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Lost Girls: Selvutsletter review – flashes of brilliance from Jenny Hval

The Norwegian musician’s second album with guitarist-husband Håvard Volden is a digressive affair illuminated by some glorious moments

Sampha: Lahai review – how to make an existential crisis sound sublime

Six years after the Mercury prize-winning Process, Sampha Sisay’s follow-up is jittery with anxiety and indecision, yet poised and luscious

Oneohtrix Point Never: Again review – producer teams with AI to take pop to the outer limits

Daniel Lopatin now adds post-rock, prog and artificial intelligence to his melting pot of avant garde electronics

DJ Znobia: Inventor Vol 1 review – raw minimalist kuduro to shake the dancefloor

The Angolan producer arrived at his own version of the dance style kuduro after adding layered synths to folk rhythms, and these tracks show his lo-fi ingenuity

Gaika: Drift review – the sonic shapeshifter goes analogue

The London MC disrupts expectations on his latest album, ranging from breakbeats and funk-soul to cinematic strings

Fred Again review – restless mood swings from rave ringmaster

An enthusiastic crowd laps up Fred Gibson’s collective-healing vibes, but the pacing is off and the emotional moments don’t always connect

Supersonic festival – doom, earsplitting ecstasy and thousands of samosas

The Midlands experimental music institution celebrates 20 years of triumphant noise, from alt-rock stalwarts Deerfhoof to feminist punks Taqbir and folk stars Lankum

The Chemical Brothers: For That Beautiful Feeling review – pure techno pleasure

The dance duo’s 10th album – on which they, not the guest vocalists, are the stars – has moments to match their best work

Romy: Mid Air review – xx singer shines through dancefloor gems

Expertly produced with Jamie xx, Fred Again and Stuart Price, Romy Madley Croft’s debut solo album tops off vivid house and trance tunes with pop smarts and personal lyrics

Deena Abdelwahed: Jbal Rrsas review – addictive combination of darkness and danceability

Abdelwahed’s second album extends the DJ and producer’s compelling sound world, mixing traditional Arabic genres and instruments with foreboding dancefloor beats

Bambii: Infinity Club review – mischievous, flirty global electronica

The Toronto producer/DJ’s fleet-footed debut mini-album, featuring guest spots from the UK’s finest dancefloor talent, is an impressive calling card

Art School Girlfriend: Soft Landing review – lush, liminal electronica

Polly Mackey’s second album as ASG is at its best when her hazy sounds come nailed to dancefloor beats

Lance Gurisik: Cull Portal review – drones, drums and disruptive drama

Gurisik’s startling album – think Aphex Twin meets Keith Jarrett – combines jazz, electronica and contemporary orchestral music to compelling, coherent effect

Jessy Lanza: Love Hallucination review – a sensual producer’s pursuit of pleasure

The uniquely puckish Canadian electronic artist spans pop and beguiling abstraction on her fourth album, as she writes about boldly confronting her needs

Lindstrøm: Everyone Else Is a Stranger review – minor variations on sleek space disco pleasures

This Norwegian producer returns from his period forays into the leftfield for an album that is as fizzy and enticing as ever

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  • St Vincent review – majestic orchestral transformations of jagged art-pop
  • BBCNOW/Bancroft review – conductor takes final bow in imaginative programme of vivid colours and emotions
  • Krishna review – the mystery of John Tavener’s ‘mystic pantomime’ is why it has been staged
  • Taylor Swift: I Knew It, I Knew You review – giddy up! Song for Toy Story cowgirl Jessie is Swift’s best in years
  • Zoh Amba: Eyes Full review – raw, rugged country rock also has real tenderness
  • Gintė Preisaitė: Instruments of Forgetting and the Singing Bone review – atmospheric, unsettling ambience
  • Hourglass album review – Simone Dinnerstein gives Glass room to breathe
  • Lizzo: Bitch review – a spirited star who just can’t rediscover her groove
  • Beethoven: The Violin Sonatas Vol 1 album review – fresh-as-a-daisy performances from a duo with a gift for storytelling
  • Mike D review – ex-Beastie Boy’s first UK gig in two decades, in a Tyneside bingo hall, is uproarious fun
  • Saint Levant review – Palestinian pop star makes Australian debut to an ecstatic, sold-out crowd
  • Vespers review – haunting clash of cultures conjures Vivaldi’s Venice
  • Jack White review – former White Stripe’s art is like a 12-year-old visiting Tate Modern for the first time
  • Lise Davidsen and James Baillieu review – superstar soprano unleashes her inner Valkyrie
  • Orlando review – a confident romp through Handel’s flimsily plotted opera
  • Take That review – stadium redux of Circus tour has maximal razzle-dazzle
  • Hampson and Sidorova review – style over substance with a whiff of the cruise ship
  • Matías Aguayo: Anenoa review – the funkiest, freest singer in the business hits the dancefloor
  • Violet Grohl: Be Sweet to Me review – alt-rock arriviste aces the part
  • Dvořák: Symphony No 9 album review – Shani brings a natural freshness to a familiar work
  • La Traviata review – gripping and genuinely moving staging opens Garsington’s summer season
  • Colin Matthews: Seascapes album review – the songs teem with detail
  • Iceage: For Love of Grace & the Hereafter review – Danish punks ace sixth stellar album on the trot
  • La Fanciulla del West review – insightful staging reveals the power of Puccini’s maverick masterpiece
  • 125th anniversary gala concert review – back to 1901 as Wigmore celebrates birthday playing to its strengths
  • Sugar review – Bob Mould’s reunited band still in a sweet spot between noise and melody
  • Paul McCartney: The Boys of Dungeon Lane review – at 83, his gift for melody still astounds
  • Boards of Canada: Inferno review – after 13 years away, their prodigal return is a big disappointment
  • Tosca review – Puccini’s high-octane bloodbath bonanza makes for a shocking festival kick-off
  • Dido and Aeneas review – close your eyes and this was a tremendous performance

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