You have to tiptoe around the edge of the set just to take your seat in the Park’s studio space for Lidless Theatre’s Miss Julie. There’s a plain wooden table, a few utensils on it, wooden chairs and a small cabinet – not much, but, we’re smack inside this 19th century country house kitchen, uncomfortably close to discomfiting passions. It may be the longest day outside, but we're in a dark, claustrophobic space in more senses than one.

The joy of The Hives on record is encapsulated by their 2012 micro-song “Come On”. Despite being one-minute long and consisting solely of the title phrase, it fizzes with righteous, effervescent buzzsaw euphoria. They open their encore with it, showcasing with ease that, whatever the pleasures of their studio output, live in concert is where The Hives truly explode.

When ABBA split in 1982, Agnetha Fältskog went on to a solo career that was mostly overshadowed by the titanic popularity of her former band. By the 21^st century ABBA’s status in pop, especially with the Mamma Mia phenomenon, had become iconic.

In this juxtaposition of Piet Mondrian, a world famous modernist, and Hilma af Klint, a little known Swedish painter, guess who knocks your socks off ! This fascinating show is a delight and a revelation, because it declares the spiritualist underpinnings of modernism which many, until now, have sought to hide.

It might be nigh on six months since Scandinavian shamen (and women) Goat released their latest opus, Oh Death, but it has taken until now for them to finally bring their energetic live show back to the UK. On Sunday’s evidence, it is a wait that now feels like a small price to pay though, as Brummies young and old blew their minds and danced their socks off to intoxicating sounds that provoked a seriously ecstatic response.

Lydia Sandgren’s debut novel, Collected Works, a bestseller in her native Sweden, has now been translated by Agnes Broomé into English, in all its 733-page glory. An epic family saga, it has flavours of the realism of her countryman, Karl Ove Knaussgard, more than a hint of emotional American big hitters like Jeffrey Eugenides or Jonathan Franzen, and something of the twists and turns of a chronicle like War and Peace.

According to the press release for Karin Dreijer’s third album as Fever Ray, its completion was preceded by many hours of therapy with the result new things are known. Amongst them that Dreijer “can be struck by despair but also by the big feeling of love and awe”. Dreijer declares “I know what love is and I want to show you”. Radical Romantics is the result of these realisations.

Another box-set from the BFI full of Bergman treasures, from core catalogue classics such as Fanny and Alexander (1982), Cries and Whispers (1972), Autumn Sonata (1978) and Scenes from a Marriage (1973) to less well-known films such as After the Rehearsal (1984) and From the Lives of Marionettes (1980).

Some of what’s nourishing the debut album by Sweden’s Dina Ögon is evident. A Bossa Nova jazz-pop essence evokes Brazil’s Quarteto em Cy. There’s a trip-hop undertow. Vocal lines bring to mind Free Design. Less easy to pinpoint is a melodic sensibility which seems to be derived from local traditions; echoing the sort of fusion pioneered by Jan Johansson’s Jazz på svenska and Merit Hemmingson when she reframed folk music on the Svensk folkmusik på beat albums.

Johanne Lykke Holm’s spellbinding novel Strega recounts one teen’s journey into womanhood. Leaving her parental home to work with eight other girls in a lavish but mouldering hotel, Rafa grapples with what it means to be a woman in a world literally and culturally saturated with gender-based violence.