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Review: The Expanded Edition of Aphex Twin's Selected Ambient Works Volume II is here; this is a reissue of an album that still serves as one of the ideasthetic backbones to most music fans' idea of 'ambient music' at large. A lesser-known fact is that when James recorded the record, he had concurrently undergone a period of lucid dreaming, and in this vivid lucid state, had heard many sounds akin to those heard on this record, which he had subsequently attempted to recreate. The sound of dreaming is usually an ineffable thing, but not to Aphex Twin, who had perhaps been one of the first to articulate dreams' bleary, smeary, selective and dream-distorted sonic quality. Many different interpreters have harped on this record, some hearing a 'cold islationism' in it, others a purer bliss; what is most evident is this one helped popularise ambient music in a formal, less connotative way, and continues to do so even today. This expanded versions features two unreleased tracks - that is, if you don't include the famous Soundcloud dump of nine years ago, plus 'Blue Calyx' now features on all formats instead of vinyl only.

Review: Earlier in the year, Yves Tumor announced the release of this album by releasing 'Gospel For a New Country', a low-slung chunk of post-punk pop brilliance that mixed weighty grooves and emotive vocals with flash-fried guitar riffs amd sampled big band horns. Fittingly, it's this fine track that kicks off 'Heaven To A Tortured Mind', a notably fuzzy, live-sounding set that continues his evolution from quirky electronica maker to alt-rock artist. While there are some electronic sounds dotted across the set, for the most part it's funk-rock riffs, ESG style basslines, organic drums and his own heartfelt vocals that dominate. It could win him many new fans; certainly, it's a very good album.

Review: This year marks three decades since George Evelyn sat down with original Nightmares on Wax production partner Kevin Harper to make music for the first time. In those days, Evelyn was focused just as much on house and techno as reggae, soul, jazz and hip-hop. You'd forgive Evelyn if he got a little misty-eyed on Shape The Future, but bar the appearance of his old Leeds pal LSK (a rapper who rose up at the same time as the Yorkshire veteran), its really business as usual. With an impressive cast list of guest stars swinging by to lend soulful vocals, on-point raps and high quality musicianship, the album is as colourful, laidback and groovy as anything Evelyn has released. Given his longevity, that's remarkable.

Review: The 20th-anniversary edition of Squarepusher's Ultravisitor showcases Tom Jenkinson's groundbreaking blend of live and studio recordings, remastered for new depths of sound. Spanning frenetic breakbeats, jazz-funk explorations and atmospheric fusion, this album captures the complexity and eclecticism of Jenkinson's work. Tracks like 'Iambic 9 Poetry' deliver sunlit jazz tones, while 'Tommib Help Buss' brings serene electronic bliss. Although Ultravisitor might feel overlong at nearly 80 minutes, its sprawling length doesn't diminish its innovation. The title track encapsulates Squarepusher's signature drum-n-electro-pop, while pieces like 'Circlewave' and 'I Fulcrum' balance virtuosity with thematic exploration. Jenkinson's improvisational drumming and bass solos, such as on 'I Fulcrum', demonstrate his command over both instruments and composition. Jenkinson's eccentricity shines through, making Ultravisitor an essential listen for both long-time fans and newcomers. This edition reaffirms Squarepusher's pioneering role in electronic music, blending technical brilliance with intriguing, if at times chaotic, compositions. It's a record that intrigues and impresses, pushing the boundaries of beat-driven electronic music.

Review: By 1996, Richard D. James, aka Aphex Twin, had a prolific career at 26. He co-ran Rephlex Records, signed with Warp Records, and had multiple releases and MTV-aired music videos. His fame surged with the 1997 Come to Daddy EP and Chris Cunningham-directed music videos. James was constantly creating music, describing his output as endless. The Richard D. James Album marked a turning point, featuring his creepy distorted smile on the cover, solidifying his bizarre persona. Despite his unassuming demeanor, James's music was wildly innovative. Raised in Cornwall, he preferred making music in solitude, viewing himself as "some kid mucking around in his bedroom." Departing from previous methods, the album was entirely computer-made, reflecting recent work. James aimed for accessibility with hidden complexity, making the music engaging yet intricate. The album featured more structured songs with clear melodies, such as 'Girl/Boy Song,' blending orchestral sounds with drum solos. Symphonic elements persisted, creating emotionally resonant moments. Tracks like '4' and 'Fingerbib' showcased his ambient sensibilities and inventive sounds. Vocals, heavily altered, added a unique touch.
The album combined delicate symphonics with intense beats, exploring drill ‘n’ bass. It had a cohesive vision, evident in tracks like 'Cornish Acid' and 'Peek 82454201.' Named after his deceased brother, the album held personal significance, subtly influencing its depth and emotion.

Review: Following up the runaway success of Crooks & Lovers was always going to be a daunting task for Mount Kimbie, and they've wisely taken their time to come back with a step forwards from a sound which gave rise to the more folky strains of the dubstep aftermath. Sounding fresh and invigorated on their LP for Warp, Kai Campos and Dominic Maker have built on their love of shoegaze indie and brought their component parts into a clearer vision where they used to hide them behind heavy editing and microsampling. There are plenty of reminders that this is a Kimbie record, not least in the winsome melodies that shape the LP, but the duo have succeeded in shearing away their self-conscious trickery to write full-bodied songs that hit on first listen, rather than ten spins down the line.

Review: B12's 1993 debut album, Electro-Soma, has long been regarded as one of intelligent dance music's "must-have releases". Offering a decidedly intergalactic blend of otherworldly techno, ambient and deep space electronica, it remains a brilliant piece of work. Here, Warp Records give it the reissue treatment, packaging the peerless original album with a second disc of early B12 rarities and hard-to-find cuts recorded during the same period. There's naturally plenty to admire on this bonus disc, from the shimmering electro bustle of "Transient Pathways" and Motor City futurism of "Debris", to the intoxicating ambient brilliance of "Go With The Hiss". That this material is every bit as good as the tracks included on Electro-Soma is testament to the (then) duo's rarely matched brilliance.

Review: Since first emerging on Hotflush at the tail end of the last decade, Mount Kimbie has navigated the post-dubstep landscape better than almost any other act. It says something about their transformation into hard-to-define electronica heavyweights that Love What Survives, their third full-length and second for Warp manages to be both surprising (there are subtle nods towards titans of post-punk pop and rock, for starters) and exactly what you'd expect. They're masters of fusing disparate styles, sounds, textures and beat patterns into beautiful hybrid shapes, and this kind of 21st century fusion is evident throughout. Naturally, there are a few notable guest appearances dotted throughout, with James Blake's two contributions amongst the album's many highlights.

Review: Some 25 years after delivering his debut 12", Richard D James hasn't lost the ability to thrill or inspire. By his obtuse standards, the material that makes up the surprise Cheetah EP is actually rather laidback and melodious. "Cheetah2 (LD Spectrum)", for example, sounds like a slow house jam written by robots, while the even deeper "Cheetah7B" shuffles along in a metronomic fashion, seemingly oblivious to the increasingly aggressive World at large. Of course, those trademark skittish IDM rhythms are present and the Cornishman has thrown in a couple of hazy ambient cuts for good measure.

Review: Caribbean-Belgian composer, producer, and musician Nala Sinephro us now based in London and for her debut album she gets incredibly personal. The long player marks a first release on the mighty Warp label and it is more than worthy of that accolade across a series of stunning ambient and jazz pieces. They are all interconnected and speak of an artist in deep thought and a state of inward reflection. The moods are devastatingly impactful whether melancholic or more hopeful with wistful sax sounds and gentle drums adding up to captivating worlds of sound.

Review: A decade after making her debut, and some six years on from the release of her widely acclaimed 'Tale Me Apart' album, Kelela is back on Warp with what some critics are saying is her strongest work to date. While her early musical missives twisted R&B in dark new directions, with her sweet and emotion-rich voice front and centre, 'Raven' takes her in a variety of thrilling new directions. The album was recorded in two weeks in Berlin, with the lyrics chronicling a love affair in reverse order (so the pain of breakup is explored on the drowsy ambient pop opener 'Washed Away'). Musically, it's far more diverse than many were expecting, with forays into dreamy breakbeat, jungle, IDM and two-step garage complimenting her usual otherworldly R&B grooves.

Review: There's no 'difficult second album' syndrome evidence on Squid's sophomore full-length. While it lacks the forthright, math rock and post-punk-inspired immediacy of the Brighton band's acclaimed full-length debut, the density, inventiveness and experimentation that marks out O Monolith more than makes up for it. For proof, check recent single 'Swing (In a Dream)', a wall of sound affair that builds through approaching waves of instrumentation (first picturesque 16-bit synths and acoustic guitars, then grooves, trumpet solos and finally grizzled guitars), the laidback post-punk-funk of low-slung treat 'Undergrowth', and the skittish, jazz-flecked, layered soundscape that is 'The Blades', where squally horn solos and dense alt-rock guitars catch the ear.

Review: Over the years, George 'E.A.S.E' Evelyn has made some very good downtempo music as Nightmares on Wax, as well as some killer club cuts. Even so, he's previously made little quite as musically refined as Shout Out To Freedom. Made in cahoots a giant cast-list of guest performers, the album's 15 tracks rarely surprise - we know by now that Evelyn will blend elements of soul, hip-hop, jazz, reggae and smooth grooves - but are still capable of genuinely taking your breath away. Basically, Evelyn is doing what he does best, only better than ever, with more extensive use of live instrumentation and some genuinely stirring orchestration. Highlights include the Balearic ambient jazz brilliance of 'Wonder', the low-slung, flash-friend soul shuffle of 'Own Me' and the sunrise-ready bliss of 'Imagineering'.

Review: Spell Blanket - Collected Demos 2006-2009 by Broadcast offers a rare glimpse into the creative process of Trish Keenan and James Cargill during the post-Tender Buttons period. This compilation features songs and sketches drawn from Keenan's extensive archive of four-track tapes and MiniDiscs, laying the groundwork for what would have been Broadcast's fifth album. The recordings showcase the duo's experimental approach to music-making, with Trish and James exploring new sonic territories and refining their distinctive sound. The photography used in the artwork is captured by Trish and James themselves, adding a personal touch to the collection. Designed by Broadcast's long-time collaborator Julian House, the artwork complements the nostalgic yet forward-thinking nature of the music.

Review: Seefeel's new album Everything Squared marks their first release since 2011, on which the "first ever shoegaze-electronica band" flex a positively retroactive take on the sound they sired. From the opening 'Sky Hooks' - a track which weaves an oxbow shape through small bankside groves of nymphlike-vocals in the peaks, and determined plods through ambient dub subterrains in the troughs - to the penultimate 'Hooked Paw', a similarly dubby but comparatively gnosis - a sophistic dream-blear for vocals and detuned atmoss at 140bpm, recalling the surreal ambient fort-das of HTRK or Clouds - this is not a record to be listened to lightly, despite its comeback status.

Review: Given the uniqueness of his madcap and mind-altering trademark sound, the release of any new album from Tom Jenkinson AKA Squarepusher is big news. Given that his last new full-length landed four years ago, the arrival of Dostrotime has got an awful lot of experimentalists in a bit of a lather. Like many albums that have surfaced in the last couple of years, it was apparently inspired by the "novel, eerie, sublime silence of lockdown", with the title being a reference to "how time passed differently". Quite how this plays out within the music itself is open to interpretation; for the most part, what's on offer is prime Squarepusher - all distorted, full-throttle acid lines, mutilated experimental D&B beats, analogue electronics and rasping, strobe-lit nods to raves,