A three-hour show? There’s no doubt that The Smashing Pumpkins give good bang for the buck but it’s rare to see a band of this size and stature play for more than two hours in London. So it’s a testament to their back catalogue that at the SSE Wembley Arena those three hours fly by faster than the college years soundtracked by the Pumpkins at their absolute peak in the mid-Nineties.

First it was the soft acoustic guitar playing, which on three occasions to three very different audiences won a silence so intense it was almost deafening. Then the loud electric, first heard in Anstruther's Dreel Halls as part of the 2017 East Neuk Festival; the ear-plugs we were given at the door proved unnecessary – just – but the shock of Julia Wolfe's LAD, transferred from nine bagpipes to Sean Shibe live alongside eight recorded selves, was massive.

Jãnis Ivanovs: Symphony No. 5; Juris Karlsons: Music for Symphony Orchestra 1945 Latvian National Symphony Orchestra/Andris Poga (Skani)

Bananas is Malcolm Middleton’s first solo album to be built around guitar, bass, drums and all that stuff since 2009’s gorgeous Waxing Gibbous. Like any great artist, he soon became bored with pursuing the classic formulation that made his name (post-Arab Strap). He’s spent the last few years trying new ideas instead.

IDLES' debut album, Brutalism, exploded onto the UK post-punk scene last year, lauded by the music press (myself included) for its lyrical blend of charm, fury, and politics, and musically, for just being a refreshingly original and catchy punk album. While IDLES haven’t moved away from these things on Joy as an Act of Resistance, they've branched out in some different, exciting directions.

This album starts on a slightly odd footing, thanks to the opener “As a Man” having phrases that sound by turns a lot like Propellorheads and Shirley Bassey's “History Repeating” and Grace Jones's cover of Flash And The Pan's “Walking in the Rain”. Not that those are bad records – both are still highly playable – and it certainly sets a tone of arch assurance and cabaret sass. But being reminded so early of such entirely distinctive and out-on-their-own tracks makes it a little hard to triangulate where Calvi is coming from here.

The most famous face in musical history, and perhaps the instigator of modern culture as we know it; he truly was the King. But for a documentary focused on such an icon, The King touches very little on Elvis Presley the man.

Over their past five albums, Interpol have crafted a strong sound that rests on the heavily reverbed, emotive vocals of singer Paul Banks, the subtly discordant guitars, and drums that pound along underneath it all. Although these can still be found on Marauder, the album holds some of the poppiest songs Interpol have ever done – something which doesn’t always work in their favour.

Oh Sees have been perennial festival favourites for over 15 years now, releasing 21 albums under seven different band names. The change of name usually indicates a new direction, with previous records ranging from alt Americana (OCS) to lo-fi garage (Thee Oh Sees).

When Kentish hardcore punk two-piece, Slaves emerged with their debut album, Are You Satisfied?, they caused quite a stir with lairy tunes of austerity Britain like “The Hunter”, “Sockets” and the magnificent “Hey”. Since the heady days of 2015, however, they seem to have been somewhat stuck in the musical doldrums, in need of something to reinvigorate their sound.