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Review: Baxter Dury has been making superbly loose and laidback sounds for more than 20 years now. Here, Mr Maserati collects some of his famously idiosyncratic sounds from across that long career with plenty of comedown disco sounds and deep, rumbling basslines. There is plenty of wry humour and musical sweetness within the material which is taken from Baxter's six long players. Says the artist, "It's a kind of provincial nod to the music I got into during lockdown because my son was playing it - Frank Ocean, Tyler the Creator and Kendrick Lamar."

Review: Not named after the notorious-famous Berlin techno institution Tresor, but instead taking its name from 'treasure' in Cornish, Gwenno presents her third full-length studio album, largely written in St. Ives, with most of the words Cornish, too. If that sounds pretty adventurous, then wait until you hear the tracks themselves, which benefit from handiwork by collaborator and friend Rhys Edwards, who is also credited with production of the record.

Introduction over, this is a wildly diverse and spectacularly different album. At times things feel haunting, almost choral. In other moments, we're in a 1960s-hued pop-y place, while work like 'Ardamm' seems born amid the dark room chug of underground goth post punk disco. Overall, it's certainly the artist's most spectacularly idea-filled outing, ensuring nobody is going to forget about it in a hurry.

Review: If elements of Saint Etienne's wonderfully nostalgic and evocative tenth album, I've Been Trying To Tell You, seem familiar, it's because the band deliberately chose to make use of sounds and samples previously utilised during their 1997-2001 halcyon period. Given that the album arrives 30 years after their acclaimed debut, Foxbase Alpha, it's a smart move. If you love the band's particularly whimsical, atmospheric sound - and who doesn't - you'll immediately feel right at home. Sitting somewhere between dream pop and Balearica with occasional nods to house and more experimental electronic sounds, it's a gorgeously loved-up affair with memorable vocal numbers (where Sarah Cracknell's singing sounds as magical as ever) being joined by equally as inspired instrumentals.