From This Place (Nonesuch) is a complex, meticulously produced and many-layered album which demands concentrated and repeated listening. In many ways, it is all the better for it. Pat Metheny himself has written an essay or “Album Notes” of no fewer than 2,020 words to explain how the concept of the album evolved, as it went through a several-stage process of  conception, recording, arranging, production.

There is something deliciously normal about Tennis, the Denver husband and wife team of Alaina Moore and Patrick Riley. Steeped in the best pop of a bygone age, the couple’s lyrics seem so simple and yet unpack hidden depths on repeated listening.

“Trance boogie,” states My Baby frontwoman Cato van Dijck before submersing herself in the rising tribal rhythm of “Sunflower Sutra". Trance boogie is, indeed, what My Baby do. The song is decked with floating flecks of glissando guitar from virtuosic New Zealand bandmate Daniel Johnston on the other side of the stage. “Sing with me, brother,” Cato demands with a smile and behind his drum kit her sibling Joost leans into his microphone and harmonises. Behind it all is a housey four-to-the-floor beat, but their sound is all organic groove.

This week, one of the finest gems in the entire Hendrix catalogue finally sees the light of day in its full unedited glory – Songs for Groovy Children comprises all four sets from the Band of Gypsys New Year’s Eve 1969-70 residency at the Fillmore East in New York City.

The onstage arrival of Two Door Cinema Club was heralded by a tongue-in-cheek video countdown that reached zero and then flashed up an error message, before asking the crowd to “try again”. In truth, the band’s own performance was never likely to hit any hitches, being the sort of well-honed and slick display that you would expect from a group who have been touring steadily for the past several months. That is both a positive and a negative.

There’s something in the dichotomy of Babymetal that I just can’t fathom. Cutesy J-pop meets heavy metal. Sheeny bubblegum-bounce dance routines to thrash. Sweet teen vocals over shredding.

Rodrigo y Gabriela are no longer the youthful metalheads that once spawned an organic fan movement from the muso grapevine, via rigorous gig schedules and world tours.

Wilco’s Jeff Tweedy has been pondering how to react to oppression, and his own music’s obsolescence. What use is a rock band’s eleventh album at the best of times, he’s wondered, let alone in these worse ones under Trump?

In March of this year Edwyn Collins released his ninth studio album, Badbea, his fourth since two life-altering cerebral haemorrhages derailed him in 2005. It’s a vivacious collection that runs the gamut of what guitar pop can be, from acoustic strumming to psychedelic riffing to lo-fi punkin’, all catchy as burrs. His set is peppered with it.

The perfect primer to The Regrettes comes towards the end of the colourful video for “I Dare You”, the bubblegum update to “Last Nite” by The Strokes that is the lead single from their second album. Teenage frontwoman Lydia Night delivers the title lyric for the first time in the song with a cheeky wink to the camera, but it’s so subtle - and her face is but one of four, off-centre on screen - that you’ll convince yourself you dreamt it.