Other Voices is, according to its founder Philip King, a festival which celebrates what’s about to happen. Indeed, artists like Hozier, Fontaines DC and Amy Winehouse cut their teeth at this unique musical event which, although it has its home in the west of Ireland, has iterations across the world. 

There is now a kind of “leftfield mainstream” in electronic music. It’s populated by people a decade or more younger than the original acid house generation, but who take their core inspiration from post-rave experimentation of the early-mid Nineties. Dusky, Bicep and to an extent people like DJ Seinfeld, Four Tet and Jon Hopkins all channel the rich melodies and textures of Future Sound of London, Orbital, early Aphex Twin, Underworld and co to arena-filling effect.  

It’s now six years since Goat last released an album of new songs and, despite a live disc and one of B-sides and other odds and sods that have appeared in the meantime, its Requiem title suggested that it might have been their last call to arms. However, do not fear, our favourite pagan psychedelicists are back in the ring and on top form with a lively soundtrack that is more than enough to drag even the most dancefloor phobic up on their feet to shake a leg.

At the start of the song “Two Ribbons” Rosa Walton and Jenny Hollingworth of Let’s Eat Grandma do a brief schoolyard pat-a-cake hand-game. The song is a guileless ode to female friendship, love even, a paean to their own bond, which was strained at one point by the travails of a music career.

Rarely will the bar staff at the Glasgow Barrowland have had an easier night. The crowd for Beabadoobee was so youthful that the vibe felt more like a school disco at times, right down to clusters of parents at the back and on the sidelines alternating between keeping a wary eye on proceedings and burying themselves in their phones. Their offspring, meanwhile, were racing to the front eagerly, leaving the usually busy bar areas deserted.

It’s a minor tragedy that Yeah Yeah Yeahs arrived just in time to be bundled in with a spurious “new rock revolution,” because they were so much more than rock. The Strokes, The White Stripes, The Libertines all may have had decent enough songs, but all were ultimately extremely trad rock, sonically living in mythical pasts.

This month’s reviews take in everything from New York new wave pop to apocalyptic electro to kitsch exotica. There are no genre boundaries at theartsdesk on Vinyl, just a constant desire to play music loud, whether new or reissues, then share what it felt like. Dive in!

VINYL OF THE MONTH

Congotronics International Where’s the One (Crammed Discs)

FRIDAY 22 JULY by Caspar Gomez

American singer-songwriter Damien Jurado is both prolific and enigmatic. His latest album follows too many to count (OK, not really, I think this is his 20^th). On his own label, it's as opaque as anything he’s done, and that’s saying something.

It’s hard to know exactly when new age music passed from being a retro curio to being part of the language of alternative music. Certainly it can be traced back to the early-mid Noughties, with acts like Emeralds, Oneohtrix Point Never and James Ferraro, and labels like Kranky and RVNG Intl. bringing synth repetitions and cosmic aesthetics into the world of North American noise and DIY music.