Julia Jacklin's The Gem reviewed: Australian road warrior discovers there's no place like home

Sari Lightman's The Way I Saw You reviewed: Canadian experimental folk musician gets literary on solo debut

The doyen of the Scottish underground, Emma Pollock returns with her first album of new material for nine years

Florist are a gentle indie-folk quartet on a mission to soothe our modern anxieties with their album Jellywish

Popular Scottish Gaelic band, Niteworks, are currently on their farewell tour and will be playing their final shows in November.

Landless share stunning four-part harmonies from the same Dublin folk scene as Lankum and Lisa O’Neill

Intellectual Oregonians The Decemberists cram two decades of tricks into four-sided ninth LP, As It Ever Was, So It Will Be Again

Kara Jackson, a former Youth Poet Laureate, graduates to storytelling songs with her debut album, Why Does The Earth Give Us People To Love?

Introducing Nico Paulo's magical, Tropicália-tinged indie-folk from Newfoundland via Portugal

Definitely not a thrash metal band – but possibly just as intense, as evident in Skullcrusher's latest effort, Quiet The Room

Southern songwriter makes a plea for empathy

Consummate collaborator Macie Stewart finds their own voice

The folk troubadour reveals a dark secret, Noah Cyrus goes country, Suede want you to stomp and yell, BLACKPINK are on top of the world

Texan songwriter carves a bold new path on searingly honest seventh album

The Pope has shamed couples who have pets but not kids.

Timely post-punk from New York’s underground

A sobering look at an industry overdue its #MeToo reckoning.

In an interview with Zane Lowe about her new album, Halsey said that the producers wanted to “make some really weird choices”. This was, you suspect, the intention: you don’t bring Trent Reznor and Atticus Ross of Nine Inch Nails onboard to produce the follow-up to your mainstream pop breakthrough without being open to something pretty weird.

At no point in their near-30-year career have “shy” or “retiring” been adjectives you could apply to Garbage - and yet, on this their seventh record, the Scottish-American rockers go to places that they never have before.

Pop music, like Hollywood, is a dream factory: a place where you can be anything you like, as long as that’s not a middle-aged woman. I’ll hit the last year of my 30s next week, with the number one spot in the country held by a woman who has her driving licence but isn’t old enough to drink. Cannot relate. In either respect. Thank god, then, for the return of Liz Phair.