When Richard Hawley arrived onstage, he had a confession to make. “I like to talk”, he declared, before adding “and play rock n’ roll”. Both were delivered in ample supply during the ensuing performance, the black clad quiff wearing troubadour a natural fit for one of Scotland’s most famed rock n’ roll locations.

The temptation with the 20th anniversary reissue of Ḣ-Camp Meets Lo-Fi (Explosion Picture Score) is to look for traces of what came earlier and pointers towards what would come in Iceland’s music. The album was credited to Dip, a collaboration between former Sugarcubes drummer Sigtryggur Baldursson and the on-the-up Jóhann Jóhannsson.

Prior to the UK dance music explosion of summer 1988, house and techno were American micro-scenes, geographically restricted to Chicago, Detroit and New York. Small coteries showed interest in the UK, but few thought of making the stuff. Mancunian producers 808 State, however, were early adopters, recording an album that year and later charting with iconic 1989 hit “Pacific State”, a futuristic, Balearic instrumental.

In the lyrics of 1989’s “Doin’ Our Own Dang”, Jungle Brothers’ Mike D noted his combo were “Breaking the beat others wished they broke.” Going further, he acknowledged “Cause you’re trying to feel what’s on my reel to reel.” Jungle Brothers recognised they were not on their own. During the same year, the like-minded De La Soul released their debut album 3 Feet High and Rising.

Could Gerald Barry's first opera really be as enervating in the Royal Opera House's Linbury Theatre as it seemed nearly 30 years ago at its Almeida Music Festival premiere?

While bands such as The Birthday Party, Siouxsie and the Banshees and, especially, Bauhaus had a hand in inventing goth music at the start of the Eighties, it was The Sisters of Mercy who defined it. Their combination of black clad cowboy shtick, mirror shades and dry ice worked a treat. In recent years, there have been rumours that the band’s live shows are less than impressive, mentions of a tendency to focus on unreleased material while dressed in leisurewear.

Connoisseurs of gnarly Boston-based crime sagas like The Town, The Departed and Black Mass will quickly find themselves at home in this sleaze-ridden new show, made by Showtime and brought to us by Sky Atlantic.

In March of this year Edwyn Collins released his ninth studio album, Badbea, his fourth since two life-altering cerebral haemorrhages derailed him in 2005. It’s a vivacious collection that runs the gamut of what guitar pop can be, from acoustic strumming to psychedelic riffing to lo-fi punkin’, all catchy as burrs. His set is peppered with it.

It’s now Edinburgh Fringe transfer season in London, but here’s one they made earlier: Cora Bissett’s Fringe First-winning autobiographical play from the 2018 Festival about her time in 1990s indie band Darlingheart. Though the broad shape of this tale is familiar, Bissett’s gig-theatre approach lends it a raw authenticity and engaging confessional quality.

”Cunts Are Still”. Well, that got your attention, didn’t it? Not my words, merely the title of one of JARV IS’s new tracks. In case you didn’t get it, JARV IS is a play on words and the name of given to Pulp frontman and founder Jarvis Cocker’s latest outfit. Cocker still is releasing new material. He still is an exuberant and energetic performer. He still is wearing those glasses. And still is very good.