For a teenager, a parent’s birthday party is never comfortable. As We Are the Best! opens, it’s worse than that for Bobo as she holds a torch for punk rock and her mother is determined to have a good time. It’s Stockholm in 1982 and no matter how liberal-minded the adults, Bobo cannot fit in with the forced jollity. Punk rock is supposed to be dead but for Bobo and her friend Klara, it’s the light at the end of a tunnel of stultifying conformity and frustration.

It's rare that you can trace a genre to one man. But house music is well documented: “house” originally simply meant the music played at the Warehouse club, by one Frankie Knuckles, who died yesterday in Chicago from diabetes-related complications. Knuckles was a disciple of New York disco, who'd served his DJ apprenticeship in the city's spectacularly decadent gay bathhouses in the mid-Seventies as an understudy of Larry Levan (who would set up the Paradise Garage, which itself gave its name to another genre – garage).

The Seeds: Raw & Alive / The Dream Syndicate: The Day Before Wine and Roses

Last night Lloyd Cole arrived on stage with a similar suede-and-corduroy air to that of his Eighties college-rock hits. Yet something was different. Over the last few years he has developed a real gravitas. It showed in the lines on his face and gunmetal hair; and it's this depth that critics have perceived on his recent album, Standards. Yet despite the critical acclaim the old troubadour is still not happy with how he’s “ disappearing into a niche”. In fact, he says, if this tour is a flop, he might give up music altogether.

In one of the extras on the DVD release of Computer Chess, director Andrew Bujalski explains that the film came about after he realised how to marry two ideas which he had been conjuring with for a while: a then undeveloped interest in the period when computers were programmed to play chess, and a yen to make a film with vintage black-and-white video technology.

Beachwood Sparks: Desert Skies

Hailed in some quarters as a wily and satirical retro-classic, Andrew Bujalski's Computer Chess depends for its survival on threading its way through the eye of a tiny nostalgic needle. Bujalski's intention was to create a kind of hommage to the single-minded, possibly autistic computing pioneers of the early Eighties, often unsightly weirdos with hilarious hair and no clothes sense who nonetheless "saw this mountain and insisted on climbing it," as Bujalski puts it.

Dev Hynes's path of artistic development is one of the most pleasing in 21st century music. The flamboyant black indie-kid risking life and limb to ride the local buses growing up in Hackney, who channeled his frustration at the lack of a place for him in the world through the awkward, aggro, occasionally inspiring but awfully named early 2000s electro-punk trio Test Icicles, has since then through sheer force of will carved out a space within the music world where he can be himself.

William Onyeabor: World Psychedelic Classics 5 – Who is William Onyeabor?

Walking into London’s cavernous O2 Arena for Peter Gabriel’s So 25 show last night felt like stumbling onto the set of some David Lean epic: Peter of Surrey, if you will. With a number of imposing lighting and camera rigs framing the already roomy stage, the show’s chroniclers sat perched perilously in suspended chairs with their equipment focused on the band setting up before us.