Those talented internationally-renowned musicians are just like the rest of us, you know? They had a rubbish time during lockdown too – turns out it was the great leveller after all. Santigold’s latest album (her sixth, the first for four years) is the direct result of being stuck at home with three kids under six. But rather than sending her crawling up the walls (although there is a bit of that) it’s made her reassess her creative direction.

Away from the spotlight of mainstream music the metal scene thrives, unbothered with how much attention it picks up. When bands like Architects reach number one in the UK charts, it is huge, but unimportant. Instead the scene is preoccupied with its own endlessly shifting subgenres and sounds.

Is Ozzy Osbourne finally over the hill and ready to knock this rock’n’roll thing on the head? It’s a question that has been asked many times since he was unceremoniously dumped by Black Sabbath in 1979.

Hedonism and romance still drive Greg Dulli’s rock’n’roll on his main band’s ninth album.

Damned if he does, damned if he doesn’t, there’s no way for Julian Lennon to escape the longest of shadows – his parentage – so by naming this album Jude, he’s tackling it head on.

Travis, Coldplay, Haven, Elbow, Snow Patrol, Aqualung, Embrace, Starsailor, Turin Brakes, Athlete, Elbow, Doves… and of course Keane. The turn of the millennium deluge of sincere young men opening up their feelings to the world, their voices cracking into falsettos over grandiose post-U2 rhythms, really was quite a major cultural movement, wasn’t it? Easy to mock – and indeed the target of some real hatred – but absolutely inescapable, and as defining of its time as any hipper sound.

Three and a half years on from 2019’s False Alarm, Keep On Smiling comes album number five from Northern Ireland trio, Two Door Cinema Club. Known for having more bounce to the ounce than your average band, their brand of guitar-flecked electro pop has won hearts, minds and sales in roughly equal measure.

Hailed by Miloš Forman as “the spiritual father of the Czech New Wave”, Czech film director Vojtěch Jasný’s long career began in the early 1950s and spanned five decades. All My Good Countrymen (Všichni dobří rodáci), based on a screenplay originally written by Jasný in 1956, was released in 1968 and won him a Best Director award at Cannes a year later.

Not every musician has friends in high places in quite the way German jazz pianist and composer Julia Hülsmann does these days.

Road movies in England work better by foot. Slowing down finds the scale to explore our small island, tramping Chaucer’s pilgrim paths, not Kerouac’s roaring highway.