Back catalogue: All genres

Review: The Cuckoo Storm might never have been, were it not for a social media post Adrian Crowley wrote on a wintry late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson's previous album Death Had Quicker Wings Than Love (co-written with David A Jaycock), Crowley wanted to mark the moment, and so pressed 'send' into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding 'yes.' Cuckoo Storm followed; a deeply compelling album and serendipitous collaboration comprising eleven beautifully crafted songs, sung by two matching voices that are a powerful match. Waterson's brilliantly distinctive voice is underpinned by Crowley's rich baritone, and together it's an intoxicating mix.

Review: Following the success of last year's My Beautiful England, his first solo album for two decades, David Westlake has decided to offer up an expanded reissue of his 1987 debut, Westlake (now retitled D87 in reference to the NME's legendary indie tape, C86, on which he featured). Westlake recorded the album following the collapse of the band he'd led, The Servants, with the help of fellow post-punk era songwriter Like Haines of The Auteurs. The original album, which bristles with jangling and layered, Johnny Marr style guitars, expressive vocals, good grooves and occasional strings, still sounds great, and this time round comes backed with recordings of a 1987 'session' for Janice Long's BBC radio show.

Review: Trailed by her label Loma Vista as "a rebirth in process", Chelsea Wolfe's tenth studio album wears its weighty and deeply personal inspirations (cutting ties with friends and lovers and the extensive period of healing that follows) as a badge of honour. While these themes are most explicitly explored in the lyrics (and shine through her delicate, frequently weary vocal performances), there's a darkness and brooding intensity to some of the music on show that undoubtedly suits its subject matter. For proof, check the gnarled, raw and fuzzy Nine Inch Nails-meets-Tricky flex of 'Whispers In The Echo Chamber', the claustrophobic sound design and razor-sharp guitars of 'Everything Turns Blue', the Mezzanine-era Massive Attack growl of 'Tunnel Lights' and the breathlessly brilliant closing cut, 'Dusk'.