There certainly seems a lot to unpack in Father Of The Bride, and at times there almost seems too much crammed into the album.

It would be apt as the soundtrack of a credit scene in The Inbetweeners, or to accompany an advert taking place on a summery day full of good times and beer. That is the image evoked by the album, which blends effectively into a complete piece instead of a compilation of singles.

Where Newcombe continues to find inspiration from, who knows, but the music still keeps on coming. And the world is a better place for it.

If one yearns for bigger and better things from Goldheart Assembly, it’s only because Long Distance Song Effects suggests they really do have the potential for greatness.

This is a good, and sometimes great album, that feels like it’s a few tracks short of being a masterpiece.

Much like some of their aforementioned peers, you might wonder what all the fuss is about, but it shouldn’t take too long before you see that there’s a lot to like.

Lyrically and (especially) musically, it’s business as usual on Will Of The People. It’s huge, over the top, and ever so slightly ludicrous – and yet, there’s an exhilaration about this band when they click into place.

Gold Panda has come up with another fine album with some standout moments, but overall Half Of Where You Live doesn’t quite have the coherence or impact of its predecessor.

Around is low-key, yes, but revealed to be full of those cries and swoops, flutters and chimes that are unmistakebly Verlaine, and weirdly engaging.

If this is just the start of an artistic resurgence then it'll be interesting to see what comes next. You feel that he's just getting started again.

All in all, Seer is an amazing addition to the impeccable Thrill Jockey canon, even if Alexander Tucker still sits atop his glittering throne at the apex of Thrill Jockey’s recorded output, unchallenged by great but not life-changing records like this.

After several listens its subtleties are revealed and things gradually fall into place, demonstrating how it should be heard independently, and judged on its own merits.

Those that have heard lead single Yummy will essentially be able to form their view on Changes without listening to it: if they find it icky and monotonous then that will be how they perceive the whole album, whereas those that think it’s catchy and well-produced are well and truly in luck.

These are songs that might sound delicate and fleeting, but are in they fact multi-layered and carefully created although admittedly they are at times almost dreamlike.

It won't be remembered for long, but in 40 minutes the album offers an amorous walk through a woman's keen strength in a style of music that will never sound dated.

While some of the guestless songs feel weaker – or at least thinner – than the collaborative works, they still fit the sonic theme and don’t rock the boat too much. Overall, this is another lovely entry into the Gorillaz discography.

As an EP taster, Mount Wittenberg Orca would have been great, but by positioning itself as the finished article, one is left with the sense of an incomplete journey and a wasted opportunity.

While Leave Me Alone has its flaws as an album, it’s the perfect summation of where Hinds find themselves at the moment. And when the sunny riffs of Castigadas En El Granero kick in, you’ll want to follow them to see where they’re going in the future.

Artists risk an absolute mauling when they wear their favourite era as a Halloween costume for a whole record, but here, at least, the joy of an unknown nostalgia far outweighs the realities of the grim present.

This is a healthy, diverse, multi-faceted music that should be approached critically in much the same way as any other genre.

The deeper resonance of the piano is boosted further by judiciously deployed synth sounds and the effect is slower and more dreamlike. Quando eu era Pequenina is particularly beautiful, with its expansive piano chords and haunting synth sounds, while Os meus olhos são dois círios, rooted in electronics, is flatter but, thanks to Lina’s vocals, scarcely less beautiful.

It’s these minimal moments of Long Way Home that work best.

Standing alone, Fantasies is an accomplished, enjoyable LP. Next to its siblings in the Metric back catalogue, however, it seems to lack urgency, a sense of the essential, dynamism, and even the touch of righteous anger that made itself known now and then.

The Party Ain't Over may well be dogged by obvious comparisons with Van Lear Rose, but Jackson's effort deserves to be judged on its own terms. Whilst the results are mixed, its best moments are captivating.

Perhaps some of this record suffers from thin songwriting but the drops, so clearly the main attraction here, are characterful, razor-sharp and banging.

The album is solid from start to finish

The more abrasive elements of Please mean that, on the first couple of plays, it might pinch and pull like a new pair of shoes. But, give it a fair hearing, and eventually Lerche’s resplendent melodies will shine through and something akin to a mild obsession might gradually take hold.

Lady From Shanghai is not an enjoyable record--it’s not meant to be--nor is it by far Pere Ubu’s finest or most original musically. Yet it deserves applause for what it attempts to achieve, which is largely successful.