How does Anthony Gonzalez do it? As the writing mastermind behind M83, his approach to electronic music has broadened over the years, becoming more song-based, but his most recognisable musical achievement is a talent for building skyscrapers of sound from what seems like precious little resources.

These reached an epic scale on 2008’s Saturdays=Youth and its follow-up, the double album Hurry Up, We’re Dreaming from 2011, before welcoming retro pop influences on subsequent long players Junk and Fantasy. I Wrote You A Letter, marking a quarter of a century of M83 albums, goes back to basics in recognition of the achievement, the voices retreating so keyboards and studio can front up. The sound is often massive, but the musical language is relatively private, leaning towards the persona of Gonzalez’s instrumental Digital Shades albums.

Many a budding musician has made their best music locked in a small room glued to headphones, and it is easy to imagine Gonzalez seeking the same solitude and comfort for these thoughts as composition began. Opera is a stream of consciousness, intimate asides from the piano balanced with white noise before a huge rush of sound, a synthesized choir in a cathedral. The music peers at thick clouds over the cliff edge, ready to jump in, before drawing back for an ethereal vocalise.

There are deep emotions at play here. Siren Behold…Beasts starts with punches of raw guitar power, purging negative feelings before the saxophone of Joe Berry takes flight, soaring like a condor. It is a reminder that this is a band affair, Gonzalez and Berry balanced by multi-instrumental contributions from Benoît de Villeneuve and Clément Libes that give the music an instinctive, live feel.

The influences of Jean-Michel Jarre and Vangelis are often at play, but in healthy doses, if the stately progressions of Aged can be used as evidence. Towards the end it stutters, its serene progression unsure of direction, but ultimately it arrives at a peaceful resolution, feathers just about unruffled.

In spite of the numerous retro influences, Gonzalez has retained his clever way of looking firmly forward. Losing Ground channels immersive distortion as a Trent Reznor/Atticus Ross soundtrack might do, simultaneously balancing an ambient background and exhilarating foreground as it reaches for the stars. Yet no sooner has it achieved its aim then Soldiers Of Lust retreats to the background, with the tender interlocking lines of a string quartet.

This is the soundtrack to an imaginary film, an opportunity for the listener to take time out, as with the two Digital Shades albums. It is not especially new in M83’s output, but few bands can hope to achieve the exhilaration of their music in full flow. The raw feeling and surges of sound are truly empowering, with tingles down the spine inevitable as this powerful music cleanses the mind. All you need to do is dive in.