Joe Goddard’s torrent of creativity rarely fails to amaze. As well as eight albums as a crucial part of Hot Chip, he has made two in the 2 Bears duo with Raf Rundell, one as Hard Feelings with Amy Douglas, and there’s been various other collaborations besides (A Pulse Train, Extra Credit, Greco-Roman Soundsystem, Lightbox Of Magic Unknowledge), not to mention dozens of remixes and a none too shabby DJ career too.

Great bands’ output can, famously, be predicated by the intense interaction between members, often between a central creative pairing. This can be a harmonious mutuality but, more often, music is built from tension, from difference, from the frisson between two individuals.

There was a point in this pop revival jaunt where you could feel members of the crowd wince. Not for the performance, but because Nicola Roberts introduced a song by mentioning it was from “the Chemistry album, which came out 19 years ago”. You could almost feel some in the crowd recoil, as if expecting to crumble to dust at that confirmation of the passing of time.

Charli XCX has been making scrambled eggs of pop for a decade. She’s written songs for/with artists including, but far from limited to, Lady Gaga, Iggy Azalea, Giorgio Moroder, Selina Gomez, BTS, David Guetta, Ty Dolla $ign, Blondie, Gwen Stefani, Raye, BTS, Camila Cabello, Benga, Caroline Polachek, Haim, and James Blunt. And then there’s her own albums. Six of them, including this one. But she’s not yet a full star. At least that’s what she reckons. And that’s what her enjoyably abrasive new album is about.

Taylor Swift’s unfathomable ability to articulate human emotion shines as brightly as ever in her latest double album The Tortured Poets Department: The Anthology. The 31 track collection combines the gentle melodies of previous albums folklore and evermore, the soul baring chaos of Red, the cool synth-pop production of Midnights, and the extreme vulnerability and intricate storytelling that is persistent throughout her entire discography.

At a time when conflicts in the Middle East are reaching fever pitch, Emel Mathlouthi represents hope. Her new album MRA, is titled for the Arabic word for “woman” and was created entirely by women, as in, every single person involved with it at any level is female. She has said of it, “I've come to discover the true meaning of sisterhood… I want us to change the system from within, by and through women.” Happily, this outlook is attached to music that’s sonically exciting.

Ariana Grande is the seventh most-followed Instagram account in the world (nearly 400 million). She has worked in promotion and/or “brand ambassador” positions with Reebok, Givenchy, Apple and many others. She is a successful film/TV star (about to go next level with Wicked). She has her own billion-selling perfume line. In an age when consumer capitalism has replaced religion in the west, she is a dream, an exemplar.

This album starts on an extremely literal note. The whole record is themed around Belgian born-and-raised Bolis Pupul’s explorations of the Chinese side of his heritage after his mother’s death in 2008, and his regrets at not having done so when she was alive. And the opening title track has him explaining precisely this, in a portentously pitched-down voiceover reading the titular letter to his mother.

VINYL OF THE MONTH

Mito y Comadre Guajirando (ZZK)

A decade ago Canadian duo Chromeo had their biggest success with the single “Jealous (I Ain’t With It)” and its parent album, White Women. However, it didn’t presage a move into the mainstream.