It’s all very strange yet thoroughly intriguing, but it does leave you pondering the question of what direction Ghost are planning to move in next.

It’s not so much that Electrelane’s signature film score sound has been replaced, more added to and built upon; becoming the veiled framework to a new - almost celebratory - level of contentment.

Fragmented and disturbing, yet thoroughly refreshing.

It’s ridiculously eclectic, yet uniformly affecting; a winter warmer that moves with a mysterious grace.

This is a perplexing album: two excellent singles, a few stellar moments of vicious riffage, but little to assuage that lingering sense of emptiness.

Pierce consistently avoids the disturbance of breakbeats and jump cuts, instead rolling the elements into a smooth melange of sound that references world, dance and folk music, yet transcends all.

Here their ambient electro is enhanced with a melange of influences that include soul, jazz and - a real winner this - Brazilian psychedelia.

This is evocative music. It’s beatific, charming, sophisticated and cool.

There’s plenty of impressive tongue-twisting here, but as the re-working of ‘Feel So Good’ illustrates, he’s even more impressive when he slips down a gear to work the ladies.

The band's most accessible, blithe pop record to date.

‘Secret Wars’ is an engaging 40 minutes; a haphazard, likely to spontaneously combust at any moment 40 minutes to be sure, but that was the ethic that spawned rock ‘n’ roll in the first place and in these hands there’s plenty of life in it yet.

Shows that Jon Langford’s voice has lost bite but gained growl.

Often you’re left amazed at the fact that this is the work of just one man.

What does surprise is the way the results combine Clannad with Cocteau Twins.

‘Tasty’, though haunted by more than a few sops to the slick-soul zeitgeist, is an impressive return.

Something new has been born here; its parents are every form of dance and many forms of rock, and it rolls.

Kidwell has distilled hip-hop into a brew that also contains trace elements of Nine Inch Nails, neo-goth noir and the finest Bristolian trip-hop, as well as the ever-present sonic manipulations that result from a very big iPod and a brain to match.

It’s gorgeous, moving and magnificent.

A confusing listen.

Disco, punk and pop, all in one bag.

Unfortunately, many of these mixes were submitted either by talented fans or lesser known professionals, and often they’ve removed much more than they’ve put in.

Horrid, mannered late Sixties-styled easy-listening wank.

Off-kilter, irreverent and unbelievably addictive.

There’s no shortage of pogo anthems, reflective quiet and headspinning ideology, and never a dull moment.

It will take at least ten listens before you hear everything that’s going on, and ten more to understand it, yet this is far from impenetrable; it boasts a melody line that any pop princess would sell her plastic soul for, and prompts the idea that Knopf and his cohorts have been hanging around a crossroads doing just the same.

A taste for the exotic and a winning way with a winnowing hook leavens the most ear-shredding aural barrage, short-circuiting a connection between central nervous system and booty.