Back catalogue: Industrial/Noise

Review: The peerless Dark Entries is back with another comprehensive new collection, Deep Entries: Gay Electronic Excursions 1979-1985, which is a well curated collection of ten rare queer synth tracks that explore the hidden corners of gay musical history. They span a pivotal period of six years and the songs range from sultry to angsty to camp with plenty of lovely 808 snares and textural analogue synths. This period in particular saw the gay community having to deal with the onset of the HIV/AIDS crisis and these tracks capture the era's mix of love and longing. Patrick Cowley's music is always going to stand out wherever you hear it and that is the case here on 'Love Me Hot,' while Megamen's proto-electroclash 'Designed for Living' and Paula Villagra's techno-pop anthem 'Happy Song' are also real gems.

Review: This Earquake 1993 double album is a fitting soundtrack to celebrate Kompakt's March 1st 1993 birthday. It is packed with rare, long-out-of-print classics from that era and highlights include Love Inc.'s iconic 'Monoculture EP' and the acid opera 'Animal Republic' by Vinyl Countdown. Also featured are the unforgettable gabber hit 'Lovely Ugly Brutal World' by Mike Ink & Chain Of Brotherhood and the deep, pop-infused anthem 'Trump Tower' by Mike Ink. These tunes very much capture the spirit of legendary label Kompakt's early days by blending new, genre-busting sounds with timeless electronica.

Review: According to the blurb we have for Doomed Utility, Alex Wang is a firm believer that if a tree falls in the forest and nobody is around, it still makes a massive noise. "Sound existed before there were human ears to hear it," we're told. Not to mention the fact we have now surrounded ourselves with machines and digital tools that immerse us in tones we don't necessarily derive pleasure from. Industrial, frenetic, electronic, post-club, deconstructed and, in moments, straddling that genius-lunatic border. Doomed Utility makes no apologies for its most intense moments, and panders not to our inherent desire to understand and make sense. These are beats, basslines, distorted walls of tormented chaos and abstract moments don't lend themselves to meaning making. Welcome to the future. It's confusing.

Review: Originally released in 2008, the Swiss industrial rock pioneers have reimagined their past material with instruments you'd likely find people tapping away at around a fire in Glastonbury - it's a far cry from the avant-rock high-voltage set up we're used to seeing with them. Nevertheless, they pull it off brilliantly. On 'Our House' they marry the Hang with unhurried arpeggio picking that sounds like a homage to the original Spanish guitar. 'I'm The Drug' takes a hypnotic, desert-rock approach and is adorned with jaw-dropping lead guitar runs. With this album a celebration of the acoustic guitar, it's fitting that they pay tribute to one of the all-time gods of the instrument: Richie Havens. They do justice and then some to his iconic cut 'Freedom'. A track that Havens famously performed at The World Says No To War in Iraq demo in New York City in 2003. The raw delivery that The Young Gods muster with their cover shows they have sincere affinity with said legend and are truly commanding of the stage even with more humble gear.