From frenetic opener “Bored and Razed”, you can sense the compelling chemistry between Benson and White playing out on stage as the duo harmonise or sing in unison, and White strikes frenzied riffs alongside Benson’s melodic guitar chops. Over all of it, he raps with an easy flow in gruff yet honeyed tones. ((Photo by Jemal Countess/Getty Images for Global Citizen Festival: Mandela 100))Ed Sheeran announces new album and collab with Chance the Rapper Each song feels personal yet relatable – the deep-rooted despair felt on “Trauma” at the sight of wealthy bullies rising to power is a universal one, as is the sense of liberation in just letting go on “What Can You Do But Rock n Roll”. Beautiful arrangements and seamless production notwithstanding, you get the sense, each time she drop a project, that it serves a distinct, zeitgeist-shifting purpose.

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). 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. Three of her past albums have been nominated for Mercurys; expect this to make it four. (Alexandra Pollard)It seems as likely as Old Man Steptoe dining with the Rees-Mogg, but this new tactic of burying their confrontational gruesomeness beneath a veneer of alt-rock respectability for album three works well for Fat White Family. (Roisin O'Connor)Hackman’s debut album, 2015’s We Slept At Last, was a gentle, unprovocative affair – though if you listened closely, the dark, sexual energy that convulses through her current sound was already there. Text us for exclusive photos and videos, royal news, and way more. Organs crop up throughout, evoking both Renaissance music and a fairground attraction. Philippe Zdar – one half of the French duo Cassius and producer for the likes of MC Solaar and Phoenix – helps the band reconcile their house and hip-hop influences. Where most rock superstars sink into trad tedium by 69, Springsteen is still crafting sophisticated paeans of depth and illumination, a rock grandmaster worthy of the accolade. (Alex Pollard)Also included in the album is "I Don't Care", the single unveiled by Sheeran and It went on to win the Grammy Award for Best Pop Vocal Album in January 2018, while the song "Shape of You" earned the Grammy Award for Best Pop Solo Performance.Album follows up on Sheeran's 2011 No 5 Collaborations ProjectIndependent Premium Comments can be posted by members of our membership scheme, Independent Premium. May 23, 2019 08:05 AM It ends with another Sivan collaboration: “2099”. Rather than being an album of Oxnard offshoots, Ventura instead borrows heavily from .Paak’s consistently brilliant 2016 record Malibu, itself a fresh slice of soulful funk. Those hoping for a barbed protest record in keeping with Del Rey’s newfound public activism (last year she called President Trump a “narcissist” who “believes it’s OK to grab a woman by the pussy just because he’s famous”) will be disappointed. On “He Loves Me”, she grapples with maintaining a relationship with God when she’s long since stopped going to church. It’s layered with whimsical flutes, intricate guitar picking and sombre bass lines that meander with casual abandon. “Gimme” demands sex and refuses to be shamed for it; “Contaminated” mourns a toxic relationship that can’t be saved; and “Stroke” is a bitter riposte to a man emulating the Greek figure Narcissus – laid over a funk guitar riff. Death is everywhere on Why Hasn’t Everything Already Disappeared?, as much as others may refuse to see it. It’s a thrilling work. Written in the aftermath of Hackman’s split from fellow musician Amber Bain – aka The Japanese House, who released her own reflection on their break-up on her debut album Good at Falling – Any Human Friend is a satisfyingly dismal affair that is certainly not suitable for the four-year-old who inspired it. On the melancholy, gently strummed guitar and piano-led “Fall Asleep, Backseat”, Monds-Watson reflects on pretending to sleep as her parents make the painful decision to divorce. (Roisin O'Connor)This is Del Rey at her most assertive – personally, if not politically. Single “Ready to let Go” is by far the most explicit – a moody swamp-rock jam where Shultz comes to terms with his impending divorce. (Alexandra Pollard)One could argue that there’s too much eclecticism here – that if this really is Crow’s final LP, she perhaps could have gone for something with a more singular sound.

(Jack Shepherd)Two years after the release of his Mercury Prize-nominated debut Yesterday’s Gone, the south London hip-hop artist unveils its follow-up, Not Waving, But Drowning. (Alexandra Pollard)The overarching sound, production and instrumentation on Eve are outstanding. Born in 1909, she was still a powerful, playful force when I interviewed her for this paper in her eighties. But where the 2017 Nordic Music Prize-winning Blood Bitch was packed with visceral imagery and disarming sonics, the themes of The Practice of Love are encased in a warm cocoon of poetry, blissed-out circling synths and trance-like Nineties beats. “Zombie” was a protest song written by the band’s late frontwoman Dolores O’Riordan after two children were killed by IRA bombs – was released.


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