“Motif,” Love In Constant Spectacle’s fourth track, is the closest Jane Weaver has come in over a decade to the folk influences embraced on her 2007 and 2010 albums Cherlokalate and The Fallen By Watch Bird. Not that her new album is rooted in past ventures, more that it appears she has taken a step back to consider what she has done, and has found this reflection comfortable.

What a time to be alive it is for fans of late Eighties, early Nineties indie – the proverbial 6 Music Dads – with so many of the best acts from the era on the form of their lives. Even in just the last year we’re spoilt for choice of quality albums by those who’ve kept on keeping on (J Mascis, Kristin Hersh), those who’ve come back but sound like they never went away (Slowdive), and those returned and completely revivified (The Jesus And Mary Chain).  

“The name of this group is Mayan Space Station.” In spite of the billing as The William Parker Trio, their bassist – coolly introducing himself as “William Parker, bass” – is firm about the designation under which the three musicians on stage are operating.

Sum 41 honour their 27-year career with Heaven :x: Hell, a 20-track double album, due to be their final, without a single skip. Harking back to their widely acclaimed debut All Killer No Filler, the album that gave us “Fat Lip” and “In Too Deep”, the band have maintained their commitment to making every track count with Heaven :x: Hell.

The British folk artist and singer songwriter Olivia Chaney released her third solo album this week, as we break out into springtime, and she’ll be touring sporadically around the UK over the next few months, with a showcase at London’s Union Chapel in June.

During the mid to late 90s, Sheryl Crow and other grunge lite-friendly female artists like Alanis Morrisette were all over the airwaves. Sheryl’s particular schtick being a soft rock stew of pop/country/folk that threw up monster hits like “All I Wanna Do”, “If It Makes You Happy” and “Everyday is a Winding Road”.

Winston Holness started his own record label in 1969. Missing a finger, he became known by many folks as Niney. Born 7 December 1944, he had lost a thumb in an accident at work. By the point his imprint debuted, he had sung on a Clement “Coxsone” Dodd-produced track and was working as a salesman for other producers, including Clancy Eccles, Bunny “Striker” Lee and Lee “Scratch” Perry.

Dee C Lee was born Diane Sealy in London in 1961. She is best known for her 1985 hit “See the Day”, later covered by Girls Aloud, and for being in two of the Eighties' most notable pop acts, The Style Council and WHAM!. But she was also prolifically involved in multiple other musical projects, and now has a new album appearing, Just Something, her first in over 25 years.

Hey Panda is unlike any previous High Llamas album. While the characteristic traces of late Sixties and early Seventies Beach Boys, Van Dyke Parks and Steely Dan are here, they have become melded with a sensibility lead-Llama Sean O’Hagan has absorbed from multifaceted US hip hop producer J Dilla – whose approach to rhythm and song structure rewrote standard linear templates.

In what feels like the beginning, or at least the Old Testament, there was Riverdance. Now, ready to flow through the world once the world knows it needs it, there’s a rainbow-coloured river of just about everything musical and choreographic that’s found its place in contemporary Ireland, performed with a pulsating energy as well as a poetry that stops you wondering too much about all the connections.