The hilarious news that Keith Richards snorted his father’s ashes reminds me, obliquely, of an incident involving John Cale, at the University Of East Anglia, where he was playing the first date of a UK tour with a band that included Chris Spedding on guitar and uber-producer Chris Thomas on keyboards.

A few years ago, I spent an afternoon in Camden interviewing a mildly psychedelic indie band called Simian whose first record had been pretty good. To be honest, it was a rather frustrating experience: the singer was quite interesting, if detached, but he didn't get a chance to say much because the drummer just wouldn't shut up. With hindsight, the weird power structure made sense. The singer hasn't done much since, while the drummer - James Ford - has become a dark force in British music, producing Arctic Monkeys and Klaxons and making hip little dance records as Simian Mobile Disco with his old bandmate Jas Shaw.

I have a real backlog of stuff to write about at the moment, and I need to do some kind of a round-up in the next day or two, hopefully before Easter. There's great doom, psych and drone from Earth, Vibracathedral Orchestra and Dungen. There's a lovely pair of reissues from ambient's spiritual master, Terry Riley. I have a couple of fun techno - or am I meant to call them new rave? - albums by Simian Mobile Disco and their feted French remixers, Justice. Oh, and I'm meant to hear The White Stripes' "Icky Thump" any day now. Today, though, I'm going to do the sensible thing and write about what's playing right now - the new album by Richard Thompson.

A bit of a catch-up today. First, thanks for the nice response to the Bjork preview I posted on Friday. I've been comparing "Volta" today with the new Timbaland album, "Shock Value".

Last night, I went to see the first 25 minutes of 28 Weeks Later – the follow-up to Danny Boyle’s British zombie film, 28 Days Later.

As I write, I've just started listening to Bjork's new album, "Volta", for the third time. The first single, "Earth Intruders", is playing right now, a kind of euphoric marching song driven by three radical beat scientists: freestyling avant drummer Chris Corsano; Congolese troupe Konono No1; and, most notably, Timbaland. It's pretty dizzying, as you might imagine.

I've been meaning to write about the wonderful Marnie Stern album on Kill Rock Stars for a couple of weeks now. I was tipped off about it by one of Uncut's writers, Louis Pattison, who raved to me about it. She's "an extremely proficient one-woman axe hero," he wrote in an email, "a bit like Deerhoof but with better songs and added lead guitar power." Chuck in the battling influences of Sleater-Kinney and Lightning Bolt and damn, he was right.

So Mark E Smith is a DJ, right? He's booked the club for the night, therefore it stands to reason he can play the records. But then this German guy turns up and says he's the DJ, says he's Sven Vath. Whatever should Mark do? Simple: "I flooded the club," he says proudly. That'll show them.

I was recently moved to reminisce about the night Lou Reed invited me to dinner after a show at the Hammersmith Odeon, an occasion that famously ended up in chaos when he was annoyed by something David Bowie said to him that sparked off quite a lively assault, Lou smacking Bowie somewhat savagely around the head.

In between all the meetings and extraneous stuff today (oh, and kicking myself for missing the Leonard Cohen lig that Allan blogs about here), I've belatedly got round to hearing Gallows.