In Perfect View, Lust For Youth have immersed fuzzed-up ’80s synthpop in an unnerving ambience, infused the whole thing with shades of house and come up with an album that’s a challenge, but a completely mesmerising one.

The faithful will lap up every eccentric note, of course, but there's much here for the uninitiated to delight in as well.

Occasionally the sparkly pop stylings and dependably profound poetic musings give the record an air of interchangeability, but this minor parlour trick merely invites an opportunity to explore the contents further at a pace comfortable to the listener.

This relentlessly positive outlook may not suit those searching for a bit more angst in their pop music, but it suits Real Estate just fine.

This is possibly not an album for those wanting immediate hooks and satisfaction, but it's a remarkable achievement and more proof - if any were needed - that Albarn is one of the most innovative and talented songwriters of his generation.

Thankfully, the songs are varied and powerful enough to sustain the album, and their balls-to-the-wall approach is both refreshing and entertaining.

There will be parts of this album’s roots that those outside Mali can never fully comprehend, but regardless of your entry level, you’ll be certain that those roots are still strong and bearing exquisite fruit.

There is much to admire here the more you listen, the more it will grow on you.

It is not very often that an artist comes along that is so strikingly unique and hugely talented and with Yours Truly, Cellophane Nose Beth Jeans Houghton has made a beguilingly lovely debut album that shows immense promise.

It is unashamedly cerebral music, but this is a band now finding that they have a powerful beating heart as well as a head.

Ultimately it proves itself to be Essaie Pas’ most purposeful and satisfying release yet.

The fact that Nastasia has documented this period with such honesty, empathy and beauty makes Riderless Horse feel like a small, healing triumph of sorts, a quiet personal victory against overwhelming adversity.

This is a band that don't sound like anything else around at the moment, who aren't afraid to experiment with hip-busting funk, rock and power pop all jumping into bed together.

It’s their shortest album to date – just eight tracks, with a little over 30 minutes for a running time – and, as with Mosquito, there’s less emphasis on Zinner’s incendiary solos now, in favour of a smoother, synth led sheen. When it kicks into gear though, they still sound magnificent.

It's a challenging but ultimately very rewarding listening experience.

Most importantly, Sadier succeeds in her aim, offering a genuine musical antidote to the cultural scars and traumas we carry from recent years.

The tracks all flow into each other, giving the album the feel of a particularly eclectic DJ mix, and overall it proves to be a fascinating, varied, atmospheric release that was thoroughly worth the wait.

Listening to Meshes Of Voice is somewhere between a terrifying hallucination and a relaxing daydream. It makes it a memorable, and strangely enjoyable, experience.

It might have been largely inspired by events that took place in the past but this is a forward-looking album by a band that has rediscovered their place in the world.

In The Seams sees her settle down into a recognisable sound--a more minimal, stripped down approach than previously for sure, but one that accentuates her voice perfectly.

Blends much that has gone before, and serves up a freshly defined new act that has potential for popular success.

Rossi has worked well with producer Steve Albini to clean up the tracks, and pick up the pace, making them sparse and wonderful, like intricate machines.

There's a breathtaking array of bleeps, quirks, bits and bobs popping up to keep the boogie busy and the mind attentive.

Snoop blends the old rap feel with the new style and adds some things to the mix along the way.

While catharsis never comes, there are glimpses of light coming through at the edges, and a sense of perfect order among the chaos.

A very satisfying addition to an already impressive Efterklang discography, then--and it would be interesting to see if the band writes faster music on their next album.

The folk elements lend Sylvan Esso a calm, and a daytime splendour, but Sanborn’s dance-oriented production, especially on the more electronic tracks, are set to be perfect 2am jams. This LP is the complete package.

Memory Streams is both recognisable as a piece of work from the authors of their first four albums, but manages not to sound exactly like any of them. Instead it confirms them as increasingly assured musicians, carrying forward their first principles and playing like their lives depend on it.