Fiona Monbet is a phenomenal violinist with a huge expressive range. Her credentials, above all in jazz, are impeccable: the late Didier Lockwood once declared the Franco-Irish musician to be his “spiritual daughter”, but her influences range considerably wider than that remark might suggest. Her previous album, Contrebande (Crescendo, 2018), established her not just as an astonishingly strong musical presence, but also gave clues to her versatility.

Mr. E’s music examines hellish depths, but always climbs back towards the light. Electro-Shock Blues (1998) was soon redeemed by “Mr. E’s Beautiful Blues”, and a trilogy of sometimes feral, wracked albums ended with Tomorrow Morning (2010). As the hard blows of deaths, disaster and divorce were absorbed, The Deconstruction (2018) even found a kind of faith.

Around 2017, Thebe Neruda Kgositsile, known professionally as Earl Sweatshirt, said he wanted to push his music in a more experimental direction, to do “riskier shit” to be precise. This need to venture out after being released contractually from Colombia Records resulted in the landmark 2018 album Some Rap Songs and the 2019 EP Feet of Clay some of the most daring and brilliant rap music in recent memory. 

“I didn’t even know what I was writing about. It was just sent to me”, John Mellencamp has said of Strictly A One-Eyed Jack, his first album in five years.

Virtual “mixtapes” are not proper albums. Their purpose is often to whet the appetite. Nowhere is this more so than in US hip hop and right now Lady London’s new teaser is much-vaunted.

In my teens, I was one of the budding cinephiles who ran the Film Club at my boarding school. Once a month, we’d rent an arthouse movie. The films would be projected on the Saturday night.

This is just boggling. The Japanese rock trio Boris have been together in the same lineup for over a quarter of a century – and it’s longer still since their original formation – but they’re outdoing themselves record by record. Their last record, NO, was the most energetic record they’ve ever made.

There is a sense in which Elvis Costello emerged as a recording artist fully grown, with that unique vocal mix of vulnerability and insolence, savvy and often brilliant lyrics. Although he has never stopped experimenting, always with the logic of a musical connoisseur, it was all there, one could say, with “Less Than Zero”, his timeless first single on Stiff.

The first set of Spell Songs, The Lost Words, was inspired by nature writer Robert Macfarlane and artist Jackie Morris’s spell-spinning mission to bring back those ‘lost words’ from the natural world that had been excised from children’s dictionaries, set to the rich and varied music of kora player Seckou Keita, singer-songwriters Karine Polwart, Julie Fowlis and Kris Drever, harpist Rachel Newton, cellist Beth Porter, composer Kerry Andrew and multi-instrumentalist Jim Molyneux.

Although Storm Queen begins forcefully with the suitably tempestuous “Heaven,” the most affecting track on the second album from Melbourne’s Grace Cummings is the sparse, reflective “Two Little Birds.” The two performances capture the opposing poles defining Cummings: whether to go full-bore with her malleable voice, or whether to keep it direct within a delicate instrumental framing.