Variety, as they say, is the spice of life. So it’s something to both celebrate and ruminate upon, that on Tuesday night I was reviewing a gig at which the guitar was undisputed king, whereas last night I was standing before an 11-piece band that didn’t include a single guitar. But the Romanian big band Mahala Rai Banda produce such a brassily dense sound that it’s hard to imagine even the most cranked-up Strat being able to get a chord in edgeways.

This is pretty weird stuff. Or at least, that’s the way it seems at first. If all you know, as I did to begin with, is that DJ Diamond is a 24-year-old DJ from the West Side of Chicago whose real name is Karlis Griffin, and that Flight Muzik is his debut album, then this will seem like music from another planet – one where notions such as melody, structure and listenability have little meaning; it’s music, but not as most of us know it.

The Anticon label is a deepy peculiar animal. Around the turn of the millennium, its core members – going by names like Boom Bip, Doseone, cLOUDdEAD, Jel and So-Called Artists – took a nerdy yet intensely psychedelic approach to hip hop, and ended up creating a woozy and out-there sound that prefigured a huge amount of currently hip music. Now that the appallingly named new shifts in stoner music - “glo-fi” and “chillwave” - are opening up the territory between indie and hip hop/dance again, Anticon seems hugely prescient, but with new artists like Son Lux, it seems the label is once again ahead of the pack.

Few bands maintain their early fanbase for 20 years by barely changing their sound, their dress sense, haircuts even, and yet manage to mature like Gouda cheese, gaining depth of flavour and punch over time. But Portishead have.

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.

It's always interesting to see how revolutions in music get folded back into the fabric of the culture that fomented them. Dubstep, which changed club culture so dramatically in the mid-2000s, is now an intrinsic part of that culture from mainstream to margins, and the forms it takes as it beds into these various parts of the ecosystem are manifold. And Jazzsteppa – two Israelis named Gal and their trombones – turn their hands to a fair few of those forms.

The Motown label will forever be identified with its Detroit birthplace, even though it had a Los Angeles office in the Sixties. The shift west was completed in 1972 when founder Berry Gordy Jr moved the whole concern to California. Before that though, in 1971, Gordy had launched subsidiary imprint Mowest to ostensibly showcase Los Angeles acts and as a test run for the California move. This gold-chip compilation shows Mowest is worth remembering. Motown's Mowest Story 1971-1973: Our Lives are Shaped by What we Love is the first comp to dig into this all but lost imprint.

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...