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.

There’s a bit of filler in the form of the relatively stagnant ‘Xmas In Japan’; but pretty much all of the other tracks are just great big fun dancefloor fillers.

For those to whom Courtney’s songwriting is a soothing balm, there is plenty to like here - but there’s a sense of creative inertia that means it’s a difficult record to truly love.

At an hour in length, though, and spewing at the seams with new sounds and concepts, Freetown Sound is more a vessel for Dev Hynes’ production prowess than Blood Orange’s flag in the sand.

Gone are the days of Mokolo, but Take Her Up To Monto remains just as resilient; proving that Roisin Murphy’s productive world of pop madness has a rightful place in the present day.

There’s a perfectly fine indie-rock record here, if only it were a little less obfuscated by an aim it doesn’t quite achieve.

This is not the most cohesive body of work, granted, but oh man does it have some total bangers.

La Luz play with an enchanting sensitivity. If only their raw knack for rhythm and harmony were left untouched by unnecessarily glossy production.

It’s hit and miss, but Here’s Willy Moon kind of does what it says on the tin.

When compared to each members’ regular output, there’s not a lot to take seriously here. That’s quite all right though.

Aside from a few great moments like the warm and accessible track ‘Beyond That Of Courtesy’, this listen does feel slightly hard to grasp due to its disjointed nature. There are enough ideas in the tank here, but ultimately it's not one to rush out and buy.

In Mind is classic laid-back Real Estate, and while there is comfort in the familiar, at times it can feel a little lax.

Their third album feels singular, apart from its predecessors in spirit, for better and worse.

There’s no faux-earnestness here. Whether Mabel is singing about messy break ups, mental health or empowering herself to move on, High Expectations is effortlessly cool.

Mixed, fidgety, but rewarding.

The result is a largely mixed bag of lyrically intelligent but sometimes slightly weak songs, all with a distinct air of the celestial.

With highly catchy choruses on ‘Heart of Mine’ and ‘Deliver It’, it’s obvious that the band can deliver the pop sheen they are known for. But while reaching for style, it is only by exception that they achieve their usual substance.