Anna von Hausswolff – The Miraculous (City Slang)
Why you should listen: The Swedish singer-songwriter’s brooding and intense third album of folky drone-metal is anchored by a 9,000-pipe organ, and centred on folk tales once told to Von Hausswolff by her parents.
It might not be for you if… You’re not particularly in the mood for an album so heavy and overwhelming.
What we said: “[The Miraculous’] huge, bone-crushing, folk-goes-metal songs are given extra heft by her otherworldly wail that conjures up images of human sacrifice and a society on the verge of collapse,” wrote Paul Mardles, in the Observer.
Score: 4/5
The Drink – Capital (Melodic)
Why you should listen: The London-based guitar pop trio toy with indie, disco and the dark folk that underpinned their early EPs and 2014 debut LP Company.
It might not be for you if… You’re not the biggest fan of guitar-centric psych-folk shot through with pop sensibilities.
What we said: “There’s a lightness of touch about Capital’s production that avoids quirkiness and allows Dearbhla Minogue’s intricate but unfussy guitar playing to shine,” wrote Jon Dennis, in the Guardian.
Score: 4/5
Boots – Aquaria (Columbia)
Why you should listen: Boots’s Jordan Asher seemingly appeared out of nowhere as a central producer on Beyoncé’s self-titled 2013 album. Here he crafts similarly dark, throbbing electronica in his own right – though he may do well to leave the singing to Bey.
It might not be for you if… You didn’t enjoy Beyoncé’s sonic direction on her last album, and aren’t a fan of Boots’s talk-singing style.
What we said: “From the crunchy synths and moody beats of Brooklyn Gamma to the spectral guitars of Still, Jordan Asher’s music is as industrial as a Trent Reznor score,” wrote Harriet Gibsone, in the Guardian.
Score: 3/5
Rustie – Evenifudontbelieve (Warp)
Why you should listen: The Glaswegian electronic producer is making music as twitchy, glitchy and shimmery as ever, adding trap and trance to his grab-bag of influences.
It might not be for you if… You find Rustie’s maximalist electronic music more shrill than thrilling.
What we said: “Eschewing guest vocalists, he somehow gets away with weaving in a dolphin sample on the happy hardcore of First Mythz, while the excellent Big Catzz is a delirious rush of candy-coated dance pop that makes you want to bounce off the walls,” wrote Michael Cragg, in the Observer.
Score: 4/5
Jeff Lynne’s ELO – Alone in the Universe (Columbia)
Why you should listen: ELO’s first album since 2001 employs the orchestral flourishes that first became their signature in the 1970s, with Lynne’s voice sounding as emotive as ever.
It might not be for you if… You’re not the biggest fan of ELO’s strings-heavy rock.
What we said: “While Lynne only once comes close to matching the pop perfection of his 70s imperial phase (on the lushly melancholic One Step at a Time), there’s plenty to enjoy elsewhere,” wrote Phil Mongredien, in the Observer.
Score: 4/5
Elsewhere last week, Guardian pop critic Alexis Petridis was none too impressed with the Montage of Heck soundtrack of lost Kurt Cobain material, and both Justin Bieber and One Direction served up average, well-produced pop. Never mind the teenybopper tunes – what music are you looking forward to hearing this week?
