Patterns is a small, low-ceilinged, underground, seafront venue. Tonight it would be a feast for any passing ancient succubae who happens to feed on raw human energy. From 7.00 PM until 10.00 PM, the room plays host to a package tour of three rising bands. Their short, vim-filled sets are hard-wired to a thrilling, relentless punk intensity.

The music of Daniel Lopatin – AKA Oneohtrix Point Never – exists at the sonic/electronic vanguard. Were the likes of avant-gardists such as Iannis Xenakis, George Antheil and Edgard Varese around today, maybe even Stockhausen, they might dig what he’s up to.

Kristin Hersh’s voice, it transpires, is ageless. In the 80s when Throwing Muses broke through, she hit a particular combination of tones – blurring boundaries between harsh and smooth, melodic and discordant, trad and weird – that became vastly influential.

Along with the likes of Sonic Youth’s Kim Gordon and Pixies’s Kim Deal, she not only reconfigured the sense of what the female voice was in rock music, but helped codify singing styles for men and women vocalists in grunge and alt-rock ever after.

Fia is a Swedish singer with a crystalline voice and a ear for a great melody - her singalong choruses are not typical for a festival Friday night headliner, like getting the audience to join in with “Sit with your pain/ cradle it close/ and when you’re ready/ Let it go.” This had a hypnotic effect on the audience, more mass therapy than a having a good time.

As the relentless, hammering beat of “The Rat” faded away, the Walkmen’s singer Hamilton Leithauser was evidently in buoyant mood. “Like riding a bike,” he declared to the Glasgow crowd, and this was a statement that proved consistently accurate throughout the 75-minute set, as the reunited quintet played in a manner that felt like they’d never been away.

On the face of it, this is an extremely simple record. It is big, stomping, party-monster neanderthal synth-rock.

It’s easy to take Sigur Rós’s emotive force for granted. So ubiquitous has their 2005 “Hoppípolla” been on everything from talent shows to apocalyptic environmental collapse documentaries to lyrical scenes of birds in flight that it became the archetypal tear-jerking music of the modern era. Everything about the band was designed with weapons-grade effectiveness for omniemotional impact.

VINYL OF THE MONTH

Rahill Flowers at Your Feet (Big Dada)

There will be two theartsdesk on Vinyls this week. The first is here, an epic 11,000 words on a multitude of new releases in every genre, from reissues of classics to spanking new strangeness. There’s something for everyone. On Thursday we’ll have a special edition in honour of Record Store Day this coming Saturday, so watch out for that too. For now, though, dive in!

VINYL OF THE MONTH

Elsa Bergman Playon Crayon (B.Inspelningar)

It’s hard to think of an album that’s simultaneously as dramatic and as restrained as this. But then Dave Okumu has always put his music and ideas out into the world in the subtlest of ways.