Googling for academic articles about Britney Spears is one rabbit hole I've managed to avoid falling down thus far, but one imagines there are reams of the things. From demonically driven Disney child star via pigtailed Lolita and sex-droid air hostess to shaven-headed loon lunging aggressively towards her public through the paparazzo's lens, she's provided no end of provocative and iconic images, and stirred up all kinds of problematic issues around post-feminism, celebrity and voyeurism, while remaining an odd non-presence at the centre of it all.

Bouncy: if there is one word that sums up this hot young Northern Irish band, that would be the one; there is a Tiggerish enthusiasm to their music that encourages bouncing, clapping, arm-waving and generally having a good time, which is exactly what happened at last night's gig: a festive atmosphere prevailed, Two Door Cinema Club played a short, sharp set that lasted for little more than an hour, and they sent the crowd out into the early spring night buzzing.

On paper Jessie J is an amazing pop star. Great looking but not willing to play the eager-to-please dollybird, full of cheeky Essex girl vim and verve, clearly musically multitalented, thoroughly immersed in soul and funk, and with a healthy pair of lungs to boot – as her early solo YouTube appearances (see below) amply demonstrated.

In 1970, Annie Nightingale became Radio 1’s first female DJ. The appointment was made somewhat grudgingly - DJs, believe it or not (and we’re talking about the likes of Ed “Stewpot” Stewart and Tony Blackburn here), were perceived to be “husband substitutes” and it was generally accepted that a female voice would alienate the listeners. And yet 40 years later, Nightingale is the only DJ left from the original line-up.

2010 saw some major shifts stirring up the UK club music ecosystem and unleashing some fascinating hybrids and variants of existing sounds out into the wild. As the hefty bass of dubstep muscled its way firmly into the heart of the mainstream, everything else was forced to rearrange its position, with some surprising results.

Over the last 25 years I've done a lot of DJing, or at least playing records in public that, occasionally, people have been refreshed enough to dance to. I've done sets in all manner of scenarios, from nightclubs to house parties, to gallery events, to a Finnish festival in front of thousands, to a Balham comedy club. The last used to pay me £300 a night to play the same cheese and predictability week after week, but one evening when I put on "Fools Gold" by The Stone Roses and my heart sank with boredom, I knew it was time to get out, £300 or no £300.

Unlikely cool. It’s what unites LCD Soundsystem and Hot Chip. They’re the geeks and outsiders who made it to being hip on the dancefloor. These improbable, subversive electro-pop heroes have united this autumn for what for fans has been a dream double-headline tour. Both bands have had albums out this year and both albums have been well received. But for James Murphy the rumours are that this may be the last tour he does as LCD Soundsystem. And last night he sure was playing as if saying a long goodbye to the ones he’d loved.

Here, we present the exclusive first showing of a new video by the Brighton/London band Belleruche. This clip for “Fuzz Face” is highly arresting, an ingenious and slightly disturbing collision of hi and low-tech, made using thousands of photocopies, and its indicative of a band who are taking some very interesting ideas into the mainstream. But more importantly from theartsdesk's point of view, Belleruche's increasing profile is indicative of a broader cultural shift in the music world.

Back in the days of acid house, it wasn't just drugs, new music and wideboy promoters with slicked-back ponytails and mobile phones the size of Essex that fuelled the party scene. Just as important was the surplus of empty commercial properties created by the recession of the late 1980s, making the setting up of soundsystems in disused warehouses and quarries a doddle. This event, part of the Ninja Tune label's ongoing 20th birthday celebration, wasn't an illicit rave as such, but its use of a previously derelict set of six railway arches in the middle of a recession went some way to recreating a bit of the old atmosphere.

Back in the days of acid house, it wasn't just drugs, new music and wideboy promoters with slicked-back ponytails and mobile phones the size of Essex that fuelled the party scene. Just as important was the surplus of empty commercial properties created by the recession of the late 1980s, making the setting up of soundsystems in disused warehouses and quarries a doddle. This event, part of the Ninja Tune label's ongoing 20th birthday celebration, wasn't an illicit rave as such, but its use of a previously derelict set of six railway arches in the middle of a recession went some way to recreating a bit of the old atmosphere.

This month's most interesting new music CDs according to theartsdesk music team includes a dark take on sex and consumerism by The-Dream, which is CD of the Month, "morally ambiguous" South London gangsta rap from Giggs, disco pop from Sia, Scissor Sisters and Robyn, "indietronica" from Grasscut and Tobacco, heritage rock from Tom Petty, immaculate jazz from David Weiss and a compilation of old Colombian dance music. Stinker of the Month is Eminem who is cordially advised to take up religion, get fat or do charity work. Reviewers this month are Joe Muggs, Thomas H Green, Bruce Dessau, Howard Male, Adam Sweeting, Russ Coffey, Marcus O'Dair and Peter Culshaw.