Superless are playing live for the first time. Instead of being bottom of a bill, this quartet have a prime spot at Bergen’s Nattjazz festival. Given the eminence of who’s in the band, it makes sense. Ingebrigt Håker Flaten (bass), Eirik Hegdal (woodwind) and Øyvind Skarbø (drums) are Norwegian and American guitarist Jeff Parker is based in Los Angeles.

Rock’n’roll has been credited with incredible powers of rejuvenation many times before, but if there are two men who seem to have seriously benefitted from its mystical power, it’s Alice Cooper (74 years old) and Ian Astbury (60 years old). These are two men who would be eligible for free bus passes in the UK but who can still get down with the best of them – and are still in miraculously fine voice.

“Songs are what feelings sound like,” Mary Gauthier told medics from Brigham & Women’s Hospital as she participated in the Frontline Songs post-Covid initiative that aimed to help doctors, nurses and first responders process their pandemic trauma. No stranger to loss and trauma herself, Gauthier had earlier worked with Songwriting with Soldiers, a programme that led to her last (Grammy-nominated) album, Rifles and Rosary Beads (2018).

As the pandemic receded, Wilco huddled together in Jeff Tweedy’s Chicago studio and played country songs, an easefully naturally act as the world around them shook. Though famed for the experimental, eerily timely Yankee Hotel Foxtrot (2001) and the crackling electric contrails of its further-out follow-up A Ghost Is Born (2004), Wilco have often returned to simpler verities.

If you’re feeling that you might be missing a certain glide in your stride and a dip in your hip during these uncertain times, then perhaps you might benefit from some funk on your record player. Well, cometh the hour, cometh the men.

By 1970, John Barry had composed music for Born Free, The Lion in Winter, Midnight Cowboy, You Only Live Twice and about 38 other films. His work with cinema began in 1960 and averaged around five films a year. In 1965, eight films were released with his music. He was busy.

Crispy Moon is a musical kaleidoscope encompassing free-jazz skronk, Japanese folk melodies, Krautrock insistence, echoes of Recurring-era Spacemen 3, South African percussion styles and space rock. One is overlain onto another, or there are sections where one approach dominates before diving into another.

This album starts and ends so brilliantly. It kicks off with a salvo of three tracks that remind you exactly why Def Leppard became one of the biggest bands in the world in the mid Eighties. They distilled the things they most loved growing up – T Rex, Mott The Hoople, Queen, ABBA – down to their rawest essences, then built up a sound using the most elaborate studio technology available at the time that was in tune with the current post-Van Halen US rock world but actually belonged entirely to them. 

While Britpop was a retrogressive media construct, Oasis were a genuine socio-musical phenomenon (albeit also retrogressive!). And at their heart was, of course, Liam Gallagher, bullishly Manc, sneeringly rude and pugnaciously charismatic, a proper rock star, perhaps the last before the oncoming generation of coffee-drinking, fleece-wearing nice-boys-next-door.

As break-up albums go, Heidi Talbot’s new set knocks that tightly wound ball of heartbreak, separation and release into the front rank, on an arc of often beautifully melodic self-penned songs, choice covers, and accompanists including guitarist Mark Knopfler and fiddle player, singer and the album's producer Dirk Powell.