If you’re in the business of making eclectic, influence-crunching electronica that’s rooted in live instrumentation, being invited to tour with Bonobo is quite the seal of approval. It’s not hard to see how 22-year-old Tom Leah caught the attention of his simian soundalike; there’s more than a passing resemblance in Werkha’s layered instrumentation and pattering beats, but Werkha packs more energy and dancefloor draw than the blissed out whirls of Black Sands or The Northern Borders. Elsewhere, another big name endorsement comes from Giles Peterson, which is not overly surprising given Leah’s interests in jazz, Afrobeat and soul.

Beacons kicks off with ‘Lapwing’, a jitter blend of jazz sax and soulful house that calls to mind the louche electro-swing of Parov Stelar’s work. If Jeeves and Wooster were on the dancefloor today, this would be entirely classy enough for their jazz-age cool. Underpinning it all lurks a fuzzy, ambient bass, tying the track together with a delicate, crafted feel. (It also has an endearing video starring middle-aged yoga enthusiasts – bonus points).

‘Moving with the Nuisance’ is slightly less successful in its jazz reappropriation, as an electric guitar stirs over a dubby, distorted beat and T.E.E.D. style layers of micro percussion. The vocals are slightly too generic (“Put your hands up if you came to party”) and the jazz/house fusion a little too laboured.

The pace is soon ramped up again though, as the EP’s apex arrives with the excellent ‘Sidesteppin’, a soulful house cut that is dominated by Bryony Jarman Pinto’s pure, unprocessed vocals. It’s a irresistibly crisp, silky track that builds into a solid groove, with a crunchy synth line and a beat that carries off the chorus’s claim – “I can feel my body rockin’ side to side!”.