The opening moments don’t suggest what’s coming. A solo flute is followed by a few spoken phrases from a treated voice. What’s being said? It’s impossible to work it out. Is it a warning? An electric guitar’s strings are stroked with a cello bow. Then, other instruments enter the picture – shimmering electric piano, a trio of saxes, pitter-pat, raindrop percussion, throbbing bass guitar. About five minutes in, a pause arrives after which hard-edged spiralling guitar tops a swirling musical vortex. The storm has arrived. A squall is in the air, and on the stage.

Bergen’s Electric Eye’s pithy description of themselves is “psych-space-drone-rock from Norway.” They also say they “play droned out psych-rock inspired by the blues, India and the ever-more expanding universe.” Horizons is their fourth studio album.

Phantasmagoria, or A Different Kind of Journey instantly sets its controls for an excursion into the interstellar void between gaseous and solid objects. Opening cut “Intoxication” begins with lightly pulsing bass and a keyboard texture. Shimmering guitar floats over the top. Though more sparse and lacking vocals, it’s as if Pink Floyd’s “Us and Them” were performed by an earlier model of the band which had focussed on reducing performative grandeur as much as possible.

It’s perhaps unfortunate that The North Water arrives on BBC Two only a few months after The Terror, since it’s impossible to avoid the parallels between them. They’re set only a few years apart (1859 for The North Water, 1845 for The Terror), both involve doomed voyages into Arctic waters, and each of them gets darker and bloodier as it depicts man’s inhumanity to man (and not just man) and the encroaching horror of a heart of darkness.

Let the facts – and the music-making you can see and hear online – speak for themselves first.

Arrival Of The New Elders is unlike anything Norwegian trio Elephant9 have done before. Previously, their jazz-prog mélange was as full-on as it could be. Attacking, hard and heavy. Now, a previously unfamiliar pensiveness has been revealed.

Even before going to art school, Tracey Emin discovered the work of the Norwegian expressionist Edvard Munch. And even though he was born 100 years before her, she embraced him as a kindred spirit. One can see why. Whether painting figures, buildings or landscapes, Munch projects onto his subjects the intense feelings of desolation, loneliness and abandonment which haunted him most of his life.

Artists’ management Harrison Parrott has started a concert streaming platform called Virtual Circle on emusiclive.com, launched two days ago and only available as a live event - no catch-ups. Watching its debut concert - the Oslo Philharmonic with the much-buzzed-about Finnish conductor Klaus Mäkelä - it struck me that it must be terribly difficult to film an orchestra effectively.

The term electro-pop has kind of lost its meaning, The Top 20 has, for many years, been full of music created on computers, from Charli XCX to BTS to Clean Bandit. Yet still, as a genre header, it's often used to refer to music that riffs on the sound of the 1980s synthesizer pioneers.

Ole Bull: Stages of Life Annar Follesø (violin), Norwegian Radio Orchestra/Eun Sun Kim, with Wolfgang Plagge (piano) (2L)