Zeus, the new EP by British Sea Power, occasionally seems to scream out to not be taken seriously. It opens with the line 'Rick Stein, pleased to meet you', and goes on from there, taking in autotuned glam rock, Mark E. Smith impressions, and a hidden track sung from the perspective of an alien. Their sense of humour has been a strong plus point for the band since their debut, The Decline of British Sea Power. But on this EP it seems more like a defence mechanism, a request not to judge too harshly because none of what they do is meant in earnest. Well, they certainly need some sort of defense mechanism; this EP is bloody awful.

The term ‘glo-pop’ has been attributed to Will Tatum a.k.a. Wild Nothing on account of his brand of forlorn bedroom pop - I’m not sure whether that’s a shortening of gloom or if it’s supposed to mean glow, as both seem like feasible terms to describe Wild Nothing’s music, which, while being moody and gloomy, also emanates a vibe of warmth and comfort. Perfect company for an afternoon spent moping around.

If you've seen the video to 'Round The Moon', the first single to be released from this Young EP, you'll know that the initial guise of a band of Swedish teenagers that Summer Camp went under wasn't a complete red herring. Pieced together from the obscure flick A Swedish Love Story, the video manages to distil this real life couple's obsessions perfectly, those being ‘80s Brat Pack flicks, summer, and high school romances. The images of tear-stained, leather-clad teenagers clinging to each other for dear life fits with Jeremy Warmsley and Elizabeth Sankey's project to the extent that it seems almost unfair to call it a guise. Those blurry photos of fuzzy-haired teenagers in stripy t-shirts and large-framed glasses that were initially presented to us simply depict the escapist world Summer Camp inhabit right now.

At around an hour long, it’s quite difficult to see why Sufjan Steven’s new release is an EP and not an LP - not that these designations actually mean anything in this age anyway. The opener is a 12-minute meander that soars to theatrical heights and brings to mind his Bond theme-esque Dark Was The Night contribution ‘You Are The Blood’, but it does - as so many extended Sufjan songs do - give the impression of several songs tacked together haphazardly. The closer is even more extravagant, presented as an extended prog jam and resembling Floyd at their most indulgent. Adept as ever at timbral blending, Sufjan lets banjo, acoustic guitar, electric guitar, piano, and innumerable other acoustic instruments bleed into one another, creating a beautiful constellation of sound throughout the record.