In these meta times when everything – EVERYTHING! – is ironic, a smirk to be replayed forever on a screen, the last thing we expect is a hippy, a proper real-life hippy, preaching oneness and love. Even yoga sorts these days mostly go on about their own “wellness”, rather than the cosmic inference of it all. Nick Mulvey’s previous albums were lightly marinaded in Baba Ram Dass and ayahuasca revelation but, with his third solo album, New Mythology, he’s gone full mystic.

The title The Great Awakening is a metaphor for America’s switch from its previous presidential administration to the current: the arrival of a new era and, with it, a fresh phase of life. Emblematic of this is the xenarthran, a type of armadillo, which lends its name to the album’s third track. Native to South America, it slogs its way into Texas where it deals with a new environment.

Commenting on Australia’s horrendous colonial history at the start of an audio commentary packaged with this BFI Blu-ray release of John Hillcoat’s impeccably directed, newly restored The Proposition (2005), Alexandra Heller-Nicholas declares, “It’s fucking awful.”

Who’d have thought that Steve “Interesting” Davis OBE (as he was mercilessly dubbed by the original Spitting Image in the 80s – at a time when he was wiping the floor with the best of the international snooker world on a regular basis) would turn out to be the most interesting ex-World Snooker Champion in living memory?

Nick Cave has always been a spoken-word man, and these seven short poems set to music with regular collaborator Warren Ellis are the latest in a genre he explores with exceptional talent. He is an artist driven by a need to create, constantly and in many forms, from concept albums to collage, and from drawing and song-writing to shamanic stage performances.

Initially, the weird thing about this is it’s being released as a Neneh Cherry album rather than a compilation of artists doing Neneh Cherry covers, which is what it is. That said, awareness slowly grows of a kindred sensibility to recent Neneh Cherry output, the esoteric jazzual spirit that’s imbued her last couple of albums.

It’s hard to know exactly when new age music passed from being a retro curio to being part of the language of alternative music. Certainly it can be traced back to the early-mid Noughties, with acts like Emeralds, Oneohtrix Point Never and James Ferraro, and labels like Kranky and RVNG Intl. bringing synth repetitions and cosmic aesthetics into the world of North American noise and DIY music.

Side Two of A Child’s Chant for a New Millennium opens with “Wrenbird,” a consideration of whether it’s possible to have a bird’s freedom of mobility. “Anywhere but here,” sings Wren Hinds. He may not be happy where he is, but the accompanying soundtrack is enough to make anyone stick around.

“Songs are what feelings sound like,” Mary Gauthier told medics from Brigham & Women’s Hospital as she participated in the Frontline Songs post-Covid initiative that aimed to help doctors, nurses and first responders process their pandemic trauma. No stranger to loss and trauma herself, Gauthier had earlier worked with Songwriting with Soldiers, a programme that led to her last (Grammy-nominated) album, Rifles and Rosary Beads (2018).

As the pandemic receded, Wilco huddled together in Jeff Tweedy’s Chicago studio and played country songs, an easefully naturally act as the world around them shook. Though famed for the experimental, eerily timely Yankee Hotel Foxtrot (2001) and the crackling electric contrails of its further-out follow-up A Ghost Is Born (2004), Wilco have often returned to simpler verities.