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Altered Images: Mascara Streakz review – Clare Grogan is reinvented as a retro disco diva

80s-influenced electropop gets a contemporary makeover as erstwhile giggly teen Grogan returns stronger than ever after 39 years

Ty Segall review – expectation-defying space folk and squalling rock

Backed by his Freedom Band, songs are attacked with gleeful venom, the relentlessly inventive frontman repeatedly striking gold with his haywire impulses

Green Man festival review – the absurd, the wonderful and the otherworldly

From the magisterial glam rock of Yves Tumor to the comedy surf-pop of Melin Melyn, Green Man froths with positivity and subversion

The Mountain Goats: Bleed Out review – a concept album that leads with bloody revenge

Shot through with pop-culture references, this 21st album from the indie rockers is brilliantly executed but offers limited emotional depth

Phoebe Bridgers review – a truth-telling phenomenon

The adored LA singer-songwriter pairs references to the male rock pantheon with Roe v Wade in a magnetic set that cries out for festival headline billing

Florist: Florist review – an ode to the power and comfort of friendship

Emily Sprague reunites with her bandmates for a new album that plays like a family portrait – and stakes out new ground

Phoebe Bridgers review – cathartic indie superstar helps her young fans emotionally purge

With humour, heart and some genuinely poignant moments, Bridgers has her audience shrieking and fainting

Beabadoobee: Beatopia review – stylish but unmemorable pop nostalgia

Londoner Beatrice Laus’s second album trips down a well-travelled path of sweet 90s indie-rock

Black Midi: Hellfire review – gruesome rock opera is a little too clever

From cocktail-lounge piano to thrashing drums, the British prog band make musical handbrake turns that are thrilling but hard to love

Laura Veirs: Found Light review – folk-rocker’s sexual reawakening

The Portland singer-songwriter’s first album written after splitting from her husband and longtime producer is a candid confessional filled with headily intimate images

Interpol: The Other Side of Make-Believe review – a subtle change in temperature

One of the definitive New York buzz bands of the 00s, the trio relax their tense mood – just a little – on an album of pleasures and longeurs

Soccer Mommy: Sometimes, Forever review – warm, toothsome pop with icy blasts of angst

Sophie Allison’s impressive follow-up to Color Theory sets emotional gridlock, the supernatural and apocalyptic despair to sweet melody and cold gusts of noise

Horsegirl: Versions of Modern Performance review – an indie rock masterclass

A debut album drawing on shoegaze, jangle, grunge and alt-rock is saved from nostalgia by the sheer quality of the music

Dehd: Blue Skies review – shining melodies on indie-rockers’ biggest songs yet

Each song is catchy and evocative on its own, and taken together they feel casually masterly

Ethel Cain: Preacher’s Daughter review – evocative goth-pop with emotional heft

The introspective singer explores identity and religion amid a backdrop of seedy Americana on this rich, haunting debut

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  • Giulio Cesare in Egitto album review – Sabine Devieilhe’s exquisite Cleopatra could make stones weep
  • War Requiem review – in the cathedral where it premiered, Britten’s masterpiece has lost none of its power
  • Blackhaine: Saints in the Wethouse review – spectacularly intense UK rap that will swallow you up and wring you out
  • BBCSO/Oramo review – yes, Inmo Yang is phenomenal but the BBC Symphony shone even brighter tonight
  • U2: Carnaval de Luz review – rousing, restorative rock from a band ready to take on the world again
  • Beethoven: Symphony No 3 album review – thrilling, but Minasi’s determination to shock often feels self-conscious
  • Orbiting Orbital review – Nitin Sawhney casts a spell inspired by Samantha Harvey’s Booker winner
  • Iphigénie en Tauride review – stylised staging of opera of bloodthirsty priestesses and divine intervention
  • La Bohème review – Opera Australia’s new take on Puccini is a lush frenzy of visual excess
  • Spice Girls: The Singles Collection review – stop fleecing your fans right now, thank you very much
  • Enrico Rava Fearless Five with Joe Lovano: Corners review – daring dialogues from 87-year-old Miles Davis disciple
  • La Roux: Old Flames review – a breezy, hook-packed twist on a breakup album
  • Bassvictim: Peace + War review – like a thrillingly chaotic house party that goes on too long
  • Stravinsky: The Firebird album review – Rattle revels in colour, crackles and bites
  • BBCSO/Stasevska review – Caroline Shaw’s cosmic visions meet Barber’s lyrical brilliance
  • Tosca review – ENO’s new staging abandons Puccini’s realism for baffling and near-constant violence
  • Strauss: An Alpine Symphony album review – monumental work’s mystic vision guides Petrenko
  • LSO/Pappano review – Kendall’s engaging new work has a tea kettle, tremolo and slam-dunks of timpani
  • Sampa the Great: Nu Zamrock review – a full-circle moment for a world-class act
  • Carmen review – Costa-Jackson’s smouldering heroine blazes brightly
  • Radie Peat: No Human Tongue Can Tell review – Lankum singer’s solo debut is the year’s best folk album
  • Kali Malone: Burning Song review – drone composer wields Bach’s organ to breathtaking effect
  • The Mad Lover review – eccentric charm and baroque brilliance as duo move from Eccles to Indiana Jones
  • Colin Currie Group review – Steve Reich’s music is still bedazzling
  • Britten: Serenade for Tenor, Horn and Strings album review – Wilson explores British music’s highway and byways
  • The Big Moon: Forever review – the hell of hearing loss inspires a defiantly hopeful pop-disco marvel
  • LPO/Gardner review – Mark Simpson’s piano concerto leaves its audience panting
  • Macklemore’s Free Palestine tour review – a triumph of a show with performances from Hozier, Kneecap and more
  • Mac DeMarco review – glowing melodies and shirtless antics at Carnegie Hall
  • Aberfan: From Darkness to Light review – Mealor’s requiem offers hope amid the tears

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