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

This is the record Zomby’s always promised to make, and it’s everything we could have hoped for.

Get ready for shimmering, disco-dipped house and digital soul, long German titles and impish unconventionality.

An album of magic and wonder from the mystical mavericks of Norwegian disco.

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

It may sound dark, cold, gothic and rough around the edges compared to software-produced music, but these sounds have proved over the decades that they will set your synapses alight with delight.

Dive in and experience Slugabed's amazing imagination for yourself.

Most electronic acts, when asked to sound-track a film, dump pop sensibility in favour of atmospherics, but we're happy to report that, as astute players for over a decade, Air have gone the other way: to the moon and back.

Bolder and with increased confidence, I Remember sounds more succinct and complete than 2013 debut ‘Body Music’.

This is a largely dejected and sombre affair that is perhaps only for those of a darker disposition.

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.

Like a warm embrace on an icy morning, the pair’s captivating harmonies come together effortlessly on debut album Silhouette.

Mostly it's party music, pure and simple.

Soulful, grown-up, dancey synth pop is hard to do well, but Toro Y Moi nails it.

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

There are certainly moments of huge elegance and even dancefloor nirvana here, but the rigidity seems to stifle some of the magic in comparison to the album’s predecessor.

All in all, hugely ambitious enjoyable fun.

‘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.

With no twee gimmicks, vibrant colour and bold substance are present in spades, resulting in an album that’s nothing short of a masterclass in left-of-centre dance music.

It's rare an album creates a world so weird yet so coherent and absorbingly musical, but DVA has done it here; the only reasonable response is to take a deep breath and dive in.

Fun, if a little two-dimensional.

It can be difficult listening, but stick with Prinz's half-spoken vocals and Horn's snaking basslines, and your reward is an album of raw, rhythmic energy.

As culturally diverse as it all is, it’s the tonal depth of the assembly that creates an engaging synergy.

This album trades in bleakness, but there’s beauty in it.

Opener ‘Miami Theme’ sets the tone, Erika Janunger’s voice floating over brooding piano chords, like a Lynchian club scene.

Whether it’s in the tribal drums, sensual vocals or huge range of instruments, you’re unlikely to hear a more diverse collection of music this year.

Slightly dark and just a little experimental, this is quality, innovative, of-the-moment dance music.

His new LP feels like a return to the resonance of his earlier work.