Megaplex is a bright and breezy romp that’s impossible not to smile and tap along to. And even when the breezy nature of some tracks is taken so far as to on the ephemeral, you can almost guarantee that what follows will pack enough of a punch so as to make up for it.

The overbearing problem with Isaac Gracie is just how Isaac Gracie-centric it is.

Seven albums in, and with a formula that’s kept its core elements largely the same, it’s largely Beach House by-numbers, but the pair have a gravitational pull that looks like it will never run dry.

A lot of the record shows a lack of streamlining, or a singular focus. If album four sees San Fermin filtering through the bucketloads of promise on show here, there’s something really special on the horizon.

There are some meandering points on Caer, but Lewis Jr.’s sobering narrative on piano finale ‘Runaway’ ends things on a poignant high-note.

While To the Recently Found Innocent might not surprise, it’s a joyous listen.

This album should plant El Khatib as someone to keep a close watch on. For now though, there’s still room for him to grow--another trip to the desert awaits.

The music is a little too polished-sounding to have ever seen actual garages, and there doesn't seem to be much of the charm of, say, contemporaries Palma Violets, pervading any of the record's twelve tracks. But it's fun, and fun is sometimes just about enough.

If you’re partial to a bit of blue-collar punk, this is likely to be right up your street.

Originality may not abound but Green Language still remains an undeniably fun record to sink your teeth into.

Allah-Las’ third album rambles as it soars, and with a distinct disregard for convention, it paints a picture of life at its most freewheeling.

It doesn’t feel any more disciplined or carefully-crafted than the experimental ‘Frost God’ did, but Yung Lean does continue to push the boundaries--which is precisely what brought him to public attention in the first place.

‘Defeat’ alone clocks up a gargantuan 22 minutes runtime. Similarly, ‘Magicians From Baltimore’ could have been a wonderfully tight piece but overstays its welcome at almost 10 minutes. Still, the blissed-out, spage age ‘Genie’s Open’ and the funky prog of ‘Gem & I’ provide at least a partial argument in favour.

All in all, with Isles, Wild Belle is sure to attract many visitors who will visit for a quick party, but end up staying on for the island romance.

Till Midnight might not be the most groundbreaking album, largely treading a path that has been well worn over the years, but few people do impassioned, rustic folk rock as well as Chuck.

This is an offshoot of Waxahatchee that may fail to bring in fans anew, but offers plenty for those wanting a return to Katie Crutchfield’s more acoustic roots.

Though Electric Würms may not be breaking boundaries any time soon, they’re doing this on their watch and no one else’s.

Lonely and desolate at times, the album would benefit from being reigned in slightly - amongst the 19 tracks is a brilliant 12 or 13 songs that, despite the subject matter, deserve to see the light of day.

Intentionally overwrought, brash, and totally different to anything she’s ever done before, Lady Gaga’s Joanne doesn’t quite nail the artistic frankness she’s aiming for.

There are a few duds thrown into the pack--closing pair ‘Into The Sun’ and ‘Walk Out Music’ offer little of interest and ensure the record goes out with something of a whimper--but there’s enough on With You Tonight to suggest Summer Moon might gather something of a cult following.

Consider it a curious concept explored by two-thirds of the group that perhaps shouldn't distract you from revisiting 'The Grind Date'.

With a good spread of melodies and hooks throughout, even if ideas do fly about like rice paper, it’s a strong development of a record.

Sure, FOTL's protagonist is as pissed off with 'The Industry' as ever, but throughout much of the 14-track beast that is How To Stop Your Brain In An Accident, there doesn't feel to be quite enough venom seeping through.

A mish-mash of sounds, picked up magpie-style to create something which consistently skirts the line between warm and distant, familiar and disconcerting, hypnotic and, well, irritating.

Language could afford to lose a few numbers--particularly the low-energy likes of ‘Body’ and ‘Girlfriend’--but there’s more than enough evidence here that MNEK is a potent force in his own right.

For the most it is a spaced-out, blissed-out trip that makes it hard to comprehend that it came from the mind behind Bangerz.

Perhaps the biggest criticism about Brain Holiday is that it does become a bit of a yawn towards the end.

Cosmic Wink is largely free from inhibition though, documenting the big changes in life over beautiful, sweeping folk. While the album doesn’t hold all the answers, it’s still sure enough in its message to connect and remind you of the important things.