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.

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.

On occasion you may feel that Trailer Trash Tracys could benefit from keeping things a little simpler, but fans of the band’s first record have plenty to enjoy here.

Here joins the rest of the group’s catalogue in being consistently enjoyable, yet on this occasion not without flaw.

Though there’s a clear outlook and lots to like, there’s a certain ‘leather trenchcoat on Camden High Street’ vibe to The Wants when you sense they were aiming for something a little more forward-thinking.

A planned dalliance, Hot Thoughts reveals its irony: a well-thought rush of blood, a planned frisson. It’s a turn on with limits.

Had the duo chosen their vocal contributors more carefully, Divine Ecstasy could've been something special. Instead, we're left with an exciting showcase of potential and a few legitimate 'avant-bangers'.

There’s little here that will convert Dinosaur Jr sceptics. But for those who enjoy their nostalgic licks, Give A Glimpse of What Yer Not is a pretty satisfying addition to their back-catalogue.

The songs are strong--varying from ‘I Just Don’t Understand’’s jazz bar mood-changer to closer ‘New York Kiss’’ emotional farewell--but Spoon can be better than that.

Aside from the brutal norm its twenty, overwhelming tracks follow, Mutant is also capable of digging up gold.

If there’s anything to criticise Hope Downs for, it’s its risk-averse approach, and tendency to become a one-dimensional listen, but as a debut record, it presents a band that know exactly what they’re doing, and proceed to do it very well indeed.

Much like that fancy sports car, Turn Blue is big, bombastic and very well made. Just, at points, a teensy bit ostentatious.

‘As Long As You Are’ is a steady-as-she-goes sort of affair - a solid effort from the four-piece that would fare better with a little more exploration.

when he gets it right, he's one of the best.... Let's be honest though, the hit rate isn't great.

Accordingly, In Dream is an uneven affair; fabulously ambitious in places, and weirdly subdued in others.

Spend the Night With is rough around the edges, but it thrives under this approach.

With Schmilco, Wilco are getting funnier, more surprising and more interesting, two decades after forming.

Milano doesn’t come with the cinematic sensibilities or the polish that ‘Rome’ did, but its sheer boisterousness and rough-and-ready sonic approach does justice to the underground movement that it aims to serve as homage to.

While at times ‘Violet…’ shows Lana’s fine lyrical prowess, quotes primed for Tumblr captions, most of the time it’s more sixth former trying their best to impress at their first slam poetry event.

An album trying to survive under the harshest conditions, Angel Guts: Red Classroom is a properly thrilling listen.

‘Petrichor’ is a passion project, all about indulging the kinds of whims that don’t fit the Hawk and a Hacksaw mould. On that front, she’s succeeded.

While All My DemonS is a listen that’s at times varied, interesting and progressive, any connections made here are purely at surface level.

Good Grief marks an important next step in the realisation of their sassy pop character.

The clear direction and production of the album means that while those who enjoyed The Staves’ debut will not be disappointed, there is arguably less of a initial folk sound that was more apparent on their first record.

With more focus, this could have felt quite vital.

Shriek is certainly a considerable statement that opens up endless vistas of possibility for a reinvigorated band.

By all accounts, it’s in the crucible of live performance where this duo excels. But put on record, it all feels a bit lost in translation.

For all its unwieldy eccentricity, Good Sad Happy Bad is still fascinating.

In the grand scheme of things, Sequel To The Prequel is a definite step in a positive direction.

It’s fun, it’s enjoyable and it doesn’t take itself too seriously.

It feels ecclesiastical, like hymns for the digital age.

It’s got moments of music that sound like life. And when the songwriting is interesting and the melodies evocative, what you need is something to keep up what they’ve built.

It’s lighthearted and radio-ready and fun while being marginally original about it, and that’s okay.

Sic Alps is an often fine, often frustrating listen which only succeeds when some flesh is applied to those skinny Californian bones.

As usual, it features some reliably masterful beat work and production, but, at the same time, falls somewhat short in becoming the grand defining statement that its creator was intending it to be.

Basic rhythms, simple synth melodies and the occasional burst of fuzz guitar provide a primitive vehicle for Cameron’s idiosyncratic lyrics, where the record’s real pleasures reside.

That’s not to say that Get Hurt isn’t a good album, with some excellent songs on it. But, if you’re looking for more of the blue collar punk of the band’s early years, you might initially be underwhelmed by what it has to offer.

