Fela Kuti’s death in 1997, caused by a sarcoma he developed while suffering from AIDS, continues to have an impact on the world in Africa and beyond. The musical inspired by his life, FELA!, has been a Broadway hit, and his back catalogue has been re-released to millions of new fans.

Brian Azzarello’s wild, violent run on Wonder Woman continues with this collection comprising Wonder Woman #0 and #13-17. Wonder Woman and her demigod siblings (all progeny of Zeus; yes, that Zeus) are after a mysterious baby that may or may not bring about the doom of humankind.

Simon Killer, directed by Antonio Campos (Afterschool), is a stark glimpse at the metamorphosis of a borderline misogynist into a full-blown sociopath. Brady Corbet dazzles as the titular Simon, an American studying abroad and seeking to forget his ex-girlfriend via a sordid journey into increasingly violent and dangerous sexual encounters.

Diane Coffee is the alter ego of Shaun Fleming, recently seen behind Foxygen’s drumkit. Fleming—who also had a spell voicing Disney characters in shows like Kim Possible—put together his Coffee debut, My Friend Fish, in two weeks.

Abel Ferrara’s early cult classic, now being released uncut for the first time in North America.

Kentucky’s Cage The Elephant have named their latest album after the fear of music. Seeing as most people that know that won’t be able to listen to it, it is somewhat irrelevant but interesting nonetheless.

Bearing more than a passing resemblance to fellow Brit noise merchants Fuck Buttons, 65daysofstatic is aiming for higher ground on its fifth studio album.

Swede Axel Willner, aka The Field, is a man who can create a mood. From the euphoric minimal techno of 2007 album From Here We Go Sublime to his earlier work sampling Lionel Richie and The Four Tops, he has gained a reputation for multi-layered, building dance music that borders on the hypnotic.

Opening with a softly drifting acoustic guitar reminiscent of Van Morrison’s “Into the Mystic,” Trust—Matthew Daniel Siskin’s first full release under the Gambles moniker—immediately suggests itself to be a Jake Bugg-esque record that’s most likely to appeal to a small, slightly uninterested early evening crowd at one of the more family-friendly festivals.