Tosca's first album, Opera, was something of a hit-and-miss affair. While some tracks were bona fide, genre classics (debut single "Chocolate Elvis" has been hugely influential), others meandered along with no particular purpose. With Suzuki, Richard Dorfmeister and Rupert Huber appear to have found their rhythm. The chilled-out formula developed on Opera is explored in greater detail. Heavy dub sounds and chunky downtempo breaks nestle side by side with gentle bossa beats, sun-kissed guitars and heavenly vocal snippets. Each track is well defined, delicately crafted and excellently produced. The galloping bossa nova of "Boss On The Boat" and warm organ sounds of "Honey" are particular highlights, while the tinkling pianos and sun-drenched guitar solos on "The Key" evoke images of infinite Ibizan sunsets. Tosca's warm and comforting soundscapes are perfect for winding down after work and excellent for banishing everyday stress. Few tracks stand out, though over the 70-minute duration you'd hardly notice. Taken as a whole, Suzuki is an intoxicatingly horizontal, stoned groove of some distinction. [+]

Radioboy. Doctor Rockit. Wishmountain. UK producer Mathew Herbert is nothing if not multi-faceted, once again braving the dance music category police with Bodily Functions, a breathtaking album that takes the concept of his PCCOM manifesto a step beyond 1998s Around The House. PCCOM, or the Personal Contract for the Composition of Music, is a self-penned 10 Commandments that bars the use of sampling other people's music or the use of keyboard presets in favour of the utilisation of found sounds alongside more traditional instrumentation. As the title hints, much of the album is built around audio culled from both friends and strangers, in practice this includes percussion created from the contents of vocalist Dani Siciliano's bag right through to the use of Matmos' medical exploratory microphone to record, amongst other things, the circulation of Martin Schmidt and the laser-eye surgery of an unknown accomplice. Thankfully, those of a squeamish dispossession need not tune out, as these sounds are assimilated into some seriously accomplished grooves that range from the boogie-down beats of "Foreign Bodies", shuffling house of "Suddenly" to the more traditional song structure of "I Know" and "You Saw It All". This is competent, confident and, most importantly, listenable stuff. -Kingsley Marshall.