It can’t match the drive and power of his electric projects by its very nature, so it may well remain a release for the hardcore fans.

Courting The Squall touches and recaps on the ideas which Guy Garvey masters in his romanticisms and balladry, but gloriously glimpses his experimental and playful side.

Although Wasser has perhaps sounded better in the past and too many of the songs stretch past their welcome, The Classic is a welcome addition to Joan As Police Woman's repertoire and a recommended addition to any album collection due to its impressive ability to surprise and innovate as it moves forward.

Distinctly shying away from the commercial, Chad VanGaalen is an explorative soul and although his frightening world is separate from ours, he makes a peaceful journey of it.

The record doesn’t achieve a great deal in saying anything new. It’s far from a disaster, though. ... The main issue with Amnesty (I) is that Crystal Castles needed to say something different.

You’d hope there’d be more new ideas injected in to Simon’s music. As it is however, Migration feels disappointingly close to home.

It’s simply the mark of a record that’s captured them exactly as they are at this moment in time. Although it’s tempting to call Instructions a ‘fascinating document’, it’s probably more accurate to settle for ‘rad record’.

While it can be an emotionally turbulent listen that continually returns to the fracturing of the self and the breaking apart from others, this is also an album that is deeply arresting and vital, a reminder that these ruptures are a part of the rocky terrain of life.

At times, their ambition really clicks into place (the euphoric bounce of ‘Smoking Weed Alone’, for example), but at others, it feels a bit muddled. Their ambition is undoubtedly to be applauded, but this one’s a bit of a mixed bag.

Jay-Z’s latest does little to prove that he can come up with anything that isn’t entirely predictable.

Ultimately, though, it’s Pulido’s steady hand that brings an assured, if occasionally slight, album together where there was so much potential for these heavyweights to step on each other’s toes.

There are plenty of good ideas across ‘Suckerpunch’. It just could’ve done with fewer bad ones.

Darlings is warm and expansive and sexy, and feels like a more intimate affair than his debut, 2007’s ‘Spirit If...’.

Kurt takes a leaf out of Courtney’s book and wears his heart on his sleeve, searching for introspection and delving into his deepest and most personal lyrics to date--about love, loss and everything in between.

The material on offer ranges from the piano balladry of ‘The Cruise Room’ to the ‘80s synth pop of ‘Best In Me’ - in other words, every flavour John Grant has to offer. And that’s an exciting prospect on paper, so it’s a shame that the record frequently suffers from songs too long by half.

The intricate layering of warped guitars and echoing vocals is all well and good for the background to summer fun, but for No Joy to be more than this More Faithful relies on these more intimate moments. Although these are sparsely scattered throughout they’re just enough to make More Faithful more than just a half-listened to soundtrack to road trips and festivals but an album with heart, confidence and intimacy.

Inji is the sound of Dust discovering his own identity. And to achieve this, he tries just about anything and everything that crosses his path.

Of course, as with any such unrelentingly blissful formula, if their sky-facing euphoria and sentimentality can’t be matched then the whole thing can be terribly nauseating.

Only the moody, foreboding ‘Over It’ hints at the pair testing their own boundaries; otherwise, this is another solid Deathrays outing.

Even though the likes of ‘Dylan And Caitlin’ (a duet with The Anchoress on Dylan Thomas and wife Caitlin Macnamara’s tempestuous marriage) or the poignant nostalgia of ‘In Eternity’--seemingly a sentimental ode to former bandmate Richey Edwards--are thematically complex, they’re coated in unabashedly big hooks. It’s a classic Manics trick and one that still works; across 12 tracks though, you do start to crave the spray-painted antagonists of old to pop up every now and then.

While hardly covering new ground or expanding their sonic palette, English Oceans is a welcome addition to the Drive-By Truckers discography as well as their best since 2008’s ’Brighter Than Creation’s Dark’.

When so much of what Juanita had written for Until the Lights Fade clearly involves a folk-rock flavour, it’s a shame it wasn’t fleshed out accordingly.

Despite their identity being so closely interwoven with synth-pop, some of the more striking tracks here see Broods moving away from the keyboard, and reverting to more traditional instrumentation.

Falling somewhere in between the sophistication of Everything Everything and the flamboyancy of Maroon Five, it isn’t until the halfway point, and ‘I Feel the Weight’ that the familiar chill of previous releases is restored.

What With Light And With Love lacks in surprises, it more than makes up for with quality.