More questions than answers, more problems than solutions, but with just enough moments of sheer brilliance to justify it as a release.

It’s sharp and serious but without the navel-gazing feel that sometimes makes ‘Appalling Human’ a difficult one to truly get stuck into.

The whole thing would have sufficed as a bonus disc rather than the standalone album it is.

The results are quietly overwhelming.

Drop your expectations of freak pop from another dimension, and there’s plenty to like.

Paul’s commitment to trying new things is to be lauded, but it does mean Diagrams lacks cohesion; it feels less an album and more a collection of ideas, some thrilling, others less so.

As far as Pantha du Prince standards go, those expecting bangers will find that this is a slower paced, subtler, more meticulously detailed album than ‘Black Noise’. Yet for every dark, dreary, wintery moment, there’s more than enough of luxurious, melodic techno bliss to make up for it.

While some may argue that Ones and Sixes sounds too familiar, it could be said that the trio are simply playing to their strengths.

As such a unique style of music in their field, there is no reference point to compare Mariachi El Bronx to, but if you’ve enjoyed ‘I’ and ‘II’, or you want to hear something a bit different then Mariachi El Bronx III is well worth a listen.

She’s not quite there yet, but after a wobble that could have sunk lesser personalities, she’s found a sound that feels authentic again. And that’ll do for now.

Lenses, despite its four-to-the-floor tendencies and impeccable imagery, falls flat.

Teen Suicide’s final act is nigh-on impossible to categorise or fully digest, and its nature and length makes it at the same time a difficult listen, but one that brings rewards of all different kinds across its running length.

An album worthy of repeated listens but limited by its inability to adapt and enrapture a change of pace often just representing a drop in quality.

Much here sounds as though it could have been unearthed from the treasure trove of old demos the singer sporadically unloaded circa 2004; great for the die-hards, fairly inconsequential for everyone else.

Comparisons are all well and good, but ultimately Making Time’s strength is in asserting exactly what Woon specialises in. After so many years away, a reminder was much needed.

Five feels like an exercise in softness of touch, maybe the most reserved White Lies album to date; there’s less bite than usual in Harry McVeigh’s vocals, and where previously the guitars would be spiky and nudge towards post-punk, there’s languid, melodic riffs on the likes of ‘Finish Line’ and ‘Denial’.

Whenever debut LP neo swerves close to normality, these formula-shunners tear things to shreds.

For every moment of devastating weariness, there are several moments of chilling beauty and it is this which keeps the band from being overly oppressive in its sound.

Too True is a decent enough album and one which ends more strongly than it begins. But it isn't as good as 'Only In Dreams' and because of that, it can't help but feel a bit underwhelming.

This is a fine piece of synthpop that is a good addition to the collection of any fan of this genre.

This is clearly an album of personal and musical growth for Lykke Li--it’ll be interesting to see where she goes next.

It’s a mixed bag.

As coherent and arresting as everything is, it is true that some of the hooks are not particularly immediate. A few of the tracks seem to steam ahead but never really find an end destination, with any hooks getting lost in the mists of fuzz.

While all the elements are there it seems far too eager to drift into not only the background but also into itself, with it turning into musical wallpaper and into one, long indistinguishable track with worrying ease.

There’s a further sense of spiriting when harps show up on the tracks ‘Limbs’ and ‘Take Him In’, and ultimately this album succeeds as an ominous exercise in atmosphere.

'Magic Hour' is an album that equally frustrates and enthrals. The collection of excellent electro pop tracks show the band still know their way around a melody but the album is let down by a few too many tired and morose ballads and witless appropriations of chart successful sounds.

Torn between old habits and a limber, more flexible stance, this fifth album stands as a misty mix of downtempo vibes with sombre, often questioning lyrics - Real Estate strike out here, thriving in the art of surprise and subversion.

It dishes out moments of pure brilliance and moments of pure laziness in equal part, which is possibly the result of Blumberg being left to his own devices a little too much.