Jacob has just managed to shoot up. No easy matter because his veins are, he says, non-usable, and are like those of an 80-year-old man. He’s in his twenties and has been on heroin for six years. Unusually, he works full time, has a car and a flat – blood-spattered ones. When the heroin kicks in he doesn’t feel stoned but as if he could “work on some graphic design or art work”. Not quite Edward St Aubyn or William Burroughs territory, though he also says that it “removes any sort of sickness in your mind”.

On his second album, Swedish star DJ Kornél Kovács has achieved the impossible and made “tropical house” interesting. Somehow, he's taken every cliché of that slow, lilting pop dance sound Drake and lifestyle influencers Instagramming from pristine beaches and tweaked them to find unexpected strangeness and depths.

It's 18 years since the last Royal Trux album, but it might just as well be 18 months, so easily have they slipped back into their sound. OK, Neil Hegarty and Jennifer Herera have been gigging together again on and off since 2015, but even so it's quite astonishing how natural this record sounds. But then again, the Royal Trux sound was always something that sounded more like a channelling of something elemental than anything composed or contrived.

Baggage can weigh a movie down. The Mule comes with quite a bit of baggage, and not just the kilos of coke stashed in the car’s trunk. Clint Eastwood’s fifty plus years as a screen icon turned director, his dodgy love life and libertarian politics all make it hard to walk into a cinema showing his latest film without dragging along a whole load of preconceptions.

The tortuous road to addiction and back again – or maybe not – makes for a faintly tedious experience in Beautiful Boy, notwithstanding the committed performances of an A-list cast.

Ex Mykah is a multi-instrumentalist and producer on the LA music scene who’s worked with the names such as Mark Ronson and Miike Snow. His own debut album sounds very far from either of those. Instead it comes from the warped, alt-hip hop end of the pop spectrum, while also recalling that brief Noughties blog flourish “chillwave” (the likes of Neon Indian and Washed Out).

Implausible times call for implausible music, and it doesn't come much more unlikely than this. Hawkwind, the die-hard troupers of gnarly cosmic squatter drug-rock, have re-recorded highlights from their catalogue, arranged and produced by Mike Batt. Yes, Mike “Wombles” Batt. Mike “Elkie Brooks” Batt. Mike “Katie Melua” Batt. Mike “Bright Eyes” Batt.

The first significant British film to explore the influence of Jamaican sound systems in London was Babylon. Shot in 1980, its street patois was deemed impenetrable enough to merit subtitles. Times change. Yardie revisits the same world and era – it is bookended by heaving get-togethers in which sound systems pulse and throb.

The Dark Web has an intriguing sound about it. Like something out of JRR Tolkein or JK Rowling, it suggests a netherland peopled by strange creatures, and maybe even dangerous monsters. As indeed it is.

The issue of immigrants being smuggled across the Mexican border into the USA is currently live and inflammatory, and this second instalment of the feds-versus-drugs cartels saga hurls us right into the centre of it.