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Bloc Party: Hymns review – modernised sound marred by ham-fisted sensuality

Bloc Party’s first album in four years updates its sound and its lyrical references, but the compelling unease of old is gone

Money: Suicide Songs review – despair and catharsis on epic second album

Manchester’s Money go all-out epic on their second album, a mix of existential dread and euphoric eruptions

Tuff Love: Resort review – guileless debut gives indie a good name

The drums are just primitive enough and the guitars fizz rather than bludgeon on this likable first album from a group making the music they truly love

Beach Slang review – sloppy fun with big-hearted drunk punks

The Philadelphian band drink and talk too much, hug audience members, show off their yoga moves and rock hard: it’s all-in chaos

Savages: Adore Life review – tackles love from different angles

The post-punk act underline why they’re necessary on their second album whose speedy tracks work best

The Libertines review – after the turbulent old days, a quixotic, triumphal reunion

As comeback kids Pete Doherty and Carl Barât trade barbs again, it’s back to the bromance – though with less intimacy and no melodrama

Chairlift: Moth review – Brooklyn indie-pop-R&B duo return in force

Chairlift’s latest puts them at the forefront of the Brooklyn genre-blender pack

Suede: Night Thoughts review – a florid, cinematic concept album

Suede’s ambitious seventh record was written to accompany a film, but makes for an impressive standalone concept album

Eleanor Friedberger: New View review – growing up and straightening out

A rural relocation and some more traditional arrangements fail to blunt all of Friedberger’s quirks on her third solo outing

Shearwater: Jet Plane and Oxbow review – poignant skyscraping cinematics

Brooding with soaring power, Jonanthan Meiburg and Brian Reitzell build a soaring force that is epic without bombast

Tindersticks: The Waiting Room review – injects life into the loucheness

There is earthy warmth to be found in Tindersticks’ 10th album – a triumphant, elegantly dishevelled listen

Fat White Family: Songs for Our Mothers review – still testing the boundaries of taste

The group sticks to a lo-fi rock template on their sophomore album, yet tip their hats to Throbbing Gristle’s taboo busting – with mixed results

Daughter: Not to Disappear review – unflinching and unexpected

The post-indie rock trio branch out with an album full of emotionally complex themes

Mystery Jets: Curve of the Earth review – fewer quirks but flashes of brilliance

This London band’s sixth album finds them smoothing out their idiosyncrasies in favour of a more mainstream Americana sound

Daughter: Not to Disappear review – a chilly emotional echo chamber

Daughter’s second album lacks the intimate warmth that made their debut approachable, leaving only an icy misery

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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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