It’s seven years since the Belgian brothers Dewaele unleashed their fine, largely instrumental and foot-stomping Essential album on the world, but they’ve given short shrift to any ideas of sitting on their laurels in the intervening time. Their new album, All Systems Are Lying still points emphatically towards the dancefloor, but it brings plenty of new flavours to their sound and is considerably more song-based than its predecessor.

Eight years after Prodigy’s untimely passing, Mobb Deep are gracing our sound systems once again with unreleased vocals and brand new music. With production from both Havoc, Mobb Deep’s second half, and world-renowned hip-hop powerhouse The Alchemist, Infinite brings back a strong boom-bap essence that fans have been missing, with zero missteps. The duo have been an integral part of New York hip-hop history since their 1995 single “Shook Ones Part II” cemented itself in the rap hall of fame.

Boz Scaggs rarely does a less than wonderful album. His latest is an exemplary collection of smooth and soulful standards and a few other choice items including a song he wrote for his first album Boz Scaggs (1969) “I’ll Be Long Gone” and an Allen Toussaint song that was a hit for Southern Soul diva Irma Thomas, “It’s Still Raining”.

The history of experimental musicians from Europe and North America adopting Japanese aesthetics is … patchy. It got especially dodgy in the 1990s when every other electronica dork started flinging random kanji characters on their sleeves, writing soundtracks for imaginary Akira bike races and the like. And there are so, so many ambient producers who reference Zen gardens, minimalist interior design and bamboo flutes, you can’t go into a health spa without knocking over a pile of their CDs.

Hollie Cook was in the final line-up of post-punk groundbreakers The Slits. When singer Ari Up died in 2010 and the group ended, there was a flurry of interest in Cook for a while. She supported The Stone Roses and appeared on Jools Holland’s Later.

Pop Will Eat Itself deserve to be more celebrated. The Stourbridge outfit were one of the first 1980s bands to realise the potential of smashing punky indie-rockin’ into hip hop and electronic dance.

It’s funny: people say a lot online that what you’re allowed to like and dislike in music is bounded by age, gender and so forth. “It’s not FOR you,” they say. And in many ways, when it comes to Taylor Swift, that’s fair enough.

This is quite a tale: Shooter, son of Waylon Jennings, discovers a tranche of his father’s personal multitrack tapes from the analogue years, dating between 1973 – when he wrestled artistic control from RCA – and 1984, when he had quit cocaine, joined The Outlaws and digital technology took over everything.

The 16-minute album opener “Between the Fingers the Drops of Tomorrow's Dawn” coalesces at the 12-minute point, when clattering percussion meshes with what sounds like a sitar to fashion a hypnotic, repetitive whole. It’s as if Slovenia’s Širom have used the time so far to work themselves into a trance-like state. Iztok Koren, Ana Kravanja and Samo Kutin have surrendered to the drone.