Back in stock: Experimental/Electronic

Review:  Mental Groove offshoot Music Pour La Danse knows a thing or two about tieless techno. And they don't come much more vital than the self titled 1994 debut album from Jonah Sharp (aka Spacetime Continuum) and David Moufang (aka Move D). It never quite got the props it deserved back then and has been an underrated gem ever since but this reissue should put paid to that. It is a holy meeting of lush ambient design, cavernous dub spaces, hints of glistening IDM melody and deeper than deep techno drums that leave you feeling cleansed inside and out.

Review: During the 1970s, composer and multi-instrumentalist Alessandro Alessandroni and Giovanni Tommaso were two of the most prolific contributors to SR Records, an Italian library music label whose releases are now sought after by collectors worldwide. Their 1972 joint album "Open Air Parade" has long been one of the imprint's most hard-to-find sets, with copies regularly changing hands online for four figure sums. As this reissue proves, it remains an entertaining and hugely enjoyable set that giddily flits between psychedelic rock, quirky soundtrack style compositions, cheeky jazz-funk and the kind of whistle-laden kitsch cuts that you could imagine providing backing music to a saucy Italian sex comedy.

Review: First released 22 years ago at the turn of the millennium, Constant Shallowness Leads To Evil has been described as one of Coil's most "mind-altering creations"; given the fiercely experimental and often otherworldly nature of their catalogue, that's some going. The album, which has now been fully remastered, was one of the first things Coil recorded following their relocation to Weston-super-Mare, and sonically it's as bleak, windswept, and barren as the town itself seems out of season. It's full of droning tones, modular blips, metallic melodies, slowly shifting ambient textures and musical motifs that lap in and out like waves. Furthermore, the album's standout moment, the near 14-minute 'I Am The Green Child', is like some mutant, experimental sea shanty crossed with a hypnotic ambient-industrial raga.

Review: You should never assume too much when it comes to Eartheater. Powders on Mad Decent and finds the maverick modernist at her most vulnerable and exposed. Where she's so often warped and manipulated her voice as part of her hyper pop experimentation, here she comes through in strikingly direct terms whether soaring over elegant threads of synthesis (on gorgeous opener 'Sugarcane Switch') or covering System of a Down's 'Chop Suey' in fragile, acoustic fashion. Even after so many albums, it feels like we're still in the process of understanding the many dimensions of the Eartheater creative universe, and here is but one new galaxy to explore.