Somewhere round about 10 years ago the concept of “folktronica” settled down to become a relatively stable area of music. Fringe its appeal may have generally been, but it incubated some major talents who are still making great music, and for better or worse primed general music fans' ears for the sounds of folk and thus arguably laid the ground for the monstrous success of Mumford & Sons.

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.

Giorgio Moroder: Schlagermoroder Volume 1 1966-1975 / On the Groove Train Volume 1 1975-1993 / On the Groove Train Volume 2 1974-1985 / Son of my Father

Ian Dury: Lord Upminster / Ian Dury & the Music Students: 4,000 Weeks Holiday

It was a carnival-like atmosphere and a packed house for the transatlantic trendsetters Major Lazer in Camden. Recent show reports suggested a more maximal and bombastic vibe from Diplo and his current sidekicks Jillionaire and Walshy Fire, but while the addition of these two stalwarts of the Caribbean music scene would suggest that the show was to be a faithful homage to the vibes of a Kingston dancehall or Trinidadian J’ouvert, this was sadly not the case.

Backed up by reasonably adventurous orchestral programming, lucky conductors can forge a strong Stravinsky evening by picking and mixing from his five ancient Greek rituals. Sir John Eliot Gardiner, unintentionally homaging the late Sir Colin Davis who at least in earlier days would have jumped to such a pairing, chose to celebrate his 70^th birthday with the extremes of white balletic lyric poem Apollon musagète and hard-hitting blackest tragedy Oedipus Rex.

Some 20 years ago, a series of albums called Artificial Intelligence on WARP Records aimed to promote techno as home-listening music. They made up a frequently sublime collection, but unfortunately the word “intelligence” in their title was picked up by a movement through the 1990s that became known, horrendously, as “intelligent dance music” (IDM) and tended to the belief that intricacy and awkwardness made music somehow superior to that made with more sensuous or hedonistic aims in mind.

Walking into the auditorium of a packed Heaven last night, we were instantly treated to the sensation of having our bodies invaded by thousands of infinitely complex machine insects. It's rare that a band can have such an instant and disquieting effect, but Fiium Shaark's music, we discovered, is as unusual as their name in many ways.

Croydon-born Coki – Dean Harris – is without question one of the most important musicians of modern times, but unless you are a close follower of underground club scenes it is unlikely you would have heard of him.

To hear them tell it, Tegan and Sara have always been pop stars. It was harder to see a decade ago, sure, when they were spitting out spiky guitar anthems in matching pixie haircuts, but the roots were always there. That the twins’ seventh record drops the guitars so low in the mix as to render them almost inaudible in favour of bombastic electropop shouldn’t really be that much of a surprise - there were hints of it on 2009’s Sainthood, which itself came not long after they collaborated with DJ Tiesto.