(Roisin O'Connor)For all the album’s eccentricities, the vibe is earnest fairytale rather than tongue-in-cheek – save for the sound of a strangled feline mirroring the lyrics “when you stepped on your cat” on “How Many Times”. “House of Glass” is a sequence of frenzied mutterings with a buzzsaw guitar cutting through his attempts to convince himself of love’s existence. It’s better. On “AtalantA”, she showcases her muscular vocals, which are capable of switching between an airy lilt to a deep, emotional moan, as she sings lyrics inspired by the Greek hunter goddess who refused to marry. Indeed, so heavily do The Black Keys wear their influences that the record – their ninth – risks coming across like Stars in Their Eyes: The Rock Edition. Fans will be surprised to discover Tracey sings almost as much as he raps, in pleasingly gruff tones. Where the former was overflowing with choppy, experimental sounds, guest appearances and clumsy attempts at Gil Scott Heron-esque revolutionary lyrics, the sequel – recorded around the same time – streamlines .Paak’s sound, making for a tightly packaged, melodic and danceable album. On opener “Shine a Light”, the riffs are big, the momentum irresistible, with frontman/guitarist Dan Auerbach layering scabrous licks over AC/DC-like chords. Assertive tracks “Loyal to Me” and “Love Letter” nod to TLC’s “No Scrubs” and Destiny’s Child’s “Survivor”, but there is vulnerability, too, in the acoustic guitar-led neo-soul of “Somebody Special”, and the tender heartbreak on ”Is it Really Me You’re Missing”. Considering how few artists have such command of their craft as .Paak, he’s not wrong. Critics may question how relevant Slipknot are in 2019. The title track is pure euphoria, as restless synths of a Utah Saints or Orbital rave break into swelling bass and melody. Then she growls like an Icelandic volcano preparing to disrupt western civilisation until we sort ourselves out. l enjoyed the muted, Afro-tinged authenticity of “Level Up” and the conscious, pasty-girl reggae of “Business Dinners” (on which she refuses to be an industry angel) and I loved the Robyn-esque rush of “Basic” (which sees her yearning to shed love’s complications). (Roisin O’Connor)Big Thief’s frontwoman Adrianne Lenker has an uncanny ability to make you feel like you’re in on a secret. For nearly 80 minutes, Jaden tries almost every sub-genre that’s currently dominating the Billboard Hot 100. Start your Independent Premium subscription today.The 17-track record was released today (5 July) via MSFTS Music/Roc Nation/Republic Records. “Adult Film” features a gorgeous piano riff; the Pete Rock-produced “The Art of It” has a delicious funk vibe; “It Never Ends” comes full circle via a bright piano loop. “I forgot that you existed. Since then, they've released a string of consistently great albums, from 2008’s Made in the Dark (featuring their only Top 10 single to date, “Ready for the Floor”) to this, their seventh and best record, A Bath Full of Ecstasy. Dave spends Psychodrama addressing issues caused by the generations who came before him. (Adam White)The album takes a deep, contemplative breath on “Short and Sweet”, which is exactly what it promises, a Grace Jones-like ballad on which Howard’s voice takes precedent over inconspicuous guitar, and the background hisses like an old vinyl. Mad Mimi. It is, she says, “The Kinks meet the Second World War, or Bob Seger meets Enya.” Neither of those is a particularly accurate description, but they do at least fit the album’s refusal to loiter in any one genre. (Roisin O'Connor)On Deerhunter’s eighth album, frontman Bradford Cox takes on the role of war poet, documenting the things he observes with a cool matter-of-factness, and heart-wrenching detail. Hopefully fans will, too. But this is an album that shows a band who’ve grown stronger and unafraid to flex their muscle. Addressing a younger version of herself, the 37-year-old sings of the carefree young and their mistrust of those defeated by time. (Elisa Bray)Given our current preoccupation with the Eighties, you could argue that Lost Girls is hardly breaking new ground – and yes, nostalgia is a fairly generic formula. (Patrick Smith)MUNA might not be a household name yet, but their influence runs through the charts like a stick of rock these days.
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