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THE HOR­RORS V ★★★★ Caro­line

Some­times, the most in­ter­est­ing mu­sic ar­rives at the in­ter­sec­tion of in­flu­ences. The Hor­rors have been ap­ply­ing such prin­ci­ples since they be­gan 12 years ago and, across four qual­ity al­bums (2007’s Strange House, 2009’s

Pri­mary Colours, 2011’s Sky­ing and 2014’s Lu­mi­nous), they have led the way when it comes to pre­sent­ing fa­mil­iar mu­sic forms in a dif­fer­ent way. Sky­ing re­mains their best at­tempt at fus­ing psychedelia and pop mu­sic, but V comes re­ally close with its reimag­in­ing of Tube­way Army, Soft Cell and Björk. Open­ing track

Holo­gram sets a spiked tone with a full-on syn­the­siser charge;

Ma­chine is a sleazy in­die club floor-filler; Some­thing to Re­mem­ber me By is Talk­ing Heads via New Or­der. The over­all re­sult is a thrilling se­quence of mag­pie ap­proaches de­liv­ered with due ac­knowl­edge­ment and re­spect. the­hor­ TONY CLAY­TON-LEA

CHELSEA WOLFE Hiss Spun ★★★ Sargeant House

\You can say one thing in Chelsea Wolfe’s favour: there aren’t many who sound like her. In the past, that fact has made the Cal­i­for­nian mu­si­cian’s out­put too wild and weird for many lis­ten­ers, but there is some­thing be­guil­ing about her goth-folk/doom metal/dark­wave or what­ever-you-want-to-call-it sound. That goes for her fifth al­bum, too, a strange alchemy of sounds that buzzes, pings, drones, swirls and shrieks, best heard on the gut­tural

Vex, the hyp­notic Par­ti­cle Flux and the fu­ne­real sludge of Spun. On the other hand, 16 Psy­che takes a de­vi­a­tion into post-punk and the skele­tal, ghostly folk of Two Spirit and Twin Fawn are un­set­tling, the lat­ter un­ex­pect­edly ex­plod­ing into ri­otous fury. It takes some lis­ten­ing to ab­sorb and even more to ap­pre­ci­ate, but this idio­syn­cratic con­coc­tion is oddly in­tox­i­cat­ing. chelsea­ LAUREN MUR­PHY

MARC AL­MOND Shad­ows and Re­flec­tions ★★★★ BMG

Marc Al­mond knows all about drama. The for­mer Soft Cell man has ex­pe­ri­enced his share of per­sonal tur­moil through the decades, but what has tri­umphed over ad­ver­sity is a spirit of re­bel­lious­ness that has nat­u­rally mi­grated to his work. This is none more ap­par­ent than with

Shad­ows and Re­flec­tions ,a col­lec­tion of baroque pop songs from the 1960s that Al­mond has tweaked in the way he alone can, with rich or­ches­tra­tions and lav­ish ar­range­ments. He tack­les vir­tu­ally for­got­ten songs by the likes of Julie Driscoll (I Know you Love me Not), The Herd (From the Un­der­world), Bobby Vin­ton (Blue on Blue, writ­ten by Burt Bacharach and Hal David), and The Yard­birds (Still I’m Sad). The over­all tone is plush, yet every­thing is suit­ably grounded by Al­mond’s rugged yet con­sid­er­ate at­ten­tion to de­tail. mar­cal­ TONY CLAY­TON-LEA

VAN MOR­RI­SON Roll with the Punches ★★★ Caro­line

At 72 Van Mor­ri­son shows no sign of cur­tail­ing his mu­si­cal out­put – nor, in­deed, its qual­ity. His 37th stu­dio al­bum treads a sim­i­lar line in blues, soul and rock’n’roll to last year’s Keep Me Singing, al­though 10 of th­ese 15 songs are cov­ers. Songs by Bo Did­dley, Light­nin’ Hop­kins, Mose Al­li­son and more are treated with rev­er­ence and ten­der­ness, while his slinky take on Sam Cooke’s

Bring It on Home to Me isa high­light. Of the orig­i­nal songs, the en­joy­able Fame (re-recorded here as a duet) and the gospel-in­fused Trans­for­ma­tion are mem­o­rable, while guests in­clud­ing Jeff Beck drift in and out of the track list. It’s hardly rev­o­lu­tion­ary stuff, but when you’re a man who’s done his bit across five decades, it doesn’t need to be. van­mor­ri­ LAUREN MUR­PHY

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