“I will fly around the world just to forget you” are the opening words of “It Hits Harder,” the first track on New Radiations. The song is about a farewell. The album ends with “Sad Satellite,” where the titular heavenly object is used as a metaphor for distance, when the gap is increasing between the narrator and the subject: the latter a character who is “sucking me dry” and “took me for ride”.

Ricochet is Chicago punk veterans Rise Against’s 10th album and, unfortunately, one which suggests that despite a four-year break since Nowhere Generation, that they have hit that point where they are seriously struggling to maintain relevance. In fact, they would seem to be both short of anything special to say and for tunes to carry their message, such as it is.

The booklet coming with Just Like Gold - Live At The Matrix frequently refers to the band as “The Solution.” It will be the same here.

With respect to the name this pioneering San Francisco psychedelic outfit did choose, their drummer John Chance is quoted in the booklet as saying “My mother was really upset about it [the band’s name], and I knew why.”

Running as part of the South Facing Festival in Crystal Palace Bowl, Thursday’s headliners, Mogwai, and their friends across the water, Lankum, were an excellent pairing, both atmospheric, wonderful musicians whose instrumental (and vocal, in the case of Lankum) virtuosity, were a real joy to listen to.

It’s impossible to overstate how much the early 2000s records of Goldfrapp – the duo of Alison Goldfrapp and Will Gregory – set the tone for the whole rest of the 21^st century. The electroclash scene had already ushered in an Eternal Eighties of electropop revival, but Goldfrapp professionalised it, added heavyweight songwriting skill and superstar vocal personality.

Wilderness is the kind of festival where you can overhear a conversation about the philosophical implications of rewilding whilst queuing for Veuve Clicquot, or watch a man dressed as a vicar strip naked mid-cricket match without anyone blinking. It is, in every sense, deeply decent – equal parts bougie and bonkers, like a country house party that accidentally invited in the circus, the club kids, and a few stray shamans.

This is a weird one: I do try and stay on top of pop culture, but for several years, Ethel Cain completely passed me by. You’d think I would have noticed a gothic bisexual Baptist trans woman achieving great enough success to be championed by Barack Obama, but no – until streaming algorithms put me on to her record Perverts, released earlier this year. 

The default setting for Brighton indie quartet Black Honey is pop-grunge. There are plenty of moments during their fourth album when Nineties femme-rockers L7 spring to mind. But Black Honey also spread their wings and fly in other directions. The latter songs tend to be Soak’s most noticeable, although whatever style the band chose, they know enough about hooks to keep listeners onside.

Molly Tuttle is a star of the US bluegrass scene whose last couple of albums have broadened her appeal. On them she wandered into country, folk, and rock. She featured the likes of Gillian Welch, Dave Matthews and Old Crow Medicine Show, intimating, perhaps, a desired trajectory.