Filmic. Lushness balanced with intimacy. Ren Harvieu’s follow-up to 2012’s Top Five Through The Night is crammed with wide-screen aural dramas. Take “Cruel Disguise”. It begins with a slinky Sixties spy thriller vibe along the Shirley Bassey lines and after a brief moment of contemplation evolves into a swirling drama evoking Dusty Springfield’s “You Don’t Have to Say You Love me”. Next up, the crisp “Yes Please” nods to Laura Nyro when she’d hooked up with LaBelle but, again, darker – trip-hop-tinged – terrain is explored.

Purity Ring, the Canadian duo, are purveyors of simple yet sophisticated dream pop. Corin Roddick makes synth tracks at one end of the country, while crystalline-voiced Megan James writes the lyrics and records the vocals thousands of miles away.

Alongside the man he calls “the other half of my brain”, Flying Lotus, Stephen “Thundercat” Bruner sits near the heart of Los Angeles’ fertile, genre-busting scene, helping to link Kendrick Lamar’s righteous rebel rap, Kamasi Washington’s spiritual jazz, and the faux-nerd white one-man bands of Louis Cole and Sam Gendel. Breaking through himself with Drunk (2017), It Is What It Is confirms Thundercat’s own complex character, being both slyly funny and obscurely moving, as if attending a party that’s almost over.

Zed Nelson brings enormous humanity to this portrait of the changing identity of Hackney’s Hoxton Street as gentrification impinges on its long-established community. Shops that have been there for decades vanish overnight, fancy new pavement cafes spring up, and Nelson listens, patiently, to all who will talk to him, with a striking sense of their being able to speak in their own time, unprompted, unhurried.

The Children’s Film Foundation began life in 1950, its brief to provide wholesome home-grown entertainment for Saturday morning cinema audiences. Instead of westerns and cartoons, young UK filmgoers were treated to low budget short features, usually involving plucky youngsters foiling dastardly criminal plots. They were produced up until the late 1980s, the organisation living on today as the Children’s Media Foundation. The BFI’s second box set of CFF features is every bit as good as the first instalment, and sifting through the nine films included here emphasises the company’s strengths.

Dua Lipa's self-titled debut was unmistakably the sound of a musician feeling their way. It had all the flavours of trap, tropical house, autotune and Lana Del Ray-ish triphop introspection you'd expect on a 2017 pop record. The multi-billion-stream single “New Rules” was the most transatlantic-sounding thing there, and it must have been tempting to try and repeat its success by following current generic templates.

Eddie Vedder’s maturing from a mumbling, suspicious victim-star of grunge into a wise elder statesman leading the last convincing big rock band has been heartening.

Sufjan Stevens is an immensely creative musician – a multi-instrumentalist, songwriter and composer. His work ranges from sophisticated dreamy pop that has influenced many, not least Bon Iver to grandiose and sometimes disturbing soundscapes. He grew up with a kind and passionate step-father, Lowell Brams, who inspired in Sufjan a wide-ranging musical curiosity, which is reflected in the stylistic variety of his work.

Waxahatchee’s fifth album wasn’t intended as an escapist fantasy. Written shortly after Katie Crutchfield decided to get sober, Saint Cloud documents a journey towards self-acceptance; one woman’s reckoning with her past and its impact on the people she loves.

After Robert Altman re-established his critical reputation with The Player in 1992, he directed nine more films – including two of his most ambitious multiple-character works, Short-Cuts (1993) and Gosford Park (2001).