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Public Service Broadcasting: The Race for Space review – a smart follow-up

The London duo’s take on the US-soviet space race is suitably out of this world

Yung Lean: Unknown Memory review – nagging hooks and queasy introspection

Swedish hip-hop teen Yung Lean intrigues with his dank, downbeat debut

Ibeyi review – twin-powered culture-clash charisma

The Díaz sisters – whose music fuses French, Cuban and Yoruba culture – may be diametric opposites on stage, but they combine spellbindingly

Dan Deacon: Gliss Riffer review – pop outsider relaxes into his own sound

Experimental pop outsider Dan Deacon relaxes into his own madcap sound on his terrific fourth album

Ibeyi: Ibeyi review – impressive but limited experimental soul

French-Cuban twin sisters Ibeyi stick to one pace throughout their debut album, and that reduces its impact

Steve Aoki review – DJ in a dinghy bludgeons the audience into submission

EDM’s poster boy indulges in bone-headed gimmicks that range from hurling cakes at the front row to crowd-surfing in a rubber boat

The Dø: Shake Shook Shaken review – the Paris duo shape up on album no 3

Warmer textures and greater structure have paid catchy dividends for the Dø

Adamski: Revolt review – early-90s rave star makes a brave comeback

It’s an odd combination of musical ingredients and not all of it works, but Adamski’s new album is brave and funny

DJ Shadow and Cut Chemist review – a vinyl trip as profound as Moses’s stone tablets

The turntable auteur and Jurassic 5 DJ prove funk never loses its power as they cut and hack through Afrika Bambaataa’s vintage vinyl

Aphex Twin – Computer Controlled Acoustic Instruments pt2 review: ‘Sometimes unlistenably irritating’

Just months after Syro, Richard D James has released an EP. Just don’t expect to be thrilled by it

Troyka: Ornithophobia review – take-no-prisoners fusion

Troyka can be pulsatingly mellow – then veer off into Zappa-like melodies and thumping electric blues, writes John Fordham

Indiana: No Romeo review – moody and fascinating electro

This Nottingham mother’s minimalist songs are an island of restraint amid current overblown mainstream pop. And she’s a dab hand at a masturbation metaphor, writes Alexis Petridis

Mofo festival 2015: the hits and misses

From the debauchery of Faux Mo to a Syrian wedding singer turned electro superstar, Brigid Delaney and team pick their festival highlights

Kindness review – Soul II Soul vibe meticulously recreated

Adam Bainbridge’s modern pop incorporates everything from house and classic R&B to disco, writes Kate Hutchinson

Die Antwoord review – South African rap-rave crew play it to the hilt

Ninja and Yolandi, guttural rapper and robot babydoll singer respectively, keep to the formula with demented energy, writes Graeme Virtue

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  • Loidis: From the Toolkit of Lovers review – epic 111-minute album is a teeming universe of detail
  • Basma and Temir Alcy: NAD review – skulking, sultry French-Moroccan crew evoke this shifting season
  • Super Graphic Spectacular review – Chappell Roan dazzles at her gloriously gay mini-festival
  • Amy Winehouse: Back to Black 20 review – trying an all-star Amy tribute show is a losing game
  • Bournemouth Symphony Orchestra / Wigglesworth review – phrasing with hospital corners
  • Bartók: Miraculous Mandarin Suite, The Wooden Prince album review – vivid colours and astute pacing
  • Shovel Dance Collective: Everything in Readiness review – ecstatic, dissonant folk music fighting for sonic and spiritual freedom
  • Perle Noire: Meditations for Joséphine review – turgid tribute to pioneering star
  • The Alonetimes review – frenetic, funny and exhilarating music theatre
  • With nine new recordings of Mahler’s epic Resurrection Symphony this year alone, which rises above the rest?
  • LSO/Pappano review – bold, dramatic and cohesive reading of Mahler 2
  • Michael Kiwanuka: Fudge review – rough and instinctive, but also lush and alive with melody
  • RLPO/Hickox review – a made-to-measure clarinet collaboration two decades in the pipeline
  • 4.48 Psychosis review – a dazzling, harrowing opera worthy of Sarah Kane’s furious writing
  • Ariadne/Dido and Aeneas review – English Touring Opera conjures two strikingly different mythological worlds
  • PatKop & Say album review – playfulness and beguiling delicacy in mix of new and old
  • Worldpeace DMT: Stick Around for Tea review – ‘laptop twee’ duo keep things goofy but strengthen songs
  • Weird Baile: Collected Rips 2004-2024 review – a hallucinatory trip to baile funk’s outer limits
  • Mendelssohn: Songs Without Words review – Chamayou makes each piece feel somehow familiar yet fresh
  • Angèle: Instinct review – Belgium’s biggest star is determined to do pop differently
  • Stevie Wonder review – playing ​his greatest album in full, he knocks everyone sideways
  • The Mary Wallopers review – legs and pints go flying to the sound of rowdy folk ragers
  • Appl/Baillieu: Lines of Life review – gifted baritone blends Kurtág and Schubert
  • Beth Orton review – battered optimism from an artist making the best music of her career
  • Atlantic Requiem review – Önaç gives historical slavery documents howling raging life
  • The Girl from Arles review – Bizet’s music for forgotten rustic tragedy has punch and poetry
  • Fontaines DC: Dopamine Chamber review – gloomy, gorgeous and a gargantuan triumph
  • Eugene Onegin review – passion and pathos as Tchaikovsky’s opera is dragged into the oligarch era
  • Tame Impala review – Kevin Parker ricochets between musical uppers and downers in eye-popping arena show
  • Branford Marsalis Quartet and Dianne Reeves: Dedicated to You review – eloquent Coltrane tribute

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