This album came with an absolutely enormous promo campaign. As well as actual advertising there were “Audience With…” events, and specials on BBC radio and TV – the latter an Imagine special with Alan Yentob really going in with sledgehammer subtlety to set the Pet Shop Boys up as National Treasures as they approach the 40^th anniversary of their first single “West End Girls”. The thing is, though, they deserve it: not just the career retrospective but the free boost for their new work. 

Despite its title, Mdou Moctar’s new album is no slow-paced mournful dirge. In fact, it is louder, faster and more overtly political than any of his band’s previous discs – not so much desert blues as desert punk.

There’s a scene in Priscilla where Elvis stands above his wife, who is scrambling to put her clothes in a suitcase. Priscilla has just confronted him about a letter she found from the actress Ann-Margret, confirming her suspicion that the King of Rock'n'Roll has been unfaithful. Elvis's legs in their white trousers tower before her like the pillars of Graceland.

The previous solo piano solo album from Fred Hersch, one of the world’s great jazz pianists, was called Songs from Home, released on the New York indie jazz label Palmetto Records towards the end of 2020. Silent, Listening, released this month on ECM could not be more different in it moods and in its aims.

Taylor Swift’s unfathomable ability to articulate human emotion shines as brightly as ever in her latest double album The Tortured Poets Department: The Anthology. The 31 track collection combines the gentle melodies of previous albums folklore and evermore, the soul baring chaos of Red, the cool synth-pop production of Midnights, and the extreme vulnerability and intricate storytelling that is persistent throughout her entire discography.

As I sat down to write this review, the sun came out. It was a salutory reminder of the importance of context: where I’d previously thought “mmm, that’s pretty nice”, now it was more “mmmmmmm, that’s pretty niiiiiice!” That’s not just a suble distinction, either. It was a fundamental shift in how and where the music was hitting mentally, emotionally and physiologically.

Death Songbook is, says Charles Hazlewood, founder, artistic director and conductor of Paraorchestra, an album of “music which is about death, or the death of love, about loss, about anxiety.” Suede’s Brett Anderson, on board for this endeavour, notes “I've always found dark material more inspiring than upbeat songs. Upbeat songs always make me depressed somehow. I've always liked those songs that deal with the murkier sides of life.”

At a time when conflicts in the Middle East are reaching fever pitch, Emel Mathlouthi represents hope. Her new album MRA, is titled for the Arabic word for “woman” and was created entirely by women, as in, every single person involved with it at any level is female. She has said of it, “I've come to discover the true meaning of sisterhood… I want us to change the system from within, by and through women.” Happily, this outlook is attached to music that’s sonically exciting.

After a long period of relative inactivity, the last five years has had A Certain Ratio getting the bit between their teeth, trying out new sounds and releasing new tunes at a rate not seen since the early 1980s. It All Comes Down to This is their third album since 2020, as well as the four stand-alone EPs.