Composer, pianist, producer… Max Richter (b. 1966) is nothing if not prolific, not to mention unique. His traditional training, which included Edinburgh University, the Royal Academy as well as Florence, under composer Luciano Berio sits alongside a fascination with the otherwordly sounds of German electronica and American minimalism. As well as his solo work, which blends emotional depth and power with a refreshingly direct approach, he has collaborated on operas, ballets, theatre, film and television scores.

Here's a funny one: used as an adjective, “lifestyle” has lately become a popular pejorative term for music (see, most recently, the kerfuffle over Jamie xx's debut solo album). It's taken the place of “coffee table”, which was the Nineties phrase of choice to deride trip-hop and other styles that were considered too smooth or sedentary to meet required criteria of rebelliousness or authenticity or whatever.

Every 75 years or so, Halley’s Comet comes round to say, "Hi". When it does, there’s genuine excitement, not because there’s any kind of stock trade in fond reminiscence when it comes to glowing lumps of rock, but because it’s a genuinely captivating event. The Orb’s latest offering is similarly hurtling through space once more, and reminding us of their conceptual debut that slapped us around our collective face back in 1991. It feels like a similar event.

Todd Rundgren is not known for sitting on his laurels and churning out the same old stuff year after year. Since Runt, his debut solo album from 1970, he has tried out a vast array of genres from heavy metal to prog rock, EDM and power pop, as well as having a prominent role in Meat Loaf’s Bat Out of Hell. Runddans, his second album of 2015, sees him venture further into pastures new by teaming up with Scandinavian electronica boffins Hans-Peter Lindstrøm and Emil Nikolaisen for a one-track ambient beast – albeit one with a hefty injection of prog sounds.

Ever wondered what being a psychic would be like? Not the "being a fraudulent, cheap-trick magician drunk on the mere suggestion of power over a willing and eager mark" thing – but really being able to know people’s thoughts as they think them. In reality, hearing the insipid mind-screams of strangers would be spirit-crushingly dull, like watching Question Time without the mute button, but there is a less prosaic window into the mind that music offers us – improvisation.

Jon Hassell / Brian Eno: Fourth World Vol. 1 - Possible Musics

The Endless River, a contemplatively ambient opus comprising four pieces made up of 17 instrumental sections and a concluding song, is Pink Floyd’s second “last” album.

Declaring that your new album can help conquer insomnia seems, initially, self-defeating. If it induces such a calmness that potential listeners drift off to sleep, then there’s the potential it may never be heard in full. Yet this is what lies behind Matt Berry’s fifth album. It was written and recorded at his home studio in the small hours while he was suffering from insomnia. He wanted to create a music which would still his mind so set to devising his own therapeutic soundtrack. Music for Insomniacs is the result.

It seems that the gradual leakage of avant-garde-post-classical-call-it-what-you-will music from the rarefied environment of concert halls and into the spaces traditionally inhabited by alternative and club music is now inexorable. And violinist Aisha Orazbayeva is one of the instrumental (pun intended) figures in this move from trickle to flood.

Bernd “Burnt” Friedman is one of the most relentlessly questing of experimental musicians. In over 30 years of making music and 25 years of releasing it, he has specialised in researching ancient, hypermodern and as-yet-undiscovered methods of soundmaking, including traditional and home-built instruments and the application of high-tech methodologies to established forms from around the world, in particular jazz, western club sounds, and African and Japanese styles.