While Under The Sun isn’t quite as strong as its monumental predecessor ‘76:14’, Pritchard still has an eye for coaxing out the astoundingly beautiful from ‘cold’ electronics.

‘Recursion’ sprawls across its six minutes like modern-day Bach, while ‘Prism Pt 1’ is loping analogue house that jerks and pivots to an idiosyncratic tempo.

All the samples and rhythms here you’ve heard a million times--but somehow, with this weirdness and his sheer panache as a producer, Vibert creates brand new rave dynamite, guaranteed to get dancefloors sweat-soaked and maniacal.

Epoch is perhaps a little overly fluffy at times, but plenty of sunshine pokes through the clouds.

For large parts, it’s funky, luxurious and giddy, with the Tony Allen Afrobeat collab ‘2nd Chance’ just the icing on the cake. A pleasant surprise.

Their post-rock roots are still detectable on New Spirit, but there’s a dark-hearted dance aesthetic filtering through it.

There’s the risk of pastiche here--and sometimes the slow builds, churning synths and sinister whispers seem generic, like you’ve heard them before--but at their best they sound elemental, and perfect for the darkest of dancefloors.

Mixing organic instrumentation, such as the ethereal guitar of ‘Vision Trail’, this album laces its cuddliness with melancholy.

There remains something unknowable about them; their presence is always somewhat enigmatic, served only by the gilded sheen of their music which remains ornate but, crucially, as approachable as ever.

There’s enough in the graceful deep techno and misty synths of ‘Far Away From A Distance’ and the subtly jacking ‘Flying Or Falling’ to satisfy both head and feet.

This isn’t going to win over any newcomers but, when you tune in to its ebbing and flowing intensities, it can be totally transporting.

Who Are You? shuttles between Honolulu and Jamaica as he splices lap steel guitar and rim shots, before spinning off into Chris Brann-style deep house on ‘Endless Sundays’. Things get even more somnambulant on the dubby ‘Gravity Waves’, which threatens to keel over at any minute.

This is music born from information overload and the quick slide toward environmental and political chaos, but while Gamble threatens to leave you scarred, he also offers refuge, too, in the form of his signature styles.

The album’s percussive moments are perfect for sunny festival slots. Elsewhere, ‘London Lights’ is comparatively relaxed, though its slow-burning synth-line stretches into club territory, and the expansive sonic landscape throughout ‘Black Prism’ could be a James Blake cut.

At times the LP’s nostalgic outlook can be all-consuming, The likes of ‘Memory’ and ‘Vacuume’ do lighten the tone, but it would have been nice to see Haley also tackle darker timbres more often, as he does on ‘Syrthio’ and the title track.

It explores a plethora of bold sounds and styles with a distinctive ethereal edge--and just a touch of delectable curios

Concrete Desert is a potent blend of cinematic music-for-outsiders and deep, drone-leaning sounds.

Ultimately, the sincerity and craft of the composition and production make it much more emotionally satisfying than the untold PCO knock-offs out there.

It eventually drifts into spaced-out blissfulness on the final four tracks, bringing a melodic ear-trip to a close.

Zola Jesus’ distinctive, dramatic voice has always been the prime weapon in her arsenal, and on new album ‘Okovi’ it sounds more brooding than ever.

It’s not always entirely straightforward listening, but when it comes together--like on the military march-meets-indie/techno schaffel of ‘Selling The Shadow’--it’s a timely reminder of Weatherall’s knack for putting smiles on faces

Then there’s her voice, sweet and breathy, uttering lyrics that are always in Spanish, yet sometimes content just to form unfamiliar, onomatopoeic sounds. It’s endlessly bewitching.

‘Superfresh’ is less than the sum of its disco parts, though, while the less said about ‘Hot Property’ the better. But it picks up with ‘Something About You’ and ‘Summer Girl’, while ‘Carla’ is an electro-funk classic.

There are times when it does feel a little dry, but it’s still an album that’s definitely deserving of your time.

Millennial inertia is a target--see ‘It’s All Good’ and ‘Nobody Cares’--but their bite is balanced with blear and bounce in equal measure.

The aural familiarity of tracks such as ‘Anyware’, with its warp-speed cellphone melodies, imbibes Motion Graphics with warmth and, above all, joy.

It hangs on the pair’s innate ability to find light and space amid the sturm und drang.

The best tracks are ‘In Paris’, a song which Lady Gaga would be proud of; the disco-tinged ‘Other Guys’, a brilliant coming together of her voice and former Ima Robot member Tim Anderson’s production; and the brooding ‘By Your Side’, which wouldn’t sound out of place on the new London Grammar album.