Emma-Lee Moss has a lovely voice. It conveys an ache, a longing, but is sweet too, and well-mannered. Combine this with an aptitude for literate, thought-provoking lyrics and hooky songs, and Emmy the Great is quite the package. It’s a mystery, then, why she has not been critically and commercially elevated to the status of peers such as Laura Marling and KT Tunstall. Her fourth album is a delight, rich in imagery and ideas. It confirms her as an artist always well worth following.

Space for the Earth is Ozric Tentacles’ 21st studio album since coming together at the 1983 Stonehenge Free Festival and their first since 2015’s Technicians of the Sacred.

Those Wainwrights, they never cease to surprise. Get out your soft shoes and prepare to shuffle, for the “six-string diarist” has set his guitar aside and put on his metaphorical tux to croon with a band on more than a dozen timeless classics. Songs (to coin a phrase) that your mother would know.

The title comes from the lyrics of “Andy Warhol”: track two, side two of David Bowie’s late 1971 album Hunky Dory: ”Put a peephole in my brain, Two new pence to have a go, I'd like to be a gallery, Put you all inside my show.” The new pence reference recognised Britain’s recent adoption of decimalised currency.

There are no one-size-fits-all solutions and Lockdown (it has surely earned its capital status) provided its own problems for many of us. For some, however, there was an upside. For people who find themselves powering through when they need to power down, it was a chance to take themselves away from the anxieties, expectations and obligations of the everyday and narrow focus. It was an enforced clarification of our lives - a diktat to breathe.

The Turkish psych folk band Baba Zula are at their very best live: the essence of their appeal depends on slow-burning climbs towards an ever-elusive climax, perfectly honed for a crowd that wishes to dance their minds away.

There’s a lot to like about Melanie Chisholm. She was always the Spice Girl who came over as most genuine and down to earth – not to mention the one who could sing.

Alongside Basement Jaxx, Groove Armada were one of the last big acts to blossom from the 1990s boom in clubland and DJ culture. They are responsible for bona fide classics in “Superstylin’”, “At the River” and “I See You Baby”, and also founded the Lovebox Festival, which was named after their fourth album.

What happens when the hits dry up? And what happens a little further down the line, as the years of being on the charts recede into the past? For Helen Shapiro, the questions are answered by the intriguing Face The Music: The Complete Singles 1967–1984, a 25-track compilation collecting all her pop singles from the period covered by the title. Her work in jazz is not heard. The latest tracks were originally issued by Charlie Gillett’s Oval label and became her final singles.

This is a musical homecoming for Róisín Murphy, both geographically and figuratively. She may have been raised in Dublin and spent her gig-going adolescence in Manchester, but Sheffield is where she began her life as a clubber and performer – and it’s with Sheffield scene mainstay of almost four decades, and Murphy’s friend of quarter of a century, Richard “Parrot” Barratt that she’s collaborated here.