Lizzo , Cuz I Love You ★★★★☆No one could accuse Lizzo of holding back. Not when it comes to her voice – which is raw and rowdy, so laden with personality even the vulnerable moments are a joy to listen to – and certainly not when it comes to her message of unabashed self-love. That’s the predominant theme of the singer / rapper / flautist-extraordinaire’s hugely likeable third album, Cuz I Love You .From extras.“I’m like chardonnay, get better over time,” she sings on the funk-pop banger “Juice”. “Heard you say I’m not the baddest, bitch, you lie.” “Woke up feeling like I just might run for president,” she announces on “Like a Girl”, “even if there ain’t no precedent.” Later on that song, whose chanty chorus is not quite as brilliant as its friskily rapped verses, she declares: “Only exes that I care about are in my f**king chromosomes.”This is a polished, playful album, though it has a DIY edge to it: “S**t, f**k, I didn’t know it was ending right there,” she chuckles in the final few moments of “Like a Girl”. “Girl, run this s**t back,” she says after a vivacious flute solo on “Tempo” – a song featuring a guest verse from Missy Elliott, the person who, Lizzo said on Twitter, “made this chubby, weird, black girl believe that ANYTHING was possible”.When Lizzo played Coachella earlier this week, her set was plagued by technical problems. “When I’m headlining next time,” she announced, “I’m gonna need my motherf**king ears to work.” Judging by the strength of her third album, that might not be such an implausible assumption. Alexandra Pollard Fat White Family , Serfs Up! ★★★★☆Pygmalion. The Elephant Man. Chris Eubank. And now, to this classic roll call of gutter-to-grandeur stories, we must add the Fat White Family. Once they were south London drug scoundrels renowned for smothering audiences with offal and openly fondling themselves while singing about Nazis, grotty sex, paedophilia and Disneyland terror attacks. Now, over the course of three albums, they’ve shifted their grosser tendencies over to their numerous side-projects – notably fictional band The Moonlandingz, often to be found wrapped in cling film and smothered in swastikas and expletives – and suddenly developed an air of culture and sophistication.It seems as likely as Old Man Steptoe dining with the Rees-Mogg, but this new tactic of burying their confrontational gruesomeness beneath a veneer of alt-rock respectability for album three works well for them. Drenched in chamber strings and celestial harmonies, the plush yet sinister “Oh Sebastian” could be Pet Sounds selling its soul to the devil. “Fringe Runner” is so sleek and funksome it could be a New Romantic “White Lines (Don’t Don’t Do It)”; “Kim’s Sunsets” is a piece of refined cosmic reggae resembling a blissed-out “Bankrobber”.