On a recent podcast, poet and producer Arlo Parks admitted, “Music is definitely a place where I put the softest part of myself and push it out into the ocean.” This shouldn’t come as a surprise if you spent time with her Mercury prize-winning debut Collapsed in Sunbeams. The record quite literally cast light during the depths of another lockdown here in the UK back in early 2021.

Danûk are a group of exiled musicians, mostly Kurdish, and Morîk is their very appealing first album. They draw their bewitching songs and instrumentals from Kurdish tradition as recorded on wax cylinders in the early years of the 20^th century by German and Austrian ethnomusicologists and companies.

Wandering the wrecked streets of Memphis in search of blues and rock history, two teenage Japanese tourists debate who and what’s better: Elvis Presley vs. Carl Perkins, the sleek ultramodernity of their hometown Yokohoma vs. the “vintage” charms of a nearly deserted Tennessee train station.

There is a truly fascinating story to be written about the hidden Punjabi influence on UK bass music. Maybe it’s natural for kids growing up with the huge booming sounds of dhol and tabla drums to gravitate to big bass speakers, but some of the most unique and influential producers in the interface between reggae, grime and dubstep have been from Punjabi backgrounds: notably Kromestar, V.I.V.E.K. and brothers Sukh Knight and Squarewave.

What a conflict of interests. I feel like Jean-Claude Van Damme in that Volvo ad, with the truck on the left hand side being my music editor who was recently name-checked by Lewis Capaldi after describing him as “a constipated Hozier”, and my children on the other who are constantly squawking about the video snippet from “Wish You the Best” shared on Tiktok about the little dog in the bike basket that’s making hoardes of adolescent children sob at the bus stop.

In the era of TikTok and Spotify playlists, it’s hard to gauge when an artist will reach the nebulous threshold and become popular. But for those who can ride this game of algorithms – the change can be sudden.

Look no further than Sleep Token. The British metal collective whose anonymity and heavy gothic apparel set them apart upon entering the scene. Their unique style, coupled with a metal sound that defies firm genre definitions quickly garnered them a niche following since 2017.

Kesha is one of the 21^st century’s most characterful pop stars. She’s regularly stepped out of the boxes people have put her in, musically and otherwise. But, even taking into account truly oddball songs such as “Godzilla” (from 2017’s Rainbow), or projects such as working with Flaming Lips, Gag Order, created with cosmic ultra-producer Rick Rubin, is by far her most out-there work. It’s also the sound of a tormented human being.

Paul Simon is an ornery bugger. Full of awkwardness and perversity as a person, seemingly hugely detached, but as an artist capable of as much tenderness and directness as just about anyone out there. Capable of making world-changing artistic statements but queering his pitch with bizarrely, unnecessarily reactionary statements or actions. Really, a very weird man.

This almost forgotten, naturalistic 1976 road movie lets four young Frenchmen off the leash in a cross-country trip from Lille to Cannes.

Life is better together, and the beauteous sounds created by The Milk Carton Kids proves it. Kenneth Pattengale and Joey Ryan got their acts together in 2011, having each pursued solo careers that never quite gelled. Ryan pitched up at a Pattengale gig in Eagle Rock, California, which was home for both of them.