“You know you’ll always be my best friend” and “There’s no-one else who gets me quite like you” run a couple of the lyrics to “Happy New Year”, the opening song from Norwich duo Let’s Eat Grandma’s third album. And the whole is laced with love songs from band members Rosa Walton and Jenny Hollingworth to each other, not romantic love, but songs passionately, poetically affirming their long friendship.

Wet Leg’s self-titled debut album is one that has generated significant expectations over the past few months. Last year’s singles “Chaise Longue” and “Wet Dream” especially created all kinds of hype and led to plenty of media coverage.

“Everything bad that has happened to me has happened because I’m black,” laments teacher Joseph Pascale (David Oyelowo) in Shoot the Messenger, directed by Ngozi Onwurah in 2006 from a script by the late Sharon Foster. Handsomely produced and visually stylish, it was originally broadcast by the BBC.

Although Moon Rally has unambiguous musical roots, pinning down where it’s from is trickier. The album’s title nods to Air’s Moon Safari, as does a fair degree of the rhythmic chug and shimmering atmospherics. Sweden’s Radio Department come to mind. So do Belgium’s Antena and Estonia’s Maria Minerva.

Despite a five-year career and no breakout hits, Australian outfit Confidence Man has grabbed the attention of some heavyweights.

Anthony Kiedis’s autobiography Scar Tissue, an extreme example of wisdom through sometimes squalid excess, explains a great deal about the Chili Peppers’ mix of priapic lust and wistful romance.

What an exquisite album! Beautiful voices that harmonise to perfection, superlative instrumental work, and songs both new and old yet all somehow familiar and timeless. Ink of the Rosy Morning: A Sampling of Folk Songs from Britain and North America is a lockdown album that captures the spontaneity that few of us felt during that dark time.

The three Canadians Richie Hawtin (Plastikman), Jason Beck (Chilly Gonzales) and Tiga Sontag (aka just Tiga, who exec produced this album) are each so laden with image and persona it is easy to forget they are musicians sometimes. Hawtin has since the early Nineties not only brought techno to mass audiences, but adorned it with all kinds of conceptual and design spectacle in arenas and galleries as much as in nighclubs. 

Ealing Studios’ output encompassed much more than comedy, though a viewing of 1952’s The Gentle Gunman suggests that political drama wasn't one of their strengths.

The fourth Ibibio Sound Machine album is produced by Hot Chip (who also contribute musically). However, fans will not hear a drastic step away from their last album, 2019’s Doko Mien. Instead, it has the feel of a logical progression, albeit with just that bit more techno-pop heft in places, and a subtle flavour of the Eighties. Business-as-usual, then?