Her second, I’m Not Your Man, was scuzzier and more explicitly queer – a road she continues down with Any Human Friend, a blunt, bold album on which Hackman’s beatific voice sits atop methodically messy instrumentals. Yorke often tends to make his most explicit political comments outside of music: in a recent interview, for example, he complained about how discourse has regressed, referring to British and American politics as “a Punch and Judy show”.

the journalist asked.

“Love Fuzz”, which serves as the opposing bookend at the album’s close, is even wilder.

", It continued: "The music industry contributes £4.5bn to the UK economy, and our world-beating artists helped to create exports of over £2.5bn, which is growing fast in a global digital music business. (Roisin O'Connor), The record is loosely conceptual insomuch as it’s punctuated with mock adverts for “WWAY HEALTH, our 24/7 care programme”.

"That's why I'm so angry about it," he said. Where most rock superstars sink into trad tedium by 69, Springsteen is still crafting sophisticated paeans of depth and illumination, a rock grandmaster worthy of the accolade.

"I want someone at least answerable to me that I can say: 'F*** off, you're useless!". It’s technically a follow-up to 2014’s The Wild, the Wilderness, but the newfound boldness on this new work is startling. (Alexandra Pollard), One could argue that there’s too much eclecticism here – that if this really is Crow’s final LP, she perhaps could have gone for something with a more singular sound.

This time, with When I Get Home, Solange has effectively given us permission to rest. With tracks that frequently dart from sprawling, psychedelic pop to scuzzy post-punk and rock references, the record has a superb dynamic that holds the listener’s attention, while the band navigate through a single, tumultuous relationship.

It allows our most engaged readers to debate the big issues, share their own experiences, discuss real-world solutions, and more. and Bleachers. A must-have for anyone who has a heart. As if we didn’t tour in Europe before the f****** EU.

Musician seemed irritated by the question, Find your bookmarks in your Independent Premium section, under my profile. The album’s lead single, “Me!”, is peppy and poppy in all the wrong ways, a rictus grin of a song that rings hollow. It ends with another Sivan collaboration: “2099”.

Yet for all its darkness, Beneath the Eyrie is brimming with the kind of melody that we expect from these indie-rock giants from the late Eighties.

Indeed, so heavily do The Black Keys wear their influences that the record – their ninth – risks coming across like Stars in Their Eyes: The Rock Edition. Help Us Stranger has been a long time coming, but it was worth the wait.

But “Party For One” remains the album’s highlight, harnessing the bouncy energy of Jepsen’s breakout hit.

Sigrid has a raw energy and emotional briskness that can make you feel like you’re doing aerobics in neon leg warmers atop a pristine mountain.

But don’t be put off: Miss Universe is a brilliant collection of songs, an expansive melange of indie, jazz, pop and trip-hop that flits between a lo-fi sparseness and something The Strokes would play. Live music is at the heart of every artist's business and contributed around £1bn to the UK economy, and freedom of movement is core to an artist's ability to tour and promote their art.".

It’s layered with whimsical flutes, intricate guitar picking and sombre bass lines that meander with casual abandon. Yet neither can claim to be as fiendishly catchy as Let’s Rock, a record that can scarcely sit still. For a start, the range of guest performers is a cornucopia of contemporary soul and hip-hop collaborators: vocalists Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend and Tawiah; strings player Miguel Atwood-Ferguson, and keyboardist Dennis Hamm – both of whom have worked with Flying Lotus and Thundercat. (Elisa Bray), In keeping with the relatively restrained guest spots, it’s heartening just how much Skepta has rejected overloading Ignorance is Bliss with high-profile producers, preferring instead to burrow into his own aesthetic.

(RO), Dedicated covers the full, but generic, spectrum of relationships: dizzying love, lust, and break-ups. Lead single “Number One Fan” banishes intrusive thoughts – “Nobody likes me and I’m gonna die” – just in time for a lavish, self-celebratory chorus, one part earnest, one part tongue-in-cheek. Where the former was overflowing with choppy, experimental sounds, guest appearances and clumsy attempts at Gil Scott Heron-esque revolutionary lyrics, the sequel – recorded around the same time – streamlines .Paak’s sound, making for a tightly packaged, melodic and danceable album. It feels a lot like a third coming. (Alex Pollard), After walking off camera for a moment Daltrey returned and said: "If you want to be signed up to be ruled by a f***ing mafia, you do it.

On opener “Shine a Light”, the riffs are big, the momentum irresistible, with frontman/guitarist Dan Auerbach layering scabrous licks over AC/DC-like chords. The euphoric, Eighties synth-laden “Want You in My Room” is most distinctive, both vocally and melodically, and was co-written and produced by Jack Antonoff, indie tunesmith for fun.

The pummelling force of We Are Not Your Kind should be enough to silence them – this may be one of the band’s most personal records, but the rage they capture is universally felt.

(Helen Brown), Lux Prima was born just over a decade ago from a drunken phone call from Karen O to Danger Mouse – real name Brian Joseph Burton – during which the pair vowed they would work on something together. The title track is pure euphoria, as restless synths of a Utah Saints or Orbital rave break into swelling bass and melody. It’s more a reminder of how fleeting yet beautiful life is, and an appeal to make the most of it. In a Galaxy is a record that takes you far beyond the borders of the world you’re familiar with, and into something altogether more colourful.

Yet few are likely to have as much inspiration to draw on as India-born, Zimbabwe-raised and now Peckham-based artist Rina Mushonga. The New Zealand artist seems to derive a particular glee from unsettling her audience. Want to bookmark your favourite articles and stories to read or reference later? “Brussels will not demand any concessions from Britain apart from reassurances that EU elections will be held in the country. (RO), It’s been a long wait for Flying Lotus’s new album. (Roisin O’Connor), After a period of tumult, Sharon Van Etten’s fifth album is a reinvention. Monday 18 March 2019 09:16 Roger Daltrey had a strong reaction to a question about whether he believes Brexit will have a negative impact on … Thank goodness that the rest of the album is nothing like that. The bass and riff-driven “Now That You’re Gone” feels stripped back by comparison; it’s perfectly crafted.

Now it’s a standout on this album.

(Adam White), The album takes a deep, contemplative breath on “Short and Sweet”, which is exactly what it promises, a Grace Jones-like ballad on which Howard’s voice takes precedent over inconspicuous guitar, and the background hisses like an old vinyl. Danger Mouse is known for genre-hopping collaborations with artists such as Beck, the Black Keys and CeeLo Green, and he applies that approach here, too: the album is an impressive mix of blissed-out synths, psych-rock guitars and trippy hip-hop beats. Listen to Katy Perry’s summer smash “Never Really Over”, or Taylor Swift’s feminist clap back “The Man”, and you’ll hear the same dense, sticky synths and brawny beats that the emo-pop trio have been honing for the past three years. It’s a bittersweet mourning of her past.