Karim Aïnouz’s Cannes Palme d’Or winner and Brazilian Oscar entry is advertised as “a tropical melodrama”, and its Rio seems barely to have left the jungle. We first meet sisters Eurídice (Carol Duarte) and Guida (Julia Stockler, pictured below) becoming separated in lush foliage’s deep greens and humid shadows, and they will go on to live tragically parallel lives, crushed by patriarchal crimes while retaining rebel sparks.

As a title, Coach to Vienna suggests an opulent Boule de Suif-like drama directed by Max Ophüls and starring the likes of Danielle Darrieux and Michel Simon. But Karel Kachyňa’s film is no Viennese waltz. It’s a bleak end-of-World War II drama in which a semi-conscious German soldier, Günther (Luděk Munzar), mutters about a woman, or women, he slept with – abused – in the “hellhole” of Ukraine. This long-buried 1966 Czechoslovakian New Wave gem is horribly relevant to 2022.

At first, Bortenfor comes across as an all-instrumental extended mood piece. A breathy saxophone and trumpet mesh over a gently see-sawing double bass. Clusters of piano notes occasionally intersperse themselves into the undulating textures. A pedal steel evokes shimmering water.

Wrexham band MWWB were known until recently as Mammoth Weed Wizard Bastard. Perhaps they changed their name because its freak-friendly quality could be mistaken for spliffed Half Man Half Biscuit-style silliness. MWWB are no bong-head novelty act. THC-friendly they may be, but their stew of pummelling slug-riffage, Cocteau Twins-ish vocals, electronic ear-tickling, outright psychedelia, and sudden bursts of tunefulness is unique.

Alternative rock icons Placebo make an anticipated return in 2022 with their eighth album Never Let Me Go. Their last release was 2016’s greatest hits collection A Place For Us To Dream, and the wait has been long for the next, proper instalment from vocalist and guitarist Brian Molko and bassist Stefan Osdal. The good news is they return with aplomb.

Aldous Harding is one of those artists who has you scrambling for Shazam. You might not know the Kiwi singer, but when you hear her music there’s a sudden urgent need to find a place for it in your life.

Charli XCX is the pop stars’ pop star. Working with everyone from K-pop megastars BTS to US rapper Lil Yachty to indie-rockers Vampire Weekend, her career arc has a meta aspect, initially personified by her joyously electro-punky second album Sucker, but then given addition human warmth by her COVID lockdown openness.

The 19th album from Canadian alt-country rockers, and very beguiling it is too. As its title suggests, Songs of the Recollection is a covers album, but such a description is reductive. Good songs live on, discovered anew by successive generations – think how many singers have stamped their identity on numbers from the Great American Songbook.

Pete Doherty became a hunted man as he was falling apart, lent tabloid notoriety by his dissolute romance with Kate Moss.

There’s a period of British club music that deserves to be much better appreciated. Before hardcore and jungle, before the Underworlds and Leftfields and other arena acts, came a generation who were much closer to the most song-based US house music, to considerable success.