Of 2019’s pop culture phenomena, the critical reappraisal of Céline Dion as an international treasure is one of the most delightful. It’s been six years since the Quebecois singer last released an English language album, a period in which she closed out 16 years of Las Vegas residencies, soundtracked both Disney and Deadpool and, most importantly, mourned her husband, René and brother, Daniel.

Tahliah Barnett has been having a rough old time of it. There was that doomed celebrity romance (Robert Pattinson) and some health issues (I’m not entirely sure if we need to know about her operation to have fibroids removed) but suffering, as we are all aware, is the fuel of creativity.

Considered logically, releasing an album as heavy on guest features as Charli XCX’s newest should present particular logistical problems when it comes to recreating the tracks on tour. Charli’s approach is the opposite: no gimmicks or trickery, just minimalist techno hedonism powered by nothing but strobe lights and sheer charisma.

Underworld’s first album in three years comes in two versions: a seven-CD box set with a disc of Blu-ray visuals and an 80-page full-colour book or a stand-alone ten-track sampler, which is also included in the gargantuan release. As theartsdesk has only been sent the single disc, we can only comment on the condensed version. This is, however, more than enough to excite interest in the present activities of a band that for a generation of old ravers provided the high point of many evenings on the dancefloor, shouting “lager, lager, lager, lager”.

Canadian DJ-producer Philippe Aubin-Dionne – AKA Jacques Greene – has had a successful career in global clubland. One release in particular, his spacey 2011 deconstruction of the song “Deuces” by R&B star Ciara, which he entitled “Another Girl”, created waves in the world of house music. His 2017 album Feel Infinite demonstrated he had vision enough to hold listeners on a longer electronic journey.

Prior to the UK dance music explosion of summer 1988, house and techno were American micro-scenes, geographically restricted to Chicago, Detroit and New York. Small coteries showed interest in the UK, but few thought of making the stuff. Mancunian producers 808 State, however, were early adopters, recording an album that year and later charting with iconic 1989 hit “Pacific State”, a futuristic, Balearic instrumental.

In the lyrics of 1989’s “Doin’ Our Own Dang”, Jungle Brothers’ Mike D noted his combo were “Breaking the beat others wished they broke.” Going further, he acknowledged “Cause you’re trying to feel what’s on my reel to reel.” Jungle Brothers recognised they were not on their own. During the same year, the like-minded De La Soul released their debut album 3 Feet High and Rising.

According to Metronomy maestro Joseph Mount, his first attempt of album number six was a much snappier affair. But it wasn’t until he broke from his self-imposed immediacy that it started connecting with him. In its final form, Metronomy Forever clocks in at 17 tracks of singles, instrumentals and soundscapes, and though it skirts close to double-album indulgence, you’re never more than one song away from a winner.

Of all grime's original generation, Kano has a strong claim to being the greatest rhyme-constructor in the old school hip hop sense of dense rhymes packed with multiple meanings. Add movie star looks and a penchant for fur coats in photoshoots and he was most young grime fans' tip for following Dizzee Rascal into the big league.