Worth mentioning the subtitle of this straight off: “Experimental German Rock And Electronic Musik 1972-83”. “Elektronische Musik” is a 2CD comp that pulls off a fine trick that'll be familiar to those of you who’ve enjoyed other Soul Jazz surveys (not least last year’s amazing “Freedom, Rhythm And Sound” revolutionary jazz comp).

Strange beast, this, since I don’t have details about when and where this new Bill Callahan live album was recorded. Weirdly, the 11 tracks on “Rough Travel For A Rare Thing” don’t include anything from last year’s “Sometimes I Wish We Were An Eagle”, which would suggest that the performances date from between “Woke On A Whaleheart” (“Diamond Dancer” is here) and that exceptional album. But then again, Callahan has long proved he’s much too capricious a performer to make any such obvious assumptions.

Exciting news this week, with the auspicious arrival of three CDs of new music from a big favourite round these parts. Anyone care to hazard a guess who it might be?

A bit of a respite from underground jams today, with a couple of very different takes on folk.

Jack White’s increasingly baroque love of packaging means that it takes more than one review to get to grips with a solitary release. Hence “Under Great White Northern Lights”, a package commemorating The White Stripes’ 2007 tour of Canada which, in its simplest iteration, comes as a live CD and a longform documentary DVD about the ambitious jaunt.

Never personally had much time for Martin Amis’ writing, but I was idling my way through an interview with him in The Guardian the other day, when I came across his predictably splenetic response to The Bookseller’s claim that the new Amis novel, The Pregnant Woman, was a “return to form”.

This is pretty fantastic. A few days ago, Drag City streamed a song from the forthcoming Joanna Newsom album, “Have One On Me”, which I really should’ve flagged up.

Quite a good one, this week: I think I can be more or less positive about everything here, actually, with the vague exception of the Yellow Swans live comp, which is a bit too industrial for me (John Cale, as it happens, described them thus: “The Swans’ sound grates on your nerves - like you’ve put your head in a jet engine.” Thumbs up!).

Some albums prove harder to write about than others, for reasons that aren’t always easy to fathom. Others, though, seem purposely designed as hard to pin down: a case in point being Kompakt’s latest “Pop Ambient 2010” comp, which I’ve been listening to a lot for a couple of months now. How do you articulate what music sounds like that exists in such a neutral, undemonstrative space?

A load of pretty heavy psych’s been accumulating over the last few weeks: new albums from Major Stars (what an amazing guitarist Wayne Rogers is); from both Wooden Shjips and Ripley’s other project, Moon Duo; a cool new (to me, at least) band on No Quarter called Coconuts.