As previously, the rest of the record repays deep investment, as Harding’s pauses and supporting instrumental actors are often as significant as what’s going on up top, all creating a sense of tensile beauty as certain as physics but impossible to pin down.
Callahan’s gnomic half-smile and his ability to pull the rug out under certainties remain.
It is, hands down, the best iteration of XCX yet, the one where Aitchison’s pop capabilities line up most persuasively with her avant garde ear.
Ultimately, it is Titanic Rising’s fusion of ancient and contemporary, 70s singer-songwriter tropes and electronic burbles, that convinces; the beauty Weyes Blood offers has its eyes wide open.
Colourful, positive and shamelessly retro, US singer and rapper Melissa Jefferson’s third album is the biggest, most focused set of her career thus far.
It’s an album that exudes warmth and no little sonic familiarity, while reflecting what is a radically altered set-up.
In the first album wholly written since the death of his son, Cave reaches an extraordinary, sad and beautiful artistic evolution.