We take a look at the latest new music releases including Justin Timberlake.

Brian Fallon – Sleepwalkers: Still best known as the singer/guitarist from New Jersey punk rock band The Gaslight Anthem, Fallon continues to forge his solo career with a second album since his main band went on hiatus in 2015. In many ways Sleepwalkers carries on where Painkillers left off in 2016; it is a straight-up rock ’n’ roll record filled with fast moving tracks (Forget Me Not) and sad love songs (See You On The Other Side) with occasional killer riffs, such as on My Name Is The Night. If The Gaslight Anthem were often seen as channelling Springsteen, then Fallon here is channelling The Kinks, The Rolling Stones and similar bands. Musically lighter than The Gaslight Anthem but emotionally and lyrically heavier, Sleepwalkers deserves to be a hit this year. Ryan Ward

Justin Timberlake – Man of the Woods: After a significant break Justin Timberlake is back with his fourth studio album. If you were expecting a marked change in direction you will be disappointed. What Timberlake has created is a homely sound with a hint of modern country. Say Something (which features Nashville-based singer/songwriter Chris Stapleton) is a relaxed affair full of tight harmonies, and it is hard to hear where Timberlake finishes and Stapleton begins. As ever there are some up-tempo grooves – Filthy is a ball of fun wrapped up in electro funk.There is no doubt that Timberlake is proud of his roots and is hoping that the resurgence in new country will bring him new fans, but there is not quite enough country running though this to keep them. Rachel Howdle

Susanna – Go Dig My Grave:Susanna Wallumrod returns with a collection of songs spanning centuries and continents: from England and America, from Joy Division, folk 
ballads and her own pen, the pieces mostly cast a glance deathward. Not light listening then, but frequently beautiful and always expertly crafted. 
Freight Train introduces Wallumrod’s front-and-centre voice, as crystalline as the melody it traces and the virtuosic accompanying harp; all archaic lines and shivering delivery, Purcell’s pre-classical Cold Song is majestic rather than maudlin; with Celtic inflections, Susanna’s original composition sounds equally timeless. Also, there’s an apocalyptic/serene take on Rye Whiskey, and a title track that really needs to soundtrack Peaky Blinders. Michael Dorman

MGMT, Little Dark- Age: “Don’t take it the wrong way, I could never give up” sings Andrew VanWyngarden in She Works Out Too Much, the opening track from MGMT’s fourth album. Having alienated a large part of their audience who’d lapped up Oracular Spectacular a decade ago with subsequent leftfield lurches, VanWyngarden and Benjamin Goldwasser are at least on firmer ground here with the psychedelic R&B. “The humour’s not the same, coming from the night” they admit in the title track and an equally queasy sense of unease pervades When You Die (sample lyric: “Don’t call me nice/I’m gonna eat your heart out”). Thankfully it’s not all gloom. One Thing Left To Try is perky, 80s-style synth pop while Hand It Over hints at tenderness beneath the cynicism. Just don’t call them nice. Duncan Seaman

Symphonic Psalms & Prayers: Four very differing 20th century religious works make for a very unusual release. Opening with Stravinsky’s Symphony of Psalms, in a conventional three-movement format and typical of the composer in the 1930’s, it has one of music’s most beautiful and ethereal moments midway through the score. Bernstein’s Chichester Psalms takes classics into the world of jazzy rhythms with David Allsopp as the countertenor soloist. The last of Schoenberg’s melodic works, Friede auf Erden, and the late-Romantic colours Zemlinsky’s Psalm 23 complete the disc The London-based choral group, Tenebrae, sound a little underpowered for the Stravinsky, and the recording engineer has produced a dry sound for the BBC Symphony Orchestra conducted by Nigel Short. David Denton