Nottingham’s Kamal Joory seemed to very much enjoy the algebraic emotions of conventional IDM, but with Sellotape Flowers, his first full-length, he reached for and lost the chance to remold the scene’s flaws into something precious or distinctive. You could hear pieces of Reading’s Isan and the jazz stirrings of the Compost label in many of its tracks, “Eitiel” sounded particularly like early Alex Paterson stuck in a basement tinkering with conceptual narrative. But if Sellotape Flowers was refreshingly sentimental, it was equally jumbled and difficult, perhaps too much so for a step of real importance. – Dean Carlson