Love Frequency review – Klaxons back on the crest of a rave

You can feel the band straining for a disco hit on their third album, but old fans will enjoy its esoteric musings, writes Killian Fox

Pixies review: seminal band’s power remains potent

Though confined in Sydney Opera House, the Pixies' songs still have so much emotional heft that Paul Farrell sees audience members proposing marriage

Neutral Milk Hotel review – it’s thrilling to have Jeff Mangum back from the brink

There's no new material, but it's a joy to experience the long-overdue return of these legends of alt-folk, writes Mark Beaumont

Sharon Van Etten: Are We There review – breathtaking lyrics, hit-and-miss songs

Sharon Van Etten's recollections of an abusive relationship take your breath away with their shocking intimacy, but the music itself isn't always as impactful, writes Tim Jonze

Slowdive review – 90s shoegazers return in a sumptuous haze

It's twenty years since they last played live, but the group's gorgeous washes of sound have aged superbly, writes Ian Gittins

The Horrors review – little more than a Madchester period piece

They have done garage, gothic, shoegaze and cosmic psychedelia but the new Horrors are too in thrall to 1990s dance rock – it's drearily formulaic, writes Ian Gittins

The Great Escape festival review – rock thrills aplenty, if you can get in

The programme is pretty heavy on guitar bands, and overcrowding is rife, but Brighton's mini-festival still delivers some real treats, writes Alexis Petridis

Seven Dials review – Roddy Frame’s knack for a memorable, soaring chorus is undiminished

The founder of Aztec Camera makes a welcome return with his first solo album in eight years, writes Phil Mongredien

American Interior review – Gruff Rhys’s vivid and exhilarating journey

Gruff Rhys's latest project celebrates 18th-century explorer John Evans with humour and pathos, writes Ally Carnwath

The Horrors: Luminous review – pulsating, danceable psychedelia

The Horrors continue to refine the sound they hit on for their Primary Colours album, and still sound way ahead of most of the competition, writes Tim Jonze

Gruff Rhys: American Interior review – wit, originality and indelible tunes

The former Super Furry Animals frontman's new concept album is an absolute pleasure, however much of the concept you care about, writes Jon Dennis

Everyday Robots review – an elliptical tour of Damon Albarn’s life

Rich lyrical imagery gives the former Blur singer's autobiographical material real depth, writes Phil Mongredien

Wye Oak: Shriek review – beautifully crafted but unexceptional synth-pop

Wye Oak have swapped indie-folk for electronic pop on their new album, but they don't quite have the songs to match the sound, writes Dave Simpson

Embrace: Embrace review – vaguely uplifting, anthemic guitar pop

Yorkshire rockers Embrace have changed beyond recognition: they're copying Coldplay instead of Oasis now, writes Tim Jonze

Damon Albarn: Everyday Robots review – no revelations, but dazzlingly lovely songs

Alexis Petridis: It's hardly the big personal reveal that it's been promoted as, but Damon Albarn's first solo album is still a lovely piece of work