How long should a dance programme be? Opera and theatre habitués can be surprised by outings to contemporary dance, where the pieces might be shorter than the intervals, and a 7:30 start could see you comfortably on the 9:15 train home. But the early train is in no danger from Rambert’s new programme, their annual showcase of contemporary creations at Sadler’s Wells, which features one world première, one London première, and one revival from this time last year, and last night came in at a handsome two and a half hours.

The voice is unmistakably Icelandic. Fluting and dancing around the notes, the words it carries are broken into segments which don’t respect syllables. Although singing in English, Hildur Kristín Stefánsdóttir hasn’t sacrificed her Icelandic intonation.

As vaporous as the haze on its cover, the sound of Kiasmos resonates like clouds sweeping across low mountain peaks, intermittently breaking into a storm or opening to reveal wan sunlight. Although firmly within the boundaries of electronica, the self-titled debut instrumental album by Kiasmos still beats with an organic heart.

Thom Yorke’s second solo LP arrived unexpectedly this week via BitTorrent as a paid-for fileshare, a medium Yorke and producer Nigel Godrich hope to promote to empower artists to sell direct, without the need for a corporate hosting system. In a striking dissonance of form and content, the upbeat, seize-your-destiny message of the BitTorrent medium has conveyed to us a set of tracks that, never less than intriguing, are nearly all on the downbeat mood spectrum, from pensive to virtually apocalyptic.

John MacLean has been recording as The Juan MacClean for just over a decade on former LCD Soundsystem main man James Murphy’s label DFA Records. Previously, Murphy was involved in MacLean’s old band Six Finger Satellite. In a Dream makes the link even more explicit as Nancy Whang, singer in the now-defunct LCD Soundsystem and before that an intermittent collaborator, has now joined MacLean full time.

Chris Carter and Cosey Fanni Tutti are a living lesson in the rejuvenating power of remaining experimental in art. Their music holds its own alongside the young guns of electronica, who indeed frequently idolise them, and in person they frequently seem as excited about possibilities and open to new ideas as artists just starting out.

Denmark’s Broken Twin take the lead in the latest of theartsdesk’s regular round-ups of the new music coming in from Scandinavia. Debut album May is melancholy. Minimally arranged, with lyrics addressing the pain brought by the passing of time, bleakness in the form of metaphorical references to weather and what happens after death, this is an affecting album.

Declaring that your new album can help conquer insomnia seems, initially, self-defeating. If it induces such a calmness that potential listeners drift off to sleep, then there’s the potential it may never be heard in full. Yet this is what lies behind Matt Berry’s fifth album. It was written and recorded at his home studio in the small hours while he was suffering from insomnia. He wanted to create a music which would still his mind so set to devising his own therapeutic soundtrack. Music for Insomniacs is the result.

It might be quite unnerving for a young performer to have the première of a new solo show take place in the same building, at the same time, as Sylvie Guillem is dancing William Forsythe, Mats Ek and Jiří Kylián. But Aakash Odedra, who presented two new pieces, Murmur and Inked, in the Patrick Centre inside the Birmingham Hippodrome on Tuesday and Wednesday this week, has had more dealings than most with superstar dancers and choreographers: his mentor Akram Khan is both (and incidentally a collaborator of Guillem’s).

Krai – Край – is employed in Russia to label tracts of land separating regions or marking borders. These liminal places each have their own name, defined limits and character, and have inspired the second solo album by the Brooklyn-based Olga Bell. An exotic musical travelogue through the nine Krais, Krai the album is delivered entirely in Russian.