“Our only hope of saving our planet is if we begin to have different feelings about it,” Brian Eno writes in introduction to his new album in five years, Foreverandevernomore (the first featuring his own vocals since 2005’s Another Day on Earth).

“Perhaps if we became re-enchanted by the amazing improbability of life; perhaps if we suffered regret and even shame at what we’ve already lost; perhaps if we felt exhilarated by the challenges we face and what might yet become possible.”

Not content with having released one of the best hip-hop albums in recent memory (Cheat Codes, alongside Black Thought), producer Brian Burton has rekindled his partnership with The Shins’ James Mercer for the first Broken Bells album in almost a decade.

Into the Blue is described as “an ode to the pair’s shared musical influences”, a phrase that can, let’s be honest, raise eyebrows and alarm bells. However, far from being a lengthy synonym for painful pastiche, the pair manage to plunder the past with remarkable panache.

Nitram is an object lesson in how to make a responsible film about a mass shooting, right down to not using the fame-seeking perpetrator’s real name as the title but the mocking ananym given to him by bullies at school.

It’s fair to say that The Cult have taken on a number of identities since their mid-80s’ transformation from Goth also-rans the Death Cult to the chest-beating rockers we've come to know. They’ve been the Native American-influenced post punks of Dreamtime, the neo-hippies of Love, and the Rawk Gods of Sonic Temple, to name but a few.

Unless you’re one of the infamous 1%, you might be forgiven for recently spending a bit of time searching for a booster to reinvigorate your mojo before a seriously difficult winter kicks in. Well, assuming that your electricity supply hasn’t already been cut off by profiteering greed heads, the Bobby Lees’ new album might just do the trick.

Album opener “Atapos” was released as a single earlier in September, its sharply angular beats created by Björk and Indonesian duo Gabber Modus Operandi, one of whom has since had his contributions removed following #MeToo allegations. The song’s message is about growth towards connection. “To insist on absolute justice at all times / blocks connection” she sings, intoning “hope is a muscle” towards the end.

Make no mistake about it, Slipknot are massive. 23 years after their recording debut, they’ve had 8.5 billion streams, their sixth album, 2019’s We Are Not Your Kind, hit the top of the charts in 12 countries, including the US and the UK, and their spectacular shows are a global phenomenon. In fact, it’s live that this writer really embraces Slipknot but their last album demonstrated they still had the chutzpah to knock a longplayer out of the park. The new one almost hits the same peaks.

It’s a minor tragedy that Yeah Yeah Yeahs arrived just in time to be bundled in with a spurious “new rock revolution,” because they were so much more than rock. The Strokes, The White Stripes, The Libertines all may have had decent enough songs, but all were ultimately extremely trad rock, sonically living in mythical pasts.

Károly Makk’s Love (Szerelem) is full of silences and absences, this 1971 film’s premise as simple as its title is banal.

Lambchop’s 1997 breakthrough album took its title from Michael Jackson’s Thriller. Borrowing The Bible is a more purposefully brazen gambit, as Kurt Wagner tries to locate Americans’ spiritual hearts, in a shaken, besmirched and brutalised nation. It’s a record of reflection, reconciliation and quiet rebellion.