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: Jane Weaver describes her 11th solo album, Love In Constant Spectacle, as her most 'open hearted, direct and intimate' exploration of 'the British musical landscape'. It's certainly an impressive album, with the former Laura Kills vocalist fusing a wide range of nostalgic, pastoral, and analogue rich sounds, from Stereolab-esque krautrock revivalism, ;ate '60s dream pop, turn-of-the-90s indie-pop and crackly, organ-sporting folk-rock. Highlights include the deep and drowsy 'The Axis and the Seed', the fuzzy 'Is Metal', the head-in-the-clouds dreaminess of 'Romantic Worlds' and the hazy but picturesque headiness of 'Family Of The Sun'.

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'.