Directional swerves are admirable, but make an uneven set, especially as the material from their first three albums has more palpable sparkle than the rest.

The results are atmospheric, rough around the edges but captivating, unique and extraordinary.

It's rare an album creates a world so weird yet so coherent and absorbingly musical, but DVA has done it here; the only reasonable response is to take a deep breath and dive in.

They forge a magicalworld of trippy vocal electronica.

Most electronic acts, when asked to sound-track a film, dump pop sensibility in favour of atmospherics, but we're happy to report that, as astute players for over a decade, Air have gone the other way: to the moon and back.

Nearly 30 years in the game have not withered them a jot.

The results, all shimmering synths and echo effects noodle along on 4/4, often for the best part of seven minutes, and we can't help but feel that some of this has been done before.

The Keychain Collection is a sensuous LP of love songs and well engineered instrumentals.

While the bold brush strokes of Personality may alienate some hardened purists, it may just turn out to be the defining release of Scuba's career.

There's no distinct personality to be heard, or the kind of dynamic ideas that could give it the ability to totally dominate a room.

An album that is as melancholic as is it banging.

It can be difficult listening, but stick with Prinz's half-spoken vocals and Horn's snaking basslines, and your reward is an album of raw, rhythmic energy.

Their second album has a cosmic disco groove ('The Following'), thought-out harmonies ('The Unknown Faces at Father James Park') and electro- pop moments ('The Right One'), creating the kind of warm glow you may get from a house party in a log cabin.

It's imaginative and endlessly intriguing.

A welcome 40-minute excursion indeed.

You'd have to be fairly joyless not to find the lighthearted lyrical content and unifying party vibes infectious.

All in all, hugely ambitious enjoyable fun.

The Glasgow quartet have put their talent for irresistible hooks to good use and come up with a solid new LP that splices towering post rock with potent dancefloor sensibilities

A brilliant, breathlessly exciting, sunshine-dappled album of melodic, electronic alt-pop.

Wiley's finally made the album that his talent warrants.

It's an all-encompassing experience ideal for Mixmag readers seeking transportation to a Balearic state of bliss.

An oddity, sure: but a fun one.

Dillon's rustling electronics plink, twitch and occasionally spin out, set apart by a cutesy vocal style and eccentric lyrics that sound a bit like a baby-voiced Kate Bush.

Opener 'Halo' finds Albarn at his melancholic best, while 'K-Town' demonstrates a vitality that often seems missing from African music in its WOMAD-friendly guise.