Rapper, actor and occasional media celebrity, Ice-T’s heavy metal band, Body Count have been around since the early ‘90s and have turned out some fine albums along the way – most notably their self-titled debut and 2014’s Manslaughter. Unfortunately, their latest offering, Merciless is unlikely to be viewed as a career high point, as it sees Ice and his buddies hit a musical dead end with some considerable force.

The return of Linkin Park has been a long, winding path. The seven years since Chester Bennington's passing have swirled with speculation over what the long term future for the California nu-metal icons would look like.

Beethoven’s renown in his own day was not just as a composer but also as an improvising pianist. He wrote in a letter in July 1819 that “freedom, and to move forward is the purpose of the world of art, as it is of the whole of creation.’

Conceived in 1998 by the renowned cellist Yo-Yo Ma to remind the world of the benefits of globalisation in bringing people together, Silkroad is a non-profit organisation with a mission to create “music that engages difference, sparking radical cultural collaboration and passion-driven learning for a more hopeful and inclusive world”.

This is almost too much to bear. This sprawling 37-track collection begins with the sainted 78-year-old Dolly Parton providing a jaunty spoken narration of her family’s history in music and the church. It’s old-school Disney documentary in tone, but because it’s Dolly you listen, and with her endless countrified charm she tells a story of generations of banjo players and preachers of the Appalachians – and reminds us that these, her forebears, were immigrants.

The Oblong Box is a phantom 1969 follow-up to Michael Reeves’ Witchfinder General, sharing star Vincent Price and much cast and crew, after the brilliant young British director’s OD forced his dismissal days before shooting. It also began replacement Gordon Hessler and co-writer Christopher Wicking’s own Price-starring horror sequence, notably the bizarre, Mod anti-fascist Scream and Scream Again (1970), placing this obscure film at a packed cult crossroads.

South Korean quintet TXT's latest mini-album delivers six meticulously crafted tracks that showcase the group's evolving artistry through everything from dreamy pop to reggaeton to classic R&B.

With its stripped back arrangement – some ethereal guitar chords here, an unforgettably chirpy three-note descending synth riff there, plus vocal lines that flow and blend mellifluously – album opener “Heaven” delivers the mini-album's first and perhaps most memorable earworm.

A father and son union – the first joint collaboration by Garfunkel père et fils. Art Junior it seems has already released two solo albums, Wie Du and Evergreen, Simon & Garfunkel covers, both of which charted in Germany, from where the Garfunkel antecedents hail.

In many ways, Primal Scream have had a strikingly similar career path to the Rolling Stones – despite them forming some 20 years after Mick and Keith’s odyssey began and it not throwing up quite the same level of financial rewards. That said, while drugs and death may have haunted both bands, they never seemed to sap Primal Scream’s creatively in quite the same way as it did the Stones.

If the names Pinch, Vex’d, Burial, Digital Mystikz, The Bug mean anything to you, stop reading now and buy or stream this album. Seriously, go. Go get it. That honestly is all you need to know: if you like the imperial phase when British dubstep was first establishing lasting artistic careers and extending its tendrils into the wider musical world – completely separately from its branching into a fizzy, EDM / rave form in big arenas – then you will love this record.