I tend to run away from all known bandwagons, but I'm on this one. Peter Quinn called Cécile McLorin Salvant’s album Ghost Song “a moving, imaginative, at times laugh-out-loud collection of songs” back in February, and it is a wonderful piece of work on every level.

Each new Beatles album offered a chance for other acts to record their own versions of songs which didn’t make it onto singles. What was on the long-player could pick up attention if it was covered. Revolver was no exception. Cliff Bennett & The Rebel Rousers’s version of “Got to Get You Into my Life” was in the charts the August 1966 week Revolver was issued.

There’s much fun to be had with snow, and fun things go with it, too, such as album launches in Soho on a freezing Saturday night in December, when the rest of the country is watching England depart the World Cup in the quarter finals.

It’s Friday night and I’ve finally arrived at 43-year-old French music festival institution Trans Musicales. Due to some dreadful nonsense, it’s taken a 12-hour train journey, two baguettes, one short Stephen King novel, six large beers, a tumbler of Bourbon, and one shuttlebus to place me at the Parc Expo, a series of giant airport hangars that house the majority of musical activity (although there’s a smattering of earlier events in Rennes itself).

Growing up in Sweden, sisters Klara and Johanna Söderberg developed ways of combatting the biting cold and bleak darkness of winter. As well as writing during wintertime, they turned to the open landscapes and pervasive desert heat of the USA to inspire their music. Perhaps it is this that brings such a warm sheen to their presence.

"Descarga Royal" by Los Royal’s de Pucallpa opens proceedings. After flurries of wobbly wah-wah guitar, a driving percussion bed interweaves with a rolling guitar figure. Then, about two minutes in, the guitarist steps on the fuzz pedal. Groovy. Psychedelic too. The band’s name is taken from the tropical east-Perú city of Pucallpa, located on the Amazon tributary river Ucayali.

When Trevor Beales’s band Havana Lake released their only album in 1977, it was on a label which also issued records by The Ryman Country Band, The Saddleworth Male Voice Choir, The Slaithwaite Brass Band, The Thurlstone Bell Orchestra and a version of Sixties beat band The Merseybeats. Look was the offshoot of West Yorkshire studio September Sound Studios – anyone booked there could have a record pressed as part of the deal.

Justin Adams has been exploring music that produces trance or near-trance states for a number of years. Along with being Robert Plant’s lead guitarist for a long while, he has followed his own path, seeking out what he had dubbed the secret heart of rock’n’roll.

Even those with the most tangential connection to pop music will be aware that K-Pop is all conquering, and the likes of BTS and BlackPink are on some metrics the most successful of recent acts anywhere. But at the same time, there is also a growing awareness that there is a burgeoning Korean indie and art music scene, the flames of which have been fanned by what has become one of London’s most interesting and enterprising annual festivals, K-Music.

“All of this music, it’s nothing to do with the listener,” Stormzy announced to Louis Theroux in a recent TV interview. “All I can do is feel what I feel and document that, and whatever that is, that’s what it’s going to be.”