Intrepid London party-merchants Is Tropical are returning from a worldwide jaunt of capers, cavorting and caracoling with a spanking new LP, I'm Leaving. They've been up to the kind of once-in-a-lifetime antics that you can only dream of - street parties in Venezuela, clubs in Shanghai, and rocking out in locations as seemingly random as Mongolia and Nigeria just for the sheer hell of it. They've carted debut Native To around the globe, wooing crowds of revellers with dreamy synth-pop laced with funk and electronica. This time around, they're presenting a poppier affair, with sun-bleached riffs and radio-friendly hooks.

'Dancing Anymore' is massive. With one of the best/most controversial videos released this year (who doesn't love CGI mermaids, teenage self-love, disembodied gums and warzone nookie?), it's stormed blogs worldwide. The track is duet between band member Gary Barber and his girlfriend - the washed-out nonchalance of her vocals is juxtaposed with chugging bass and disco percussion; there are breezy axe licks and haze-riddled synths in the chorus. It's uncomplicated and at points almost skeletal, it's simple and elegantly understated - but somehow, the trio manage to make the cut a certainty for summer frolicking. It's effortless.

Other tracks are equally impressive. 'Lover's Cave' opens the album, a new wave dusted effort with shards of icy synths piercing indie-rock guitars. Again, there's a dancefloor readiness to it, as if all the romping around various continents has rubbed off on the trio, inspiring them to create sounds handcrafted for bobbing along to or waving pasty arms in the air. There's a low wub in the ether as 'Leave The Party' arrives; full of rumbling pads and bass thwomps, it's decisively slower and a touch pensive. However, despite the change in mood, it retains a lightness and a freedom that seems to only exist in festival season.

I'm Leaving is an album destined for live environments. One of the most abundant things on it is the presence of fantastic rhythms and percussion sections - they're never overcooked, often leaning towards the basic, but just as dance music is easy to get up and wiggle to, as is this. The bass mines a similar vein, though it does on occasion carry melody too. For an act that relies so heavily on the synthetic and effects, this record feels remarkably organic. Even moments that are tinged with shoegaze or dreampop are easily digestible, and this is potentially in part to their fondness for the straightforward. Underneath the hip-ness and indie cred, Is Tropical are essentially a pop group. But make no mistake, this isn't a phoned in release or something that demonstrates their lack of talent - in fact, quite the opposite. They've worked damn hard to cultivate a collection of ludicrously tasty pop hits. Each strum and beat and note and pluck is performed with painstaking diligence, written with a purpose.

The lighter-swaying epic saga 'Yellow Teeth' features psych guitars and vocals from Crystal Fighters chanteuse Ellie Fletcher. They band delicately pack layer upon layer of noise into the track, eventually finishing it, and the album, with a climax that stirs thoughts of the closing moments of a sundown festival set - drunken displays of affection, rousing singalongs and a communal awe that can only happen when the celestial bodies of perfect music, perfect people and the perfect state of off-your-face coincide.

This second full-length is sure to writhe free of the wavering opinions of their debut. It's going to be the soundtrack to so many people's summers, and it's evident that anyone who manages to catch this live is a lucky bastard indeed. Make yourselves the envy of all those who don't venture outdoors this summer and beg/borrow/steal tickets to wherever Is Tropical are playing.