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Review: Well, we couldn't really be happier. In fact, there is almost nothing to say about this album apart from the fact that it is absolutely, downright essential. Originally released in 1986 on Rough Trade here in the UK, it has been reissued a few time over the years but has always vanished in the blink of an eye and reappeared on the EBay and Discogs circuits for big bucks. Finally, you can indulge in a beautifully remastered version on virgin vinyl. In what is seen by many cultic Russell fans as perhaps his biggest achievement, the LP drifts in and out of light and shadows with utter ease, truly portraying the genius of the man who paved much of the way for modern electronic music generally. From start to finish, it's an ethereal mixture of sparse beats, effect manipulations and folklore, charismatically told by one of the only artists in the history of experimental music to really combine and successfully bind so many unexpected musical terrains. We are only mere mortals, so we won't describe the music to you...just get yourself a copy and see...

Review: As Radiohead tour the world and then regroup to record their new album, Thom Yorke releases his own record, 'The Eraser' on XL Recordings. A collection of nine new songs, the record was written and played by Thom and was produced by Nigel Godrich. Variously hailed as "The Best Band In The World" (Q Magazine), "Rock's Best Live Band" (Rolling Stone) and the band were placed at number 1 of Spin Magazine's 40 most influential artists, Radiohead has arguably become the most acclaimed and adventurous force in modern music. Over six studio albums the group have proved that it is possible to make massive creative leaps whilst continuing to grow in worldwide stature. Their records set new benchmarks for others to aim towards, whilst their live shows reach levels of intensity and exploration that few can match.

Review: James Blake's debut album is undoubtedly one of 2011's most keenly awaited releases, and its arrival via his own (major label funded) Atlas imprint ensures their is no lull in momentum for a producer who enjoyed a watershed 2010 with releases on Hessle Audio and R&S. The results here differ wildly from his previous sonic excursions - gone are the shimmering R&B soaked melodies of "CMYK" and the sheer experimentalism of the Klavierwerke EP, which saw the young Londoner depart from the confines of the dancefloor and enter a realm where there was only a passing reference to rhythm-based music. Instead we are treated to Blake's own yearning, raw voice, delicate pianos and an underlying sense of melancholy. Ubiquitous single "Limit To Your love" and the crackly sonic terrain evoked on "The Wilhelm Scream" are among the most immediately pleasing moments, but there is much to explore here. It's a fascinating opus and surely the catalyst to a long and fruitful career at the top.

Review: New 13 track album via Columba Records. LP vinyl is ltd to 500 copies & the CD format will increase in price to £7.77 after 30 days. This U.S. 3-piece will bring their heavyweight sonic intensity to the UK for an eight date tour of major cities in May-June. Strong press support across NME, Q, Uncut, Mojo, Clash & other music mags. Specialist radio support (XFM/6 Music).

Review: Pitched somewhere between the gritty, propulsive beats of Los Angeles, and the exploratory jazz of Cosmogramma, Flying Lotus's fourth album, Until The Quiet Comes is arguably the most delicate record he's ever produced. Described as a "collage of mystical states, dreams, sleep and lullabies", it steers away from bigger moments, choosing instead to present an understated patchwork of breezy jazz samples, dusty hip-hop beats smeared vocals seemingly inspired by DMT hallucinations. While previous efforts were wildly futuristic at times, Until The Quiet Comes is confidently classicist - and seals Flying Lotus's position as one of our generation's visionary producers.

Review: When is a remix album not a remix album? When it's creatively driven by Bjork. The wonderfully titled Bastards might be a collection of reversions from her 2011 album Biophilia but it's clear all artists have been specially considered for their job and worked hard to subvert their usual motifs; stretching from the warped techno twists of 16-Bit's take on "Hollow" to the ghostly acapella of These New Puritans remix of "Mutual Core", this is one bastard you want in your life.

Review: Originally released in 1996, Aphex Twin's fifth album in as many years meant business from the very moment the wild and whimsical opener "4" scribbled it way through the speakers. With jaunty jams such as "Cornish Acid" and "Fingerbib" running amok mid-set, Richard D James Album acted as a fine mission statement to expect the unexpected and never anticipate formula or form. And it still carries that very same message today. Essential.

Review: Released back in 2003, Rounds was the third LP from Kieran Hebden as Four Tet and perhaps the first long player that widely established him as a pioneering voice within electronic music. Though it doesn't feel like a decade since it was released, Domino celebrate the album's tenth anniversary in requisite fashion here, reissuing it in double LP format and slipping in a CD of Four Tet performing live in Copenhagen in 2004. Listening back now, it's easy to understand why Rounds is viewed as an early classic in the Four Tet canon, transferring his love for free jazz records to a beat template that's more palatable on the ear (Fact pickers might want to know that Hebden recently revealed to Pitchfork the LP was made entirely from samples) "She Moves She" still sounds absolutely haunting too!

Review: Given that it's been eight years since the last Boards of Canada album, Tomorrow's Harvest should, by rights, push Daft Punk's Random Access Memories in the hype stakes. Certainly, it's a fine set. During their sabbatical, Marcus Eoin and Michael Sandison have lost none of their power to amaze and impress. Chords drone, samples hiss, synths shimmer and beats swing. There are intense ambient moments and intoxicating, post-IDM dreamscapes. It is in turns icy, warm, introspective and blindingly picturesque. Throughout, Tomorrow's Harvest is impeccably atmospheric, conjuring images of windswept Scottish moors, becalmed Cornish bays and maudlin pagan ceremonies. As comeback records go, it's pretty darn good.

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: Widely regarded as Boards of Canada's finest hour, Music Has The Right To Children finds itself the subject of a well-deserved 2LP gatefold reissue from Warp Records. One of the most defining records of what was known for better or worse as IDM still sounds as timeless as it did in 1998, as the library tones of "Wildlife Analysis", thick downtempo rhythms of "Roygbiv" and out of focus melodies of "Olson" prove. Essential!

Review: Announced with the most cryptic of statements and accompanied by a thousand online think pieces, the long awaited Ghettoville from Actress is finally here! Much like previous long players from the Werkdiscs boss, Ghettoville is not an album your brain will digest in one sitting, especially since it packs in sixteen tracks across the three slabs of vinyl. Described as "the bleached out and black tinted conclusion of the Actress image," Ghettoville draws on all the familiar Actress signifiers with the ghostly remnants of hip hop, Detroit techno and Chicago house scattered across the album. On immediate listen there are a few standout tracks, the ragged Motor City soul of "Gaze" and the brilliant finale "Rule" but we'll let you discover the rest for yourselves.

Review: Although the past several years have seen ambient musician Christian Fennesz collaborating with a number of high profile figures - Ryuchi Sakamoto to name one - as well as release an EP, cassette, and soundtrack, the Austrian's last full solo LP was 2008?s Black Sea, making Becs very eagerly awaited indeed. A conceptual follow-up to 2001's seminal Endless Summer, Becs supposedly eschews the drone-based productions of Black Sea and sees a return to the "more florid pop mechanisms" of Endless Summer, something evident across the searing yet colourful textures that make up the album.

Review: To say that The Future Sound Of London are legendary would be an understatement. Brian Dougans and Garry Cobain continue to stupefy and amaze with this fifth chapter in the Environments series, this time allegedly exploring the space and dimensions after death. That might sound a little gloomy, but the music itself is actually surprisingly funky and upbeat. The opener itself, "Point Of Departure", is a gorgeous slap-bass beat track backed with some stupendous female vocal chops. There's a bit of everything across the thirteen tracks, such as the eerie soundscapes of "Beings Of Light", or the break-ridden lo-fi jam that is "Somatosensory". These guys have never stopped and they still mean business. Recommended.

Review: Hospital Productions is a non-stop operation and following this year's long-players from Alessandro Cortini, Ninos Du Brasil and Ron Morelli, Vatican Shadow's latest swoop is this ambient album produced with Function. The seven-track LP was recorded between Berlin and New York, and it's described as best suited for after-hours home listening, but whether you really want to listen to this after a big night is up to you. Indeed "A Year Has Passed" and "A Year Has Gone By" are downbeat and melancholic, whereas other tracks lean more towards industrial ambient, similar to fellow Hospital artist Lussuria's work. "The Nemesis Flower" is a darker highlight while "Red Opium" and "Bejewelled Body" is where the house and techno beats lie.

Review: Arriving with some truly mind bending artwork from controversial guro manga artist Shintaro Kago, the new Flying Lotus album You're Dead! Is quite alot to take in upon first listen. Some nineteen tracks deep, Steven Ellison uses all the available space to draw you deep into the afterlife as he sees it, veering through heavily psychedelic jazz passages and next level beat explorations that demand you pay full attention. The iconic Herbie Hancock leads a high profile cast of contributing artists to Fly Lo's fifth studio LP and his most ambitious to date with Kendrick Lamar, Captain Murphy, Snoop Dogg, Angel Deradoorian, Thundercat and Niki Randa also adding to what is a transcendental listening experience.

Review: The music Venezuelan artist Alejandro Ghersi makes as Arca first came to the fore via UNO, the New York label who issued a trio of compelling releases in 2012. Arca's