoint to McQueen’s recent work: while the introduction of vocals reveals another side to Matthewdavid, the humour--too often overplayed--is its weakness element.

It’s an honest album, and while you may not skip back to all of it, its jagged pieces all have their place.

It does occasionally miss the mark, but that there are any hits to speak of at all shows that Eno and Hyde have a good deal more to offer than the uninspiring gruel of their debut.

The album’s periods of gestation and decomposition so outweigh its moment of flowering that a full listen is much more a chore than a pleasure.

It’s all genre-splicing and too little genre-defining, and I can’t help but think that Martyn, with both his musical knowledge and his production chops, is capable of something better.

In The Lonely Hour is an album made by an artist who spent years waiting to be famous, but when he got there, found that he didn’t actually have that much to say.

There’s very little sense of a uniting personality, and you’re left wondering how genuinely great an album H&LA might make, how much more they would feel like a band rather than a conceptual project, if they cut loose as much as they do on ‘The Key’.

Despite her Instagram and “turnt-up” references, the bounce brought to the album by of-the-moment hitmakers like MikeWiLLMadeIt and Hit-Boy and her undeniably personal subject matter, the record just doesn’t have the same candid, bold edge that characterised Beyonce’s huge statement.

Generally the album hits all the right notes, with great vocals and solid sounds, but at times you may be overpowered by the sickly-sweet nature of the beast.

Indie Cindy plays just like one of Black’s solo efforts, but with better session players: good, yes, but never great.

There’s often a disconnect between the production and what’s going on vocally, the two elements at times even working at cross purposes.

Weird Drift is a little laid back, lacking the vertiginous drama that you find in the best synth-pop, and I’m more inclined to stick with another recent Planet Mu foray into the form, Miracle’s overlooked Mercury.

More of a step sideways, then, but one which keeps us very much interested in what comes next.

There are moments of dynamism, like the excellent quivering steppers’ bassline in ‘Time’, or ‘In’’s disemboweled grime-pulse sounds. But even these tracks feel weighed down by a relentless paranoiac mood that soon begins to tire, their gestures sparse and restrained in a manner that’s presumably meant to be evocative, but often just feels unadventurous.

If you dislike fidgetty edits and squealing high frequencies fine--go and listen to Eleh--but if you like dance music crashing into the most mainstream of the mainstream on a skateboard, being cheeky, rude, funny and giving you a massive rush when you listen to it, then here it is. Recess. Enjoy.