Few would have predicted it back when they were gooning around in over-tight Adidas t-shirts, but with the benefit of hindsight it makes sense that Blur should have the most convincing longevity of the Britpop generation. Why? Because more than any of their contemporaries, and despite all the personality clashes and narcotic breakdowns, they were genuinely a band. Yes, Damon Albarn was the leader, but he never eclipsed the other three in the way that Jarvis or the Gallaghers did.

There’s a danger in an artist having their work reinterpreted that the end result will be little more than a rough outline of the original. Look at Metallica’s axe job on the Velvet Underground for instance. Still, on the bright side, at least they increased the band’s "reach" to include jocks and morons.

A great creative partnership like the one between composer John Adams and director Peter Sellars can endure the occasional wobble. In his peerless autobiography Hallelujah Junction Adams is frank about the information overload in Sellars’ premiere production of the millennial opera-oratorio woven around the birth of Christ, El Niño.

Blue Ruin, the American thriller which won the coveted FIPRESCI Prize at Cannes last year, will amaze. It stars actors you don’t know, made by a director you don’t know yet Blue Ruin is proof of life beyond Hollywood: this is a tremendous independent film. We’re not talking something shot through an iPhone with one location. We’re talking an entertaining, incredibly smart and deftly-made story with heart, a message and memorable characters and scenes. Clue: when the cinematography, script, acting and direction are mesmerizing, you’ve got a winner.

Just in case anyone thought the hype surrounding Gloucestershire-born Spanish/Jamaican singer FKA Twigs was based only on her unique looks, startling styling and slightly silly videos, this album begins with her voice alone. It too is utterly singular, a choirboy-like chant layered over itself like some New Age confection, before the sci-fi whirrs and booms of "Preface" remind us that we're in the currently hyper-fashionable territory of reconfiguring US R&B through the prism of British soundsystem music post-dubstep and grime.

The Eighties revival, as is now well documented, has lasted far longer than the actual Eighties. And Elly “La Roux” Jackson is a vital figure in maintaining its durability, coming as she did to massive fame just as the effects of the turn-of-the-millenium club scene electroclash were wearing off, and making sure that plinky-plonky electropop keyboards, icy attitude and sculpted hair were kept on the cultural agenda.

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.

There's been a quiet but nevertheless palpable sense of anticipation surrounding psych-folk enigma Linda Perhacs' first-ever European tour. Comparatively low-key advance publicity certainly proved no impediment to a sold-out house for the recent opening date at Berlin's Kantine am Berghain, a somewhat drab and unprepossessing bunker in the shadow of the city's notorious techno temple.

The past year or two have seen a staggering return to popularity of house and techno music in the UK. For the first time since the mid-1990s, records which have grown steadily through club play over many months are breaking through into the charts on a regular basis – but just as exciting and significant are those records that remain resolutely underground. Because it's there that you start to see the real reason for the longevity of these sounds – both well over a quarter of a century old.

Dev Hynes's path of artistic development is one of the most pleasing in 21st century music. The flamboyant black indie-kid risking life and limb to ride the local buses growing up in Hackney, who channeled his frustration at the lack of a place for him in the world through the awkward, aggro, occasionally inspiring but awfully named early 2000s electro-punk trio Test Icicles, has since then through sheer force of will carved out a space within the music world where he can be himself.