CVC stands for Church Village Collective, a six-piece who hail from the countryside near Cardiff. They were the best live act I saw last year (of a long list which includes Melt Yourself Down, Paul McCartney, The Prodigy and Wet Leg). It was a joyously raucous and contagious gig, front-loaded with Seventies rock vibes and a sense of fun, so I’m intrigued to hear if their debut album can live up to it.

Watching caroline, the experimental post-rock octet, play live is an immersive experience. The band stands elbow to elbow among the audience. Shrouded in near darkness, the music envelopes the room and everyone in it.

Or so I’ve heard. I’ve never actually seen caroline live. I missed their show in Manchester and it is my biggest regret of 2022, as their eponymous debut is my favourite album of the year. The album came out in February and its gorgeous, clattery compositions have had a hold on me ever since.

Greg Urbanski, Gary Oldman’s long-term producing partner, tells us on the commentary track that no film company wanted to touch the script of Nil by Mouth. Oldman was riding high as an actor in 1996, renowned for his shape-shifting performances as Sid Vicious and Joe Orton in the UK, and Lee Harvey Oswald, Beethoven and Dracula in the US. 

When asked what I wanted for Christmas this year, my response was mostly that I just want to drink Baileys out of Lindt bunnies and dance in my socks in the kitchen. Y'know?

Flick through my 2022 Spotify Wrapped playlist and those who know me best won’t be surprised by what they find. Architects, the UK’s preeminent metal group who grapple with progressing their sound further on the classic symptoms of a broken spirit – check. Foals, the indie delights who continue to sweep all before them, and adorned new, summery vibes with latest album Life Is Yours. Check.

Some of what’s nourishing the debut album by Sweden’s Dina Ögon is evident. A Bossa Nova jazz-pop essence evokes Brazil’s Quarteto em Cy. There’s a trip-hop undertow. Vocal lines bring to mind Free Design. Less easy to pinpoint is a melodic sensibility which seems to be derived from local traditions; echoing the sort of fusion pioneered by Jan Johansson’s Jazz på svenska and Merit Hemmingson when she reframed folk music on the Svensk folkmusik på beat albums.

This is not a rehash of my Skinty Fia review, but smoke from the same grate.

Aaron Moorhead and Justin Benson deal in the modern eerie and truly weird, placing relationships under supernatural pressure with unsettling empathy. Where genre-schooled peers such as Ti West and Adam Wingard splice post-slacker, naturalistic conversation with skin-flaying horror, Moorhead and Benson scare with cracks in reality, reflecting quietly broken protagonists.

One of popular music’s greatest songwriting talents released her final album back in January. The Light at the End of the Line was Janis Ian’s first album of all-new material in 15 years, and it was planned as a stage-setter for her swan-song tour, US dates scheduled through to the end of the year, European concerts to follow. Then Ian got hit by a particularly nasty form of laryngitis that meant she could no longer sing.

The BBC’s A Ghost Story for Christmas series first consisted of eight short films broadcast between 1971 and 1978, five of which were adaptations of short stories by MR James.