He’s not lost any of his individuality, with the same rich layering, eerie but enticing voices and general sense of five-dimensional spiritual uplift that ‘Outmind’ had.

During the more hurtling crescendos the arrangement gets a little cluttered and abrasive, but on the whole, Walking Lines is a notable addition to the shoegaze category.

In short, Chase & Status remain fierce and on form.

If you’re a little refreshed and in the midst of a heartfelt festival singalong, things might sound different. But it’s hard to get caught up in some of the grandiose gestures on offer here.

While it could have been clipped of a couple of tracks, overall the devil is in the glitchy, Fever-ish new details--and Dave has rarely sounded better.

An oddity, sure: but a fun one.

Funchess' extraordinary voice will get much attention, but this is the full package.

This is his first proper solo LP project since ‘Saturnz Return’, and it’s brilliantly, bloody-mindedly Goldie: a slew of deep d’n’b grooves offset by beatless lounge-blues arias and glamour-soaked jazz club noodlings.

You get gold-plated productions that will stand the test of time.

Some of his best yet.

[A] collage of raw, percussive grooves that combines post-punk, performance poetry, analogue synth explorations, crypto-techno and acid. It’s challenging, yes, but endlessly hypnotic, too.

Glow is an epic achievement, an album that bolsters its disco-flecked gems with 80s funk, Euro synth-pop and chunky 90s house tropes.

While it’s hard not to view the five solo instrumentals as some of the strongest work here, overall Getting Closer is well worth some private investigating.

[An] ambitious, oddball, lush, relentlessly sexy electro-funk and twisted disco record.

Nearly 30 years in the game have not withered them a jot.

There are some moments of absolute beauty here but all too often the vocalists don’t bring the character of a Horace Andy or Tracey Thorn (or indeed 3D or Daddy G), and overall it all feels a bit slick.

This remix compilation is a Who's Who of the electronic left field, but doesn't quite retain the character of the album.

It’s another master stroke from Cosmin. Faultless.

Honey is an energetic and youthful love letter to Katy B’s clubbing roots.

An album that’s underpinned by atmospherics that flicker between stalling and soaring, Abysma is blissfully evocative from start to finish.

Reminiscent of a clumsier kind of guitar-drums-bass (plus synths) arrangement, the only remnant of Hung’s Fuck Buttons days is the privileging of drums in the mix. The rest of this unexpected foray is a trip into a post-punk and synth-pop past that needs no repeating.

Ibifornia is a lush, exotic album with star-studded collabs which sounds as inspired by the jungle as it is by the dancefloor.

Sticking with a winning formula can be commendable, but this is pales in comparison with past glories.

Their darker second album leans more towards mid-80s baroque-pop.

There are times when it does feel a little dry, but it’s still an album that’s definitely deserving of your time.

It explores a plethora of bold sounds and styles with a distinctive ethereal edge--and just a touch of delectable curios

A super-satisfying second LP.

It's imaginative and endlessly intriguing.

A richly listenable collection.

Toddla T delves into new territory on his first release since 2012, fusing elements of gospel (‘Ungrateful’), funk (‘BlackJack21’), reggae (‘Foundation’), grime and dubstep (‘Foreign Light’). It’s a brave move to incorporate so many styles but, on the whole, it works.

The less fluffy tunes are the best: ‘Elevate’ and ‘Go All Night’ both have old-skool house elements and a jacking groove that mean there’s more to this LP than a collection of festival sing-alongs.

As expected, the new offering from Oizo is a revelation--no-one quite does it like him. Now, with the help of his friends, he’s created another nigh-on masterpiece.

Sometimes great, often fun, but mostly quite confused, it’s not a focused LP--though it’s certainly an expression of the oddness of 2014.

Having always been a master at transcending genres, he makes sure his new album includes something for every musical taste.

While you could argue that Soul Clap have made better tracks than the 13 on offer here, there's no doubt that EFUNK is an enjoyable party album filled with jovial invention and several major tricks up its sleeve.

Their second album has a cosmic disco groove ('The Following'), thought-out harmonies ('The Unknown Faces at Father James Park') and electro- pop moments ('The Right One'), creating the kind of warm glow you may get from a house party in a log cabin.

The chemistry between Agius and Redway is palpable.

The only trouble is, it all feels a little... dated.

It's not 100 per cent coherent, but especially if you get the bonus instrumental disc you'll find proof of an important talent spreading his wings.

Unashamedly one-dimensional, this mix will continue to divide.

It finds the Welshman departing even further from his garage roots in favour of a more visceral warehouse sound.

For large parts, it’s funky, luxurious and giddy, with the Tony Allen Afrobeat collab ‘2nd Chance’ just the icing on the cake. A pleasant surprise.

A total contrast to 'Banquet' and 'Two More Years', die-hard fans may need to give it a few spins, but in daring to reinvent themselves, Bloc Party show an impressive evolution.

This debut from Tinie Tempah producer Labrinth sits comfortably in the Kanye West school of autotuned mid-youth crisis, yet this album isn't without merit.