Classically trained, French soloist Melody Prochet makes the kind of floating psych as Melody's Echo Chamber that evokes a dream within a dream. A lucid one, perhaps, in which a hazy lilo lounging session during a mid-afternoon heatwave, sees it's subject woozily dip in and out of consciousness. It actually feels like an extended, 21st Century soundtrack to that bittersweet scene from The Graduate, the one where Dustin Hoffman blearily reclines, lights flickering off his mistress's swimming pool to Simon & Garfunkel's haunting 'The Sound Of Silence'. Although, the reason it's this vivid and hypnotic is because every note has been wonkily filtered by Tame Impala genius Kevin Parker from behind the production desk at his home studio in Perth, something that is the record's lifeblood. Stripped of its decorative sonic makeup, Melody simply creates sweetly executed, lush 60s pop songs - the kind that Nico conjured on Chelsea Girlor the ones produced more recently by sugary, boy-girl duo Cults on their eponymous first LP. They're good, very good actually, but really this is just as much a triumph for production as it is for song craft.

Not that Melody herself underplays the importance of her new aural construction. After meeting the Australian multi-instrumentalist at his band's show in Paris two years ago, the joint plan was always to hone her music by forming an experimental, psychedelic partnership; one that involved breaking down all her music's components and rebuilding it in the image of an altogether different beast. This vision is truly realised on 'I Will Follow', a delicately gliding mirage of post-Byrdsian jangle-pop made ever so slightly sinister by her girl-trapped-down-a-well delivery. 'Crystalized' and 'You Won't Be Missing That Part of Me' are more disengaging cuts, but they're oddly no less immersive and trance-inducing - working perfectly in the context of the album's progressive, drifting aesthetic.

While that tiny critique seems to account for the most part, intermittently something sparks intrigue, throws a lasso around your imagination and reels it earth-wards. The roomy shimmer of previous single 'Endless Shore' and the quasi-dreamscape of 'Quand Vas Tu Rentrer?' are weirdly infectious examples. The latter's throbbing bass feels like an earworming hook, but you're not really sure why exactly - especially strange when you consider it's accompaniment sounds like an eery, honky-tonk adaptation of the A Clockwork Orange theme. Then the Mew-gone-psych of 'Mount Hopeless' is juxtaposed with the freaky instrumental 'IsThatWhatYouSaid' - on paper it's all over the place, but it somehow flows mesmerisingly and cohesively. After the hallucinogenic, Broadcast-meets-Beta Band sweep of 'Be Proud Of Your Kids', it's obvious there's something special at work here. Whether it be a victory for production, a victory for collaboration or just a brilliantly bizarre fantasy, this chamber will be an alluring and magical sanctuary the next time it decides to fling open it's doors.