Say what you will about Yeah Yeah Yeahs, but you can’t deny they’re consistent. For 13 years, the New York trio has been propelling their double-jointed brand of hyperventilating punk throbs and tender balladry without feeling the need to change tack.

Mental haze threatening to become an impermeable fog, I took the quality over quantity approach to the final day of Coachella, and caught impressive sets from DIIV, Jessie Ware, and Father John Misty.

In certain circles there has been a quiet suspicion for a few years now that European pop music has made its way under the radar to a place a million miles ahead of its American and British contemporaries: we offer up the catchy but interchangeable, indistinguishable, and disposable ideas, Europe gives us the likes of Versailles’s Phoenix.

And now on to talking about the music. Specifically Guards, Savages, Bat For Lashes, Major Lazer , Hot Chip, The Postal Service, The xx, and Phoenix.

A smorgasbord of performances by the likes of IO Echo, Lord Huron,DāM-FunK, Poliça Johnny Marr Local Natives Beach House Purity Ring and How to Destroy Angels awaited us.

It seems that James Blake is still in a bit of a funk. His latest effort, Overgrown, rarely pulls out of its state of cloudy despondence, the 24 year-old producer-cum-songwriter instead demonstrating a sensitivity to subtle changes in a single hue, mood, and tenor.

Terrence Malick’s To The Wonder is the story of Neil and Marina, played by Ben Affleck and Olga Kurylenko, two strangers who meet and fall in love while Neil is on a trip to France. They have a romance, it sours, Marina moves back to France and eventually Neil goes back to France to try and get her back. Apologies for the spoilers, but the events of the story aren’t really of consequence in this film, and that’s to its detriment.

Henry Alex Rubin’s Disconnect has a lot to say about the way our society connects with one another in this digital age. While there’s none of it that hasn’t been said before, the film pulls it off with committed performances from its actors.

Sun Kil Moon’s 2010-released fourth full LP, Admiral Fell Promises, was their first effort that sounded exclusively like a Mark Kozelek solo record. What may then have been an anomaly has since become de rigueur in Kozelek’s oeuvre: a neatly plucked, nylon-stringed acoustic guitar, that distinctive voice… and nothing else.