It takes a brave musician who thinks that he or she can do a better job than the combined talents of Russian electronica trailblazer Eduard Artemyev and Johann Sebastian Bach. However, Kevin Martin, also known as The Bug and a prime mover for such sonic experimentalists as King Midas Sound, Zonal and Techno Animal, is clearly not someone who lacks either artistic ambition or confidence.

Things got out of hand at theartsdesk on Vinyl this month and these reviews run to 10,000 words. That's around a fifth of The Great Gatsby. It's because there's so much good music that deserves the words, from jazz to metal to pure electronic strangeness.

They stand in a row, nine of them, in a long, strange corridor between rows of stacked, palleted, planked wood and the red brick wall of an endless warehouse. Nine tripods, each two humans high, with a spinning helicopter head, double-ended by conical horns that emanate a gentle angelic howling or lower end drone-hums. Eyes closed – and being music-geeky about it – this carefully calibrated tonal concerto assails the ears somewhere between US mystic Laraaji’s processed gong experiments and the final ethereal works of Spacemen 3.

One has to wonder if Hannah Peel ever had a phase, like so many kids, of listening to music under the bedcovers.

Theartsdesk is a labour of love. Bloody-mindedly run as a co-operative of journalists from the beginning, our obsession with maintaining a daily-updated platform for good culture writing has caused a good few grey and lost hairs over the years. But it has also been rewarding – and looking back over the 10 years of Disc of the Day reviews has been a good chance to remind ourselves of that. 

Ten years ago yesterday, on Monday 14^th February 2011, one of theartsdesk’s writers, Joe Muggs, reviewed an album called Paranormale Aktivitat, by an outfit called Zwischenwelt. It was the first ever Disc of the Day, a new slot inserted into theartsdesk’s front page design, where it still resides today.

Charles Webster is one of those connecting figures who make the idea of “the underground” seem quite convincing. Originally from the Peak District but coming of musical age in Nottingham, he was inspired by Chicago house and Detroit techno music from their very genesis in the mid 1980s, and went on to make some of the finest British house music ever.  

Music increasingly escapes categories: labels are of course useful, but they also fail to evoke the richness of practices which are led by musical experiment and imagination rather than obedience to one of the genres or sub-genres that have proliferated as musicians no longer define themselves as strictly as they used to.

Shoegaze stable Sonic Cathedral has, in truth, always been a much broader church than its name implies. From the psychedelic, sunshine pop of Gulp, to the blistering art noise of Spectres, it has consistently released music that shares a similar heritage, without putting all its pedals on the same board.

A decade ago, Polly Scattergood was Mute Records’ newest, most-likely-to signing and, while she never crossed over like similar unconventional female artists of the period (Bat For Lashes, St Vincent, Anna Calvi, etc), she has a developed a cult following. Where her previous two solo albums combined vaguely Björk-ish gossamer vocals with a delicately smudged take on electro-pop, In This Moment, no longer on Mute, untethers itself into artier territory.