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

Versions sees the Idjuts bring new life to a collection of sprawling, dubby disco from the vaults.

My House From All Angles, comes some 27 years after his first effort. Almost nothing has changed in the interim: it’s all about drum machine, acid riff, repeated vocal, the odd disco loop--job’s a good ‘un. Kids a third of Dunn’s age go mad trying to create retro house, but he does it effortlessly, because it’s all he’s ever needed to do.

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.

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.

Our only gripe is with its brevity--29 minutes is too short.

On 'Franks Kaktus' they squeal and screech against skirls of powerful blues strumming and thumping congas; things calm down on 'Flickor Och Pojkar' ('boys and girls' in Swedish), whose vibes and languid bass recall classic Air.

Patten’s third release is a whistle-stop tour of the UK’s hardcore continuum, never pausing long enough to get bored.

Tension comes through not only in the album’s titles--‘Storms’, ‘Screens’ and ‘Eco Friend’--but in the tone of the tracks, where at one moment a song delves deep into an urgent, synthetic cadence, and then expands into an ambient sense of the vast beauty of the physical world.

Like the sprawling city it celebrates, The Road: Part One is endlessly eclectic.

He's hijacked techno, destroyed its propulsion, and created something intriguingly spaced out.

Zombie Zombie are clearly aiming for the lysergic head as well as the ecstatic feet and the end result is an organic concoction that doesn’t disappoint.

Brighton six-piece The Go Team! imbue Semicircle with the high-octane vibes of a marching band taking on block party jams, Northern Soul and cutesy indie pop. It might sound crazy, but it works beautifully.

It's the instrumentals that impress the most.

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

Take a cult Bristolian label and add an African influence from Italian musician Clap! Clap!, and we might just have the best fusion record to kick of 2017 so far.

There’s head-melting brilliance here, but he makes you work for it.

The tracks without vocal turns are left feeling slightly lacking, but the killer outweighs the filler.

There’s nothing new here, but you know what? That’s more than fine.

The momentum does slacken, though, and the album doesn’t feel particularly structured. Still, songs such as the fierce ‘Scum’ and the stately ‘No More’ are worthy additions to the band’s catalogue, and have far more grit and vividness than you’d expect from any band 37 years into their career.

It’s hugely fun and definitely full of Human Energy, ensuring that it’s an album well-named.

[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.

Providence is a jittery robot trip-out, but it’s full of juicy strangeness that will find favour with both fans of both techno and oddball electronica.

‘Love Sick’ is filled with sensual longing and ‘Mind Games’ screams out anger over crashing synths. ‘Trainwreck’, meanwhile, is an instant banger with Banks’ aggressive lyrics structured around trap-infused production. Elsewhere, though, soul-baring ballad ‘Mother Earth’ and stripped-back closer ‘To The Hilt’ are more easily forgotten.

It takes us back to the late 00s, when the likes of Martyn, Sepalcure and Joy Orbison were bringing lushness and melody to (post) dubstep--and that’s no bad place to be at all.

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.

We The Generation is full of catchy, radio-friendly earworms tailor-made for maximum impact at their blistering live performances.

With a new band alongside him, he fills The Animal Spirits with haunting brain-melters that fuse modular synths, jazzy musicianship and trance-like rhythms.