"If in doubt, smile and dance" is the agenda.

They forge a magicalworld of trippy vocal electronica.

The whole album drips with a palpable sense of lust and intensity.

It’s another LP from the Londoner exploring sense, sexuality and seduction, picking up where her 2012 debut ‘Playin’ Me’ left off.

There are a few tracks (including the two straight-ahead rap tunes and haunting closer ‘Suicide Pact’) where he does actually let the groove unfold naturally, but that just makes even more frustratingly clear how much better the rest of this record could be if only Shadow would just ease off on the tinkering and fidgeting.

For all its varied elements is all too clearly the expression of the demented but coherent vision of one man. You will find no better way to fry your mind this year.

There remains something unknowable about them; their presence is always somewhat enigmatic, served only by the gilded sheen of their music which remains ornate but, crucially, as approachable as ever.

Atmospheric, intriguing and emotional.

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.

Far from being austere, though, the cavernous riffs of ‘November’ or undulating synth pulses of ‘Phoenicia’ are like a warm blanket of comforting sound, while more direct and urgent Joy Division-esque kickers like ‘Complicated’ lurk elsewhere.

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.