“Julio Bashmore” is actually the nom-de-dancefloor of Bristolian DJ-producer Matt Walker who’s been slowly building a rep over the last five years. Outside clubland, music-lovers may have heard of him via his production on Jessie Ware’s early singles. In the nightworld, he’s better known as the purveyor of classy, propulsive house sprinkled with a smidgeon of grit. His debut album combines both these aptitudes to increasingly enjoyable effect as it progresses.

Here's a funny one: used as an adjective, “lifestyle” has lately become a popular pejorative term for music (see, most recently, the kerfuffle over Jamie xx's debut solo album). It's taken the place of “coffee table”, which was the Nineties phrase of choice to deride trip-hop and other styles that were considered too smooth or sedentary to meet required criteria of rebelliousness or authenticity or whatever.

Every 75 years or so, Halley’s Comet comes round to say, "Hi". When it does, there’s genuine excitement, not because there’s any kind of stock trade in fond reminiscence when it comes to glowing lumps of rock, but because it’s a genuinely captivating event. The Orb’s latest offering is similarly hurtling through space once more, and reminding us of their conceptual debut that slapped us around our collective face back in 1991. It feels like a similar event.

The mysterious figure of Man Power has been making waves for a while now. A series of mixes and remixes and frankly jaw-dropping EPs have seen his star rise, though his actual profile has remained obscured – largely by his hand in a series of promo shots. His true identity remains a secret. So, who is Man Power and why should you care?

Last month, Theo Parrish released his album, American Intelligence, on vinyl and CD. Now it’s available on digital, but make sure you’ve got room on your hard drive – it’s long. Seriously, marathons have been run quicker than the two hours and three minutes here.

As dance music once more sweeps the mainstream, we're returned to the situation of the 1990s where singer and song can seem to become a little detached. Parades of “featured vocalists” deliver refrains for the producer teams who are queueing up to repeat the success of Route 94, Clean Bandit, Duke Dumont and above all Disclosure. And as the field gets more crowded, so the requirements for the singers to sit back, know their place and deliver the simplest hooks become more pressing.

It's rare that you can trace a genre to one man. But house music is well documented: “house” originally simply meant the music played at the Warehouse club, by one Frankie Knuckles, who died yesterday in Chicago from diabetes-related complications. Knuckles was a disciple of New York disco, who'd served his DJ apprenticeship in the city's spectacularly decadent gay bathhouses in the mid-Seventies as an understudy of Larry Levan (who would set up the Paradise Garage, which itself gave its name to another genre – garage).

The thought of attending a dance music conference in Amsterdam frankly gave me the creeping horrors. I'd never been to Amsterdam Dance Event before, and the combination of DJ egos, business hustling and relentless partying through hundreds of club venues in a renownedly liberal city presented so many opportunities for both boredom and complete catastrophe, it just seemed like a fool's errand. But this, of course, wasn't fair.

When drum'n'bass emerged from hardcore rave's interactions with London's pirate radio culture, 20-odd years ago, it created some of the most radical grassroots music ever to come out of the British Isles. It came in such a white heat explosion of underground, transforming repeatedly and rapidly through different iterations its first few years, that nobody could have predicted that it would reach a commercial high-point two decades on.

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.