The city of Katowice in Upper Silesia, Poland, was once an epic industrial hub on the western edge of the Soviet bloc. It was a gigantic centre for coal and steel that was awesome in scale. Those days are long gone yet it seems fitting that one of the city’s now disused coal mines plays host, from August 22-25, 2013, to Tauron Nowa Muzyka, a leading European festival of electronic music.

“Formulaic” is all too frequently used pejoratively in reviews – but from minuets to minimalism, Bo Diddley to drum'n'bass, finding a formula that works and sticking to it has produced some of the finest music in human history. Liverpool-born producer E.m.m.a. might not yet be in the history-changing category, but she's certainly found a simple and distinctive recipe and her explorations of its possibilities are currently extremely fruitful.

Drawing connections between the far margins and the relative mainstream always leaves you in a difficult position, as it invites judgement from different groups with very different criteria. And the duo of Andrew Hung and Benjamin John Power put themselves in that position more than most.

Somewhere round about 10 years ago the concept of “folktronica” settled down to become a relatively stable area of music. Fringe its appeal may have generally been, but it incubated some major talents who are still making great music, and for better or worse primed general music fans' ears for the sounds of folk and thus arguably laid the ground for the monstrous success of Mumford & Sons.

When The Golden Age of Apocalypse, the first LP by Stephen Bruner, the American musician better known as Thundercat, was released in 2011, it was a revelation. Co-produced by Flying Lotus and taking its cues from electronica, prog, pop and funk, its sublime jazz sound united head-bobbing musos, fellow musicians (Bruner counts Dr Dre, Erykah Badu and Odd Future among his fans and collaborators) and critics.

When Tunng started out in 2005, they were a peculiar proposition. Treading a fine line between Heath Robinson ramshackle and meticulous high-tech, ancient and hyper-modern, bone percussion and glitchy electronic sparkles, they certainly deserved the then-popular term “folktronica”. Though their melodies were unerringly catchy, their lyrics were so out-there, their lineup so unorthodox and their sound so psychedelic it was never likely they'd be more than a cult act.

The part-Japanese Brit Maya Jane Coles displays elaborate asymmetric hair, interesting piercings and enormous tattoos in her moody photoshoots, makes sounds that are uniformly smooth and high-gloss, and has a sonic palette that takes in populist trance, chillout and straight-up pop music as well as more nerd-cred underground sounds.

News that Tunng were releasing a fifth album came as a bit of a surprise, given band founder and frontman Mike Lindsay’s recent relocation to Iceland (and subsequent reinvention as Cheek Mountain Thief). Of course nobody ever said that the band was splitting up, but in their decade together their work has remained so undeservedly underground the message may never have gotten out.

Almost a decade on from their debut album, Tunng’s founding folktronic ethos no longer carries the shock of the new, but the sprawling and vaguely mystical collective continue to make ever more beautiful and interesting sounds. Turbines, their fifth album, is released on Full Time Hobby next Monday. To get in the mood, readers of theartsdesk can catch a world exclusive eyeful of the video for their new single “The Village”. Let us know what you think.

Boards of Canada have it nailed. If we are to believe what we’re told, Scottish brothers Michael Sandison and Marcus Eoin are semi-permanently holed up in rustic heathlands south-west of Edinburgh, beavering with mystical intensity at analogue electronica. Every few years they release an enigmatic slice of it that’s pure, classic Warp Records on… Warp Records.