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Heart Beach review – downhearted grandeur on Hobart band’s debut

Not a beat is wasted on this thoughtful album from Tasmania, imbued with that bleak but beautiful feeling of wanting to get away – if only for a holiday

The Pre New: The Male Eunuch review – angry, disturbing and extremely funny

The Pre New’s second album is another noisy splurge of glam-rock and weird electronics, and an oddly moving narrative of modern middle-age

Super Furry Animals review – homecoming gods bring the old magic

The adventuring Welsh rockers win the reunion of the year title with a dazzling set of witty and madcap hits

Best Coast: California Nights review – an impressive Sunshine State soundtrack

Best Coast’s third album offers melancholic heartbreak ballads alongside thrashier lo-fi fare, but is best taken in small doses…

My Morning Jacket: The Waterfall review – initially endearing, lacklustre later

The Kentucky five-piece seem to have lost touch with their space-rocking former selves on their latest release

Django Django: Born Under Saturn review – First Light is the high spot

Django Django’s dancefloor-friendly second album lacks the grooves of its Mercury-nominated predecessor

Other Lives: Rituals review – Radiohead affiliates offer beauty but no surprises

Other Lives and Radiohead have something of a mutual-appreciation thing going on, but this band can’t help suffering in comparison

My Morning Jacket: The Waterfall review – big-canvas country-rock with spellbinding moments

My Morning Jacket’s new album has a warmth that was missing from their last, and Jim James’ voice sounds spellbindingly gorgeous

Django Django: Born Under Saturn review – wonder and dread on indie-electro band’s second album

It might not have the sheer impact of their debut, but there’s no diminution in the quality of songwriting on Django Django’s second album

Mumford & Sons: Wilder Mind review – more anodyne and generic than ever

They’ve shed the banjos, the neckerchiefs and the campfire stomping – and come up with something even more flat, beige and ordinary

Speedy Ortiz: Foil Deer review – unoriginal retro musings

Likable Sadie Dupuis and co sadly fail to transcend her record collection

Passion Pit: Kindred review – songs of sorrow bulldozed by chaotic production

The consequences of a confessional interview given by Passion Pit’s Michael Angelakos inform his new album, but it’s not easy to get to the heart of it

Amber Run: 5AM review – anthemic pop-rockers take on the mainstream

Unoriginal but sweetly palatable, Amber Run’s debut suggests a young band with an eye on major mainstream success

Stealing Sheep: Not Real review – strange music full of big questions

These fantastical, wildly colourful musical imaginings about the future and the universe are beautiful and disconcerting

Villagers: Darling Arithmetic review – delicate love songs that lack emotion

Conor O’Brien’s songs about love and anxiety are too flimsy to make a real impression

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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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