Amygdala marks a return to the LP format for DJ Koze after an eight year absence. Perhaps aware of the weight of expectation, the Pampa Records co-founder and revered minimal house figurehead has enlisted a star-studded cast of collaborators to pitch in on the album. Contributions come from across the electronic music spectrum, ranging from Apparat’s ethereal electronica to Detroit techno-pop maven Matthew Dear. But one of the most appealing collaborations comes from Canada’s Dan Snaith, aka Caribou.

Caribou has, of course, had his own flirtations with house music in recent years. 2010’s Swim saw the producer’s feather-light vocal ride over a ramshackle pulse, while an album under his Daphni alias last year was aimed squarely at the dancefloor. This isn’t his first outing with Koze, either: the latter remixed ‘Odessa’ in 2010, to gorgeously twinkly effect.

Caribou seizes the chance to return the favour on the light-footed ‘Track ID Anyone?’. The title may be a barbed reference to the web generation’s pathological distaste for the unknown, but the warm, mellifluous pads and kalimba-like tones sound anything but malicious. Caribou’s vocal is beautifully diffident as he recounts his weekly routine, paired with a gentle horn section in the latter half. ‘So far, so good’, sings Snaith; here’s hoping the rest of the album reaches similar heights.

Amydgala is due for release through Pampa on March 23.

Baltimore’s Maurice Fulton is a man of many guises. The ex-pat producer - currently living in Sheffield - has just released his second album as Syclops: an ambitious blending of live and electronic sounds released under the aegis of a fictitious three-piece band. A Blink Of A Eye is a robust affair, showcasing the producer’s taste for hard-edged, futuristic machine funk and knotty jazz fusion.

But Syclops is far from Fulton’s only outlet. In a career spanning 15 years and innumerable aliases, the famously publicity-shy producer has touched on practically all corners of house music and beyond. If there’s been a recurrent feature of Maurice Fulton records - aside from those irresistibly chunky rhythms - it’s a knack for reframing pop for the club environment. In Fulton’s hands, so-so songs become dancefloor dynamite, their formerly-forgettable melodies recast as rallying cries for dancers across the underground - a fact best illustrated by his 2006 remix of Alice Smith’s ‘Love Endeavour’.

It’s this approach that Fulton draws on for his version of ‘The Fall’, the lead single from maudlin LA Soulsters Rhye. As usual, Fulton’s remix is streets ahead of the original, replacing the dreary politesse of its piano-and-drums arrangement with steely synth bass tones and a mean disco thud, while the vocal takes on a newfound sultry eroticism. After 15 years in the game, it seems Fulton’s magic touch is far from diminished.

A Blink Of A Eye is out now on Fulton’s own Bubbletease label.

The Invisible - the brainchild of Jessie Ware collaborator Dave Okumu - represent an interesting development in the dialogue between contemporary British jazz and the pop world. The trio have released music through Accidental Records, the label run by Matthew Herbert - whose own jazz-electronic hybrids were a highlight of the last decade. All three members have a jazz background, and bassist Tom Herbert is also a member of Polar Bear, whose playful, fearsomely intelligent mongrel music earned them a large crossover audience in the mid noughties.

Of course, jazz musicians have a long and storied history of bringing their formidable chops to bear on pop music with disastrously overblown results. What sets these artists apart is not only the leftfield perspective that their unusual backgrounds afford them, but the lightness with which they wear their influences. The Invisible invite comparisons to Radiohead as much as anyone - there’s a similar ornate approach to chord progressions on display, and a subtle overriding angst - but their brand of expansive pop music has an appeal that’s distinctly their own.

The trio’s second album, Rispah, saw them adopt a more panoramic sound, with synths frequently drifting into the foreground. Its eponymous predecessor, though, feels like a purer proposition: this is smart, concise guitar-pop, draped with delicate curlicues of electronics and presided over by Okumu’s creamy vocals. The previously unheard ‘Into Me’, with its muscular kickdrum underpinnings and dense, gaseous piano lines, has been unveiled to mark the reissue of The Invisible later this month, with new remixes from Joe Goddard of Hot Chip, Micachu, Kwes and Matthew Herbert.