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Overleaf: The Brian Jonestown Massacre performing live in 2018

Groove Denied’s keeper is “Ocean of Revenge”, a drifting Syd Barrett-tinged contemplation with a structural circularity and edge setting it apart from the rest of what’s credited as the first solo album from Stephen Malkmus since 2001’s eponymous set. That, though, was an album he wanted co-billed to him and his band The Jicks. His label Matador had other ideas.

Birmingham’s reggae veterans UB40 are a band who have often worn their politics on their sleeves, and the title of their new album is taken from Jeremy Corbyn’s Labour Party mantra. The parallels between the two have already been noted, of course. After a turbulent time, a split saw a new man thrust into the spotlight while divisions raged and claims were made over who had the rights to the soul of a British institution. Sound familiar? 

A mere 12 years since their previous disc Ma Fleur came out, the Cinematic Orchestra have finally got around to releasing their fourth studio album. So naturally, there are expectations to meet and To Believe responds by demonstrating a re-energised artistic direction. The new album finds a good balance between the lightness of the Cinematic Orchestra’s sound and a coherent, well-articulated album concept.

The story behind this first – and final – feature from the young Chinese film-maker Hu Bo is as sad as anything in recent cinema history.

Foals have delivered a consistently top-notch series of albums (this is their fifth since Antidotes in 2008): guitar-led, high-energy, musically literate without being effete or pompous. Power pop elevated beyond the run-of-the-mill by a great deal of intelligence and taste.

Metaprogramação is the third album from Deafkids, the chaotic mass of hair and flailing limbs that put on a fine display at last summer’s Supersonic Festival, during a recent rare visit to the UK. As with the band’s previous fare, it’s a whoozy psychedelic concoction that sits very heavily indeed.

As collaborations go, it’s a doozy. Karen O’s signature vocals over Danger Mouse’s production – it was always going to pique interest. And Lux Prima does much to meet expectations, gorgeous cinematic soundscapes that flit between haunting and defiant. At its best, its damn near mesmerising. But for those expecting a genre-defying, structure-blowing new horizon, it falls just short.

You might think an American high school comedy an unlikely place to locate a love letter to Oscar Wilde – even if there’s a flamboyantly gay story behind it. But Freak Show screenwriters Beth Rigazio and Patrick J Clifton, adapting James St James’ source story, have a way with wit that is clearly aiming to match the writer whom they keep quoting.

You’d be forgiven for thinking, in the age of streaming, that the promotional single was a dying art. And yet there’s already something familiar about Sigrid’s long-awaited debut album.