The cultural imprint Crass were leaving was apparent while they were active. As well as their own music, their label Crass Records released records by Flux Of Pink Indians, the pre-Sugarcubes outfit Kukl and The Damned’s Captain Sensible – Crass were instrumental in him becoming a vegetarian.

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.

Monologues and duets rule the stage right now. We can only dream of the day when theatre steps up to the classical music scene’s boldness and manages to have more performers gathered together, albeit suitably distanced (not so easy when the drama needs physical contact, though there are plenty of plays that don’t). That said, it would be hard to imagine a more impressive roster of performers than the magnificent Bridge Theatre has managed to summon for its one-person season.

Selva Almada’s newly translated work has a stark title in both English and the original Spanish: Dead Girls, or Chicas Muertas. That apparent bluntness belies the hybrid sensitivity that makes up the pages. Its subject matter is the murders of three young women during the 1980s, spread across different provinces of Argentina, a country where murders of and violence against women are unbearably commonplace.

It hasn’t been an easy ride for Josh Boone’s New Mutants. Delayed production, reshoots, the acquisition of 20th Century Fox by Disney, Covid-19, and accusations of whitewashing, have all contributed to it being dubbed a ‘cursed’ film.

This documentary is bittersweet viewing on quite a number of levels. First, it’s got all the glory and tragedy of the most compelling music stories: a Liverpool band struggling from humble beginnings, trying to find an identity, fraternity and fallings-out, coping with huge success and its aftermath – not to mention sex, drugs, mental illness and death.

When does the avant-garde become folk? Both of the participants in this album have certainly been on the very cutting edge of sound-making, on multiple occasions. Conrad Schnitzler was a student of radical artist Joseph Beuys and leading light in the utopian thinking and radical soundmaking of 1970s West Germany as a member of Tangerine Dream and Kluster.

The feather in this particular cap is a DVD of director John T. Davis’ 1979 film Shellshock Rock. Filmed from October 1978 to April 1979, its 50 minutes thrillingly catch the Troubles-era Ulster getting to grips with punk rock.

“These are African rhythms, passed down to us from the ancient spirits. Feel the spirits, a unifying force. Come on, move with the spirits. Stand up. Clap your hands. Groove with the rhythms. Get down. Get off.”

So begins “African Rhythms”, originally released in 1975 as the opening cut from an album of the same name by Oneness Of Juju. It was issued on Black Fire, their own label.