Last year, Brightonian metal outfit Architects were propelled into new territory with For Those That Wish to Exist, achieving their first UK number one album. In all measures a roaring success, they sonically edged into the uncharted too.

The 1975 are always looking for a way to corral Matty Healy’s ambition, to bring focus to his scattershot mind, to perhaps after all manage a generational address commensurate with his half-serious dreams of what a band can still be.

They've been away for a long time, not just due to that virus. Sisters Rachel and Becky have been busy with other projects including a score for Mackenzie Crook's Worzel Gummidge and works inspired by Emily Bronte and Molly Drake. So this album feels overdue.

If ever a moment summed up the spirit of a gig perfectly, then it is the segment in this arena showcase where Machine Gun Kelly is confronted by the internet, represented by what appears to be a blow up statue with a monitor for a head. As it demands the American rap rocker should be pigeonholed into one genre, he strikes on a solution which involves a helicopter flying in to shoot it. That was a defining trait of this relentlessly bombastic show, of going loud and direct as often as possible.

The Candy Company. Evergreen Tangerine. The Lollipop Fantasy. The Pretty People. The Primrose Circus. “It's a Groovy World.” “Meadows and Flowers.” “Summer Flower (She's on my Mind).”

“Our only hope of saving our planet is if we begin to have different feelings about it,” Brian Eno writes in introduction to his new album in five years, Foreverandevernomore (the first featuring his own vocals since 2005’s Another Day on Earth).

“Perhaps if we became re-enchanted by the amazing improbability of life; perhaps if we suffered regret and even shame at what we’ve already lost; perhaps if we felt exhilarated by the challenges we face and what might yet become possible.”

Not content with having released one of the best hip-hop albums in recent memory (Cheat Codes, alongside Black Thought), producer Brian Burton has rekindled his partnership with The Shins’ James Mercer for the first Broken Bells album in almost a decade.

Into the Blue is described as “an ode to the pair’s shared musical influences”, a phrase that can, let’s be honest, raise eyebrows and alarm bells. However, far from being a lengthy synonym for painful pastiche, the pair manage to plunder the past with remarkable panache.

The most unlikely venue: an extraordinary, authentic-as-can-be replica of a large Iron Age roundhouse. There’s a turf and grass roof, and the structure, made of immense roughly carved oak trunks, defies belief.

It’s fair to say that The Cult have taken on a number of identities since their mid-80s’ transformation from Goth also-rans the Death Cult to the chest-beating rockers we've come to know. They’ve been the Native American-influenced post punks of Dreamtime, the neo-hippies of Love, and the Rawk Gods of Sonic Temple, to name but a few.

Unless you’re one of the infamous 1%, you might be forgiven for recently spending a bit of time searching for a booster to reinvigorate your mojo before a seriously difficult winter kicks in. Well, assuming that your electricity supply hasn’t already been cut off by profiteering greed heads, the Bobby Lees’ new album might just do the trick.