The cellist and singer-songwriter’s second album traces heartbreak and self-discovery in exuberant and multi-layered orchestral folk-pop, delivered with generosity and style.

Led by the son of their late frontman Bradley Nowell, a reformed Sublime take a studied and airless approach to recapturing their signature sound. It has all the data but little of the soul.

Despite her lofty ambitions, the avant-pop singer is at her most compelling when grounded in the earthly pleasures of four-to-the-floor beats and straightforward, theatrical hooks.

Like many of his Copenhagen peers, the Swedish composer is out to unsettle, pairing passages of chamber ambient and spoken-word poetry with stone-faced non sequiturs and moments of jarring ugliness.