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Review: Given that Paul "Mudd" Murphy, Ben Smith, Ursula Major and krautrock legend Holgar Czukay debuted their Bison project back in 2010, this debut album has been a long time coming. Happily, it was worth the wait. Recorded at Czukay's legendary Cologne studio and featuring mix-downs from Conrad Idjut, Travellers is a particularly dubwise trawl through hazy, krautrock-influenced disco and horizontal Balearica. By anyone's standards, it's a deliciously intergalactic concoction; a fearlessly atmospheric blend of low-slung grooves, delay-laden horns, quirky percussion, stargazing electronics and mesmerizing, eyes-wide-shut vocals. Pleasingly, this CD version also includes a pair of fine extended versions of former single "Mandy" by Mudd, of which the intoxicating Dub is particularly potent.

Review: Nearly half a century after The Glow Of Love lit up dancefloors from Bologna to New York, Change return with Embrace: a sleek continuation of their post-hiatus revival, carrying the modern Italo dance group's name after early designs to release it as a Tanya Michelle Smith solo project. Produced by Stefano Colombo with input from founding maestro Mauro Malavasi, who also oversaw the title and artwork, the record builds on 2018's Love 4 Love with a dozen tracks folding disco, soul, and modern boogie into a freshly polished polygon of sprightly designer disco. While just 500 copies of the vinyl edition exist, the CD edition here exists in droves, and is sure to set any missed trick right.

Review: Robert Smith has always treated remixing less like revision, more like ritual i a habit that's followed him since his days in Crawley, West Sussex and then surfacing officially on the first Cure remix album, 1990's Mixed Up. This triple-disc release of reworkings from the band's latest LP Songs of a Lost World feels assembled with obsessive care, mapping out every possible mood lurking beneath the surface. There are club-ready flips, yes i Sally C, Danny Briottet and Gregor Tresher all push the rhythm forward i but they sit beside glacial pieces that feel more like haunted sketches than reworks. Mura Masa's take on 'All I Ever Am' is disintegrated almost beyond recognition, its vocal a flickering memory. Mogwai's 'Endsong' feels like the end of the world in slow motion. Even Chino Moreno turns in something striking i 'WarSong' morphs into a sludgy howl with heat-warped edges. But it's the sequencing that surprises: these aren't bolted together, but grouped in arcs, as though Smith were arranging the bones of an old idea into something still alive. Four Tet's version of 'Alone' is a high point i deeply textured but featherlight. Like all The Cure's output, what really matters is the feeling of being drawn somewhere, and Smith's hand never letting go.