Although it takes seconds to discern that Juniore are French, a core inspiration appears to be the echoing surf-pop instrumentals of Californian studio band The Marketts, whose 1963 single "Out of Limits" became their most well-known track. Add in – exemplified by Trois, Deux, Un’s fifth and sixth tracks “Amour fou” and “Grand voyageur” – the languid atmosphere of the early Françoise Hardy and the result is a form of Gallic retro-futurist garage-pop.

After the March 1969 UK release of the “Return of Django” single, prospective performers of the song could buy it transcribed as sheet music. On the record, the credit was “Upsetters.” For the sheet music, with its photo of a single person, the credit was “Lee Perry, leader of The Upsetters” (pictured below left). Close to a year on from becoming an independent operator, Perry was already singled-out as the music’s principal aspect. A Phil Spector analogue.

The Allergies kicked off their Freak the Speaker tour in Birmingham this week. However, the album that they were promoting was nowhere to be seen on their merch stand – “Brexit issues” apparently. This didn’t dim the band’s enthusiasm one bit though and they had the congregated soulboys and soulgirls of all ages – from teenagers to retirees – bouncing around like maniacs to good grooves aplenty at the Hare and Hounds.

Beth Ditto protests too much. 'Do you feel young" she hollered early on, before adding "I don't", one of several references during the gig to her age now being 43. Yet the Gossip singer still displayed the glee and energy of a teenager at their first show, even if her band are now into the reunion phase of a career spanning over two decades. 

Sundiver is the daylight chapter that follows Boston Manor’s 2022 introspective concept album Datura. The second half of the story continues with the same poetic, immersive style but offers a brighter and more substantial experience across the 11 tracks.

Marie Ulven had not even stepped onstage and her fans were in raptures. Such was the level of excitement for her second night in Glasgow that sing-a-longs to Chappel Roan and Sabrina Carpenter were ringing out almost as soon as support act Nieve Ella had departed.

I’ve been a regular attender of the Supersonic Festival for about 15 years and much has changed in that time. When I first rocked up to see Swans, Stinky Wizzleteat, PCM and other sonic treats, the event was a bit of a white boys’ club, both in terms of the artists and the audience, despite being put together and curated by a couple of women.

When the first solo album by Tangerines Dream’s Peter Baumann was released in the US in 1977, its promotion was striking. Press advertising (pictured below left) said “he possesses the infinite vision that has made his group one of the most important contributors to mystagogic lore.”

After the client has settled on the analyst’s couch, the lights are dimmed. Music sets the mood. A wordless vocal is accompanied by chimes. Cool saxophone breezes in. Sparse piano lines ripple like heat haze. Drums are understated, yet oddly insistent. The atmosphere is mysterious. Increasingly enflamed.

The sun coming out for our festival-organised boat shuttle down the Thames was relief indeed, as we ditched the wellies and reached for the Crocs on our way into the arena.

Saturday afternoon was a melee of young folk, festering in the mire of their GCSE exam results – something the organisers are obviously battling with, given the amount of drug searches, water hand outs and well-oiled system of pulling kids out of the mosh pit.