First off Spank Rock, has nailed the second best album title of the year. It’s sweary, bleeds punk attitude and nails a point - rather than the usual focus-grouped opaquely resonant crap bands come up with (best album title of 2011, by the way: Mogwai’s Hardcore Will Never Die, But You Will – brilliant!).

Friday 9th September

Better him than Black Eyed Peas, eh? Will.I.Am never came up with a line like, "Just sittin' here chillin' in the Batcave/ Whilst listening to Nick Cave/ Last night was a sick rave". In fact, that lively sliver of channel-hopping doggerel pretty much sums up Example. His lyricism has both cheese and cheek but is undeniably compulsive, laced with bubblegum hedonism. As for the music backing him, it's 21st-century electronic homogeny run riot - bangin' Euro-trance, dubstep, drum and bass, a dash of hip hop, soft-rock tropes, no shortage of melodies and big breakdowns.

Between 1996 and the earliest years of the 21st century, the Manchester-based duo Lamb defined a moody, ambient, dance-influenced pop – the trip-hop/chill-out nexus. "Górecki", their 1997 chart single, will always be their most well-known moment. Lamb played what was announced back then as their final live show in 2004. But Andy Barlow and Lou Rhodes reunited for a slew of festival dates in 2009. Both had been working solo, and 5 is the first recorded evidence of their second life.

The nominations for the 2011 Barclaycard Mercury Music Prize were announced earlier today. Beyond PJ Harvey and Elbow having won before, nothing wildly surprising cropped up.

As subtlety in popular music becomes increasingly worshipped by heritage-led taste arbiters, we should relish proper shouty moron tunes. Few come more shouty and moronic than LMFAO, a Los Angeles duo named after the text abbreviation for "Laughing my fucking arse off". They comprise Berry Gordy's youngest son Skyler (AKA Skyblu) and his grandson Stefan Gordy (AKA Redfoo), renowned for goon club anthem "I'm in Miami, Bitch". They claim their second album is "more refined" - but it isn't unless your idea of refined is pole dancing to Limp Bizkit.

This is where the delirium kicks in. Tired but happy, the attendees started the third day of Sónar festival slightly boggled by how to pick and choose from the strange delights on offer. Saturday was when the true musical variety of the festival was displayed: straight-up hip hop to eye-popping South African tribal dance displays, balmy ambient revivalism to apocalyptic techno, heartbroken electronica to deranged prog rock: it was all on offer...

The Meltdown Festival's tribute to Tony Wilson was a lot like the charismatic post-punk legend himself: funny, eccentric, obscure, populist; all over the place but never dull. Wilson died in August 2007 and this event was a reminder of his reputation as one of music's most fascinating post-punk provocateurs, giving the world Joy Division, Happy Mondays and more. It was also a reminder of his reputation, as poet Mike Garry put it, as a "knobhead". As someone who appeared on regional news programmes quoting Wordsworth while hang-gliding, Wilson could be spectacularly uncool.

Dubstep has now permeated pop. Drum and bass was the last British underground bass music to rub up against the mainstream but back in the mid-Nineties the major labels didn't know what to do with it. Apart from launching Goldie's career and leading David Bowie up another excruciating dead end, it failed commercially. Dubstep, on the other hand, has been eagerly embraced by US stars - Jay-Z, Rihanna and Britney Spears, to name three - and UK acts such as Chase and Status, Skream, and Magnetic Man have stormed the charts. This assimilation is invigorating but sometimes, when the latest dubstep-flavoured Euro-pop nugget hits the airwaves, one pines for the raw deal. This is where Joe Muggs steps in.