While ‘Loving Life’ channels Jermaine Jackson’s ‘Do What You Do’ but takes it to church rather than the charts. 'Fast Lane’, meanwhile, drives straight to the pop pulpit with a chorus Jim Steinman would be proud of.

A brilliant, breathlessly exciting, sunshine-dappled album of melodic, electronic alt-pop.

Energetic, endearing and still unlike anybody else, Sleigh Bells continue to unapolegtically pummel your senses.

Edited to its very essence, the album is only 36 minutes long, but sometimes that’s all you need.

Should I Remain Here At Sea? and Taste stand as proof that "Mastermind, Islands" should be Thorburn's lead credit. [No. 131, p.57]

The music is more emotive, the confidence sharper, the production bolder. ... All That Must Be is going to be lodged into key craniums for the rest of 2018.

The results are atmospheric, rough around the edges but captivating, unique and extraordinary.

It’s an altogether different beast: a gigantic, wondrous thing to get lost in.

The key, though, is that each track will slot effortlessly into their famously hypnotic live shows.

The debut album from mysterious group Babyfather features bucketloads of frontman Dean Blunt’s devilish humour. But like all the best satire, it’s also steeped in grit and realness.

It’s just him, a piano and a bunch of songs (some original, some standards), and they feel so raw that listening to them borders on the uncomfortable.

It drifts from merely being waftily pretty to really elegant to sublime and back with the greatest ease, which can be frustrating--but those sublime moments are enough to make you come back for more.

Opener 'Halo' finds Albarn at his melancholic best, while 'K-Town' demonstrates a vitality that often seems missing from African music in its WOMAD-friendly guise.

Set them around rhythmically experimental dance tracks (‘An English House’, ‘Community’) and you have intelligent evolution.

Sometimes it's slick, sometimes it's heartbreaking, but it definitely sounds like it'll suit a festival scenario with lasers on lock... and it's definitely the sound of an artist finding themselves.

While 2010’s Compass--produced by Beck, and festooned with stellar guests--was about electronic folk and scuzzy pop, this new record’s got the funk.

The sound of a master at work.

Mixing organic instrumentation, such as the ethereal guitar of ‘Vision Trail’, this album laces its cuddliness with melancholy.

‘Superfresh’ is less than the sum of its disco parts, though, while the less said about ‘Hot Property’ the better. But it picks up with ‘Something About You’ and ‘Summer Girl’, while ‘Carla’ is an electro-funk classic.

On Electric Lines, the fine moments are bountiful.

Overall, the hybrids hold together: as their No. 1 single ‘Feel The Love’ has shown, this may well be an experiment with the mainstream that pays off big time.

The cuíca-driven balearica of ‘K16 del 1’ and avant-disco drive of ‘On U’ are standouts on an album of psychedelic grooves and tribal rhythms that unfurl with shimmering intensity.

The Keychain Collection is a sensuous LP of love songs and well engineered instrumentals.

Nick Weiss and Logan Takahashi's second coming finds the youngsters exploring a more symphonic sound.

The results are like a retrospective charting 25 years of innovation in UK club music.

The whole album drips with Caribbean zest, the tropical bounce of 'Can't Get Enough Of Myself' and the pumping 'Rendezvous Girl' balanced by eccentric slowies such as the oddball power ballad 'Run The Races'. There's plenty more too, candied but with class and pop bite.

It eventually drifts into spaced-out blissfulness on the final four tracks, bringing a melodic ear-trip to a close.

Trippy instrumental ‘Traanc’ is probably the most quintessential Audion track, while ‘Destroyer’ and ‘Sucker’ scream Circoloco 2016 until their production lungs run out of steam.