Let’s face it, well over 50 years into Alice Cooper’s career, you probably already know whether his umpteen-billionth album is for you. Over the last decade, he’s revitalised things by taking a meta look at himself, but, whether harking back to his proto-punk Detroit roots or creating sequels to classic albums, his genial schlock-rock has settled to a calculable pattern.

Any surprises which Jump for Joy brings aren’t about the nature of the music or the unfailingly open lyrics recounting Hiss Golden Messenger main-man M.C. Taylor’s outlook on his life, but an intermittent undertone suggesting he’s been considering the rhythmic foundations of The War On Drugs. In the sixth song, “Jesus is Bored” there’s a hint of WOD’s fondness for a chugging, insistent tempo. It’s more to the fore on eighth track “Feeling Eternal.”

Thieves Like Us, Robert Altman’s 1974 evocation of 1930s Mississippi, wasn’t a commercial hit on its original release, even though Pauline Kael called it a masterpiece.

Ratboys have been around since 2010, knocking out their guitar-powered indie fare over three albums in their home city of Chicago. However, with album number four, they have decided to branch out and pay homage to the US alt-rock scene of the early 90s with a grunge-pop-athon that wears its influences heavily.

A little remarked fact of modern music is just how lush the sound of modern R&B and adjacent music is. A decade ago, the relative harshness of trap beats and EDM synths seemed to dominate sonically, or on the more bohemian fringes there was a meandering haziness derived from the UK influence of James Blake and Burial.

Only a few artists can be said to have exploded on to the scene like Hozier. The solo, Irish musician – full name Andrew John Hozier-Byrne – shot to stardom with the omnipresent hit “Take Me To Church” back in 2014. Although his work since hasn’t taken over the pop culture zeitgeist in the same way, he has nonetheless gone on to be very successful.

There’s been a sense of anticipation around Ghanaian-Australian Genesis Owusu ever since his ebullient 2021 debut album Smiling with No Teeth. He won a bunch of Arias, Australia’s Grammys, but could he break internationally? He’s toured the US with Paramore and is due to hit Europe in the Autumn, including a stop at Berghain.

Even more than David Lynch, to whom her work has been compared, director Lucile Hadžihalilović is a strange agent between this world and the dreamworld.

On the face of it, this is an extremely simple record. It is big, stomping, party-monster neanderthal synth-rock.

In late 2019, BC, another age, Rhiannon Giddens and Francesco Turrisi stepped on to a Southbank Centre stage and gave one of those mesmerising performances that forever stays in the memory.