Prior to this week, it had been 35 years since hardcore punk firestarters Black Flag had set foot in the UK. That said, it was not without some trepidation that I made my way to one of Birmingham’s more compact venues to see a band who had once been genre-defining, get on stage and do their stuff.

Prior to the UK dance music explosion of summer 1988, house and techno were American micro-scenes, geographically restricted to Chicago, Detroit and New York. Small coteries showed interest in the UK, but few thought of making the stuff. Mancunian producers 808 State, however, were early adopters, recording an album that year and later charting with iconic 1989 hit “Pacific State”, a futuristic, Balearic instrumental.

It’s reckoned that this time next year vinyl sales will have overtaken CDs. It’s still a small market and anyone who thinks vinyl will one day replace streaming is living on Planet Lah-lah. There’s so much coming out even theartsdesk on Vinyl cannot review it all, but what we can do is devote 7500 words to what grabs our attention. We are not limited by genre or by new vs reissue. We eat it all up and want more. So check below for the juice on what’s out there. Dive on.

In the lyrics of 1989’s “Doin’ Our Own Dang”, Jungle Brothers’ Mike D noted his combo were “Breaking the beat others wished they broke.” Going further, he acknowledged “Cause you’re trying to feel what’s on my reel to reel.” Jungle Brothers recognised they were not on their own. During the same year, the like-minded De La Soul released their debut album 3 Feet High and Rising.

While bands such as The Birthday Party, Siouxsie and the Banshees and, especially, Bauhaus had a hand in inventing goth music at the start of the Eighties, it was The Sisters of Mercy who defined it. Their combination of black clad cowboy shtick, mirror shades and dry ice worked a treat. In recent years, there have been rumours that the band’s live shows are less than impressive, mentions of a tendency to focus on unreleased material while dressed in leisurewear.

The work isn't finished on Big, if this stage musical of the beloved 1988 Tom Hanks film is ever to, um, make it big. A Broadway flop in 1996 where it was among the last shows directed by the late, much-admired Englishman Mike Ockrent, the material finds a sweetness in its West End incarnation that eluded it Stateside.

In March of this year Edwyn Collins released his ninth studio album, Badbea, his fourth since two life-altering cerebral haemorrhages derailed him in 2005. It’s a vivacious collection that runs the gamut of what guitar pop can be, from acoustic strumming to psychedelic riffing to lo-fi punkin’, all catchy as burrs. His set is peppered with it.

William Finn and James Lapine’s musical – which combines two linked one-acts, March of the Falsettos and Falsettoland, set in late 1970s/early 1980s New York – picked up Tony Awards in 1992 for its book and score, and was nominated again in 2

Just two years after It Chapter One became the most successful horror film ever made, Pennywise the Dancing Clown is once again giving the American town of Derry absolutely nothing to laugh about. But this time around it’s audiences who may feel unable to enjoy the irony of a killer clown. For Chapter Two feels like a pointless, nay horrific case of déjà vu. 

It’s half a century since Iggy shrieked that it was “No Fun”, that it was “1969, OK”, that he wanted to be your dog. His original Stooges and his storied cohorts David Bowie and Lou Reed are all no longer with us. The Ig is the last man standing and he knows it. 72 years old, he’s the lizard-punk shaman figurehead who, off-stage, is a considered literate gent, the radio presenter with the velvet croak. His new album acknowledges that he’s now an old dude.