International is Saint Etienne’s 13th album. It is their last. According to the promotional material, it was written while recording their last album, 2021’s I’ve Been Trying To Tell You. The trio – Sarah Cracknell, Bob Stanley, Pete Wiggs – must have known back then they were planning to bow out.

You wait years for a guitar group with brothers to reunite and then two come along at once. The Maccabees return might have attracted far less attention compared to the Gallaghers hitting the road again as Oasis, but as they strolled onstage on a humid Glasgow night the ecstatic reaction from fans suggested it was a sight many had not expected to see again.

The more time goes by, the more it seems like Dev Hynes might be the antidote to what Guy Debord called “the society of the spectacle”. As is documented in the fantastic recent book Songs in the Key of MP3, Hynes is representative of a type of modern musician whose relationships to mainstream and underground, art and pop, just don’t make sense in the traditional “star” framework of the post rock’n’roll era.

“I will fly around the world just to forget you” are the opening words of “It Hits Harder,” the first track on New Radiations. The song is about a farewell. The album ends with “Sad Satellite,” where the titular heavenly object is used as a metaphor for distance, when the gap is increasing between the narrator and the subject: the latter a character who is “sucking me dry” and “took me for ride”.

This is a weird one: I do try and stay on top of pop culture, but for several years, Ethel Cain completely passed me by. You’d think I would have noticed a gothic bisexual Baptist trans woman achieving great enough success to be championed by Barack Obama, but no – until streaming algorithms put me on to her record Perverts, released earlier this year. 

The default setting for Brighton indie quartet Black Honey is pop-grunge. There are plenty of moments during their fourth album when Nineties femme-rockers L7 spring to mind. But Black Honey also spread their wings and fly in other directions. The latter songs tend to be Soak’s most noticeable, although whatever style the band chose, they know enough about hooks to keep listeners onside.

It’s not foregrounded, but as Strangest Feeling beds in after repeated listens it becomes clear that one of its core traits is The Pixies-originated quiet-loud, soft-hard dynamic which oozed into grunge. The second LP from the Irish-born, Sydney dwelling Bonnie Stewart isn’t a grunge album, but it has a kindred sensibility.

Indigo de Souza, a singer from North Carolina, has established some reputation, mostly in the States, for combining indie, pop and emotionally open lyrical heft. This is her fourth album, but her first on a larger label, Loma Vista (she was previously on Bright Eyes-associated Saddle Creek). On Precipice she lays down a fusion of chart-style femme-pop and heartfelt guitar anthems.

Stylistically, Utopia wears multiple faces. Opening cut “London 1757” drifts by like a twig floating upon an unhurried stream. Next, “Dancing on Volcanoes” swings, employs a staccato guitar and suggests a late-Sunday afternoon dance floor. The kind of scene embraced by a post-comedown crowd. Further in, “Ghost of You” has a soul ballad edge; Randy Crawford were her background in Broadcast-inclined, indie-experimenta.

Around eight years ago, London singer-songwriter Lail Arad started releasing one-off tracks with Canadian singer JF Robitaille, once of Montreal indie outfit The Social Register (Arad’s own 2016 album The Onion is an undiscovered diamond that should be sought out).