While some tracks on Marina Allen’s third album are country accented and a pedal steel is used a few times, it’s impossible to categorise Eight Pointed Star as Americana. Its sixth track, “Easy”, has the closeted atmosphere of The Velvet Underground’s third album. Next up, the driving “Love Comes Back” has a dash of former Go-Between Robert Forster about it.

There’s a whole generation of singers who’ve risen to considerable fame on the back of the return of home-grown commercial dance music to the charts since the early 2010s. Various Jesses and Ellas, Nathans and Calums have flooded daytime radio with decent enough, often TV talent show-winning, more or less generic vocals.

Hot on the heels of his Olivier Award-winning musical Standing at the Sky's Edge, comes In This City They Call You Love, the 10th solo album from Richard Hawley, proud son of Sheffield, and it’s a peach. With echoes of early Elvis (the slow numbers, like “Can’t Help Falling in Love”) and Roy Orbison, it feels almost instantly familiar. You sink into it as if into the arms of an old friend, or a comfy sofa – at least once you’re past the faintly menacing opening track, “Two for His Heels”.

Natasha Khan’s musical career has always explored the artier end of pop. Her latest album, her sixth and first in five years, is more akin to the soundtrack work she did with Swiss composer Dominik Scherrer on BBC spook-thriller Requiem in 2018 than her Bat For Lashes albums.

It’s interesting to discover that sound wasn’t the norm in Japanese cinema until the mid-1930s: the huge cost of investing in pricey new studio technology and equipping scores of rural cinemas with amplification proving prohibitive.

Any Richard Thompson appearance comes with a hallmark guaranteeing quality produce – be that an album or a stage show. 

Indeed, Thompson's 75^th birthday concert will land on 8 June at the Royal Albert Hall, with a dazzling range of musical guests to rival the same venue’s epic 70th birthday bash five years ago. Meanwhile, it’s been six years since his last album, 13 Rivers, an album he described on its release as “coming to me as a surprise in a dark time”.

Brooklyn-based composer and bandleader Jihye Lee’s story really does take quite some telling. Having been an indie pop singer in her native Korea, she enrolled in 2011 as a Vocal Studies student at Berklee in Boston, also hoping to develop her composing skills. And then came the "coup de foudre".

If there is one positive of the past decade, it must be the growing openness with mental health and wellbeing. Whether in the films we watch or music we listen to, there is much less of a stigma in addressing anxiety, depression, and mental health issues in general.

Isobel Campbell has maintained a consistent career on the fringes of popular music for three decades. She's made a home in the area where indie, folk, rock and BBC 6Music merge. Aside from her 1990s involvement with Belle and Sebastian, she’s best-known for her trio of albums with the late Mark Lanegan, her gracefulness and crafted precision working well against his gruff world weariness.

The final track of Samana’s third album is titled “The Preselis,” after the west Welsh mountain range – the place antiquarians suggested as the source of Stonehenge’s blue stones. The song’s opening lyrics are “The blue stones, they grow over me, Carved into mountains, the blood of need.” Later, the words “anima” and “animus” are repeated before the song ends with the recurring refrain “Lay the body down.”