The 2014 breakthrough of the London duo Whilk & Misky: a barefoot, bossa-nova-tinged acoustic song with handclaps for percussion, played on Zane Lowe's Radio 1 show and later carried onto dance floors by a Solomun remix.
A flirtatious slice of French pop-funk house from Guillaume Atlan's project, two voices trading lines over a springy bassline until the title becomes a shrugging, grinning verdict on the night.
A brassy, technicolour psych-pop stomp from Denmark, Mette Lindberg's helium-bright voice riding horns and a strutting beat that make heartbreak sound like a parade.
Sun-bleached deep house with a soul hook: Robin Schulz builds a sweet, bouncing groove around Francesco Yates and an interpolation of Baby Bash's 2003 'Suga Suga', a number one in seven countries in 2015.
A Skillz chops John Deacon's immortal bassline into a strutting breakbeat workout, keeping Freddie Mercury's swagger front and centre while the drums hit like a b-boy battle.
Paloma Faith's brassy, swing-tinged retro-soul romp about a world turned on its head, with a stomping rhythm section and a voice that relishes every theatrical flourish.
N.E.R.D and Clipse close the Neptunes' Clones compilation with a keyboard-driven rap-rock hybrid: a Queen-sized arena chorus against fast-firing hip-hop verses.
A short, sharp electroclash track from Mount Sims' 2008 album Happily Ever After, with André Lang's live drums under the synths and the underground punk singer Jessie Evans adding saxophone.
Deadpan vocals, buzzing analog synths and a drum machine with attitude: Good Service is Mount Sims serving early-2000s electroclash with a sly, suggestive grin.
Nearly eight minutes of sleek, disco-tinged house: Marcus Marr's springy production and bright synths carry Nick Murphy's smoky voice towards a long dancefloor release, the opener of their 2015 EP Work.
Jain's light, sing-song voice, her own drum programming and Yodelice's bass and trombone carry a small, sunny plea for a better world, the title track of her first EP in 2015.
Jain's debut hit hides a lovesick lyric under a happy bounce: chugging guitar, bashful horns and double-tracked vocals, under three minutes of Afro-pop lightness that went to number one in France.
The closing song of Jain's 2015 Hope EP, produced by Yodelice: her bright, slightly mischievous voice riding a homemade-sounding beat that mixes pop simplicity with the rhythmic colours of a childhood spent between Dubai, Congo and Abu Dhabi.
The Soulchild Remix turns Gorillaz's woozy 19-2000 into a bright, bouncing cartoon road trip, a 2001 UK top-ten single and the title theme of FIFA Football 2002, with a chorus everyone remembers: get the cool shoeshine.
Glass Animals' breakout is a slow, syrupy jungle of a love song, Dave Bayley's murmured vocal drifting over finger-snap beats, soft guitar and a bassline that oozes.
Gilligan Moss stretches Glass Animals' sticky love song into a glistening electronic daydream of chiming percussion, warped vocal slivers and a slow-blooming groove.
A rubbery, swaggering tech-house stomper from Berlin's Format:B, built on a fat bassline and chopped vocals from Shorty Long's 1966 Motown single Function at the Junction, cut down to a radio-sized strut.
A plucked marimba-like loop, a dancehall bounce and a flirtation that starts at the bar: Shape of You is the minimal pop machine that took over the world in 2017.
Cléa Vincent turns Ace of Base's 1992 hit into breezy, homespun French synth-pop, trading its reggae-pop strut for a dreamy, lo-fi groove closer to hip-hop and R&B.