It's five years since Steven Ellison aka Flying Lotus released an album, and it's not entirely clear how far he's moved creatively. To be fair he's been busy branching out in other directions, producing for superstar rapper Kendrick Lamar, making short films, and helping members of his Brainfeeder stable like Thundercat and Kamasi Washington along to greater fame. But with this album he seems to have taken up precisely where 2014's “Your Dead” left off.

Mike Scott has never been afraid to call on high-brow literary influences in his songwriting – 2011’s An Appointment With Mr Yeats album being the most obvious example. Now, almost forty years (on and off) into the Waterboys’ career, Scott takes a more all-encompassing view on the influences that have fired up his literate yet soulful rock’n’roll: be they musical, geographical or bookish.

“Publishable, but worth it?” EM Forster’s hesitations about the value of Maurice, his novel of Edwardian homosexuality – written in 1913-14, it was published only posthumously, in 1971 – were certainly redeemed by James Ivory’s 1987 film of the book.

Carly Rae Jepsen is a brilliant pop star. Her music pure and unashamed radio pop, full of the excitement of living and loving, but her status with her audience and relationship with them are a bit more like what you'd expect from a cult indie act. As Canadian Idol runner up through her earnest singer-songwriter debut album she was charming enough.

Cuz I Love You starts with a big, bold, black-and-white soul moment, an album title hauled from the heavens via the lungs of an extraordinary pop star. It’s a stunning rush of feeling from Lizzo, the Minneapolis-based singer and rapper, alone in the spotlight before a brass band kicks in.

Life in rural 19^th century Estonia looks hard. The ice and the squalor are tough enough, but then you’ve the kratts to contend with. We see one in the eye-popping opening sequence of Rainer Sarnet’s 2017 epic November, an unsettling creature cobbled from bits of wood, random tools and an animal skull.

Ed Sheeran, Tom Odell, all those Mr Vulnerability cats; this dude makes them sound like a night out with Slipknot. He is, in fact, a generational divider. Taking the contemporary route to success, wherein smirky, buddy-ish social media is just as important as the music – if not more important – Scottish singer-songwriter Lewis Capaldi’s sudden stadium-level success is bewildering to anyone over 25.

Five years ago, the Swedish tech company Elektron began marketing the first version of the Analog Four, an all-in-one instrument marrying analogue oscillators with a digital sequencer, digital processing and a multi-track capability. That past-present interface had been done before but with its integral keyboard this was, at that point, the most user-friendly piece of kit to do so. K-X-P’s IV is built around compositions created on the Analog Four by the band’s main-man Timo Kaukolampi.

Gastwerk Saboteurs is the debut album by Imperial Wax, the final line-up of the Fall (the one whose first album together was Imperial Wax Solvent) – but one without the menacing presence of Mark E Smith of course.

Whitesnake were always the most absurdly priapic of the successful Eighties heavy rockers. It was therefore with some glee that this writer approached their 13th studio album. In the snowflake age, where offence is taken at the slightest politically incorrect infraction, these hoary oldsters would surely be a ball.