Houseum goes from strength to strength; from a highly respected online channel they've started hosting awesome intimate events in the heart of their Parisian hometown and now they've launched a label. If you've spent so much as five minutes on their platform, you'll know the vibes on offer here; deep dreamy house laced with cosmic textures, rippling soul and a strong sense of timelessness. From the big vocal salvo of Bellaire's "Oh" right through to the final dubby echoes of Jesse Bru's "Setup", this is exactly the high level of launch release you'd expect from such a respected platform. Houseum is a feeling. A good feeling.

The remarkable rise (sorry) of Reedale Rise continues apace, as the Frustrated Funk regular pitches up on Kondi with an undeniably impressive debut album. As you'd expect, it's rooted in his usual brand of high quality electro, but there's plenty of variety to be found across the 11 tracks. So while "Kerris" and "Distance Between Waves" take an angular and spacey approach to dancefloor electro, the mood elsewhere is undoubtedly deeper, warmer and even more melodious. This is deep techno to stir the heart and head as much as the hips and feet, with "Canopy of Light", "Astral Flex" and opener "Luminous Air" counting amongst the most picturesque and emotion-rich deep electro cuts we've heard this year.

Had it not been for 'chronic arthritis' you might have found the music of Anthony Ferraro, aka Astronauts, etc. filed under classical. Instead, with years of cafe work and collaborative encounters, he's surfaced as an emerging talent bringing fresh life to tropical, breathy, psychedelic and chilled acoustic sounds. His third, and most accomplished album comes via Californian label Company, which most recently put out Cut Chemist's long awaited Die Cut LP. This album however, co-produced with Chaz Bear, presents what's been described as an ode to ambiguity, the future, and saying 'so long' to the known. Across reverberant, acoustic soundscapes, expect a breeze of breathy vocals that add sweet sentience to the warm droplets of jazz, post punk, latin psychedelica and finger-picked guitars that is the balmy blur of Living In Symbol.

When it comes to crafting languid, sun-baked Balearic grooves and shuffling, soft-focus disco-pop, few are quite as accomplished as Poolside. That much is proved by Heat, the LA duo's first album since 2012 debut Pacific Standard Time. This time round, they've embraced their West Coast roots even further, throwing elements of yacht rock and blue-eyed soul into this mix alongside their usual saucer-eyed blend of lilting Balearic instrumentals (see stunning opener "Hot In The Shade" and the Windsurf-esque "Drifting"), huggable slow motion disco-pop and jaunty, piano-heavy dancefloor workouts (there are numerous cuts that echo the sun-bright brilliance of early single "Do You Believe").

Japanese-American indie-rocker Mitski was once a cult favourite, but in recent times her audience has grown exponentially, helped by the critical praise heaped on her fourth album, 2016's Puberty 2. Two years on, Be The Cowboy arrives amongst a blizzard of publicity and many more positive reviews. It's certainly a hugely impressive set, with each of the 14 songs dealing with romantic and interpersonal relationships in some way. There's much heartache, of course, expressed both lyrically and in Mitski's distinctive, emotion-rich vocal delivery. Musically, the album never sits still, either, darting between grandiose slabs of poignant moodiness and the kind of jaunty, disco-tinged goodtime grooves that belie their melancholic inspirations.

For her latest immersive and impressive work, composer and producer Anna Meredith has joined forces with the Scottish Ensemble - a strings-only orchestra from Glasgow - to create a seamless album inspired by Vivaldi's Four Seasons. In many ways, Anno is a re-telling of the much-loved orchestral piece, with Vivaldi's familiar compositions squeezed between wonderful new pieces by Meredith that combine neo-classical string movements with bubbly electronics, subtle beats and field recordings of various natural phenomena. Interestingly, even the more electronic-minded compositions don't sound out of place amongst Vivaldi's familiar suite, suggesting that Meredith's unique approach to musical fusion is both far-sighted and sympathetic.

Four years on from his album - the chamber music-inspired "Joined Ends"- Dorian Concept returns with a set said to be a tongue-in-cheek "parody of nostalgia". This concept manifests itself in the curious and off-the-wall way in which the album was made, with the critically acclaimed producer not only drawing influence from a variety of vintage styles - think '60s jazz, '90s IDM, '70s prog rock and '80s jazz-fusion - but also using traditional methods (live instrumentation, old fashioned tape recording) to recreate modern digital sounds. Thrillingly, he also decided to use his own voice more, manipulating it and adding layers of lo-fi noise to give a warm but out-there feel. As a result, The Nature Of Imitation is an impressively experimental and thoughtful album that's also inspired, entertaining and bags of fun.

Over the course of their lengthy career, Animal Collective have put out a steady stream of albums that veer between experimental, post-rock soundscapes and skewed, left-of-centre indie-pop. Tangerine Reef, their eleventh and latest set, sees them back in experimental mode, delivering a range of fluid, liquid soundscapes inspired by their work with art-science filmmakers Coral Morphologic. All of the album's music was written to soundtrack a film by the latter duo, which can be watched in full on Animal Collective's website. Aurally, the album is indicative of the slowly shifting visuals - built around time-lapse style footage of coral growing - and tends towards the dreamy, otherworldly and drowsy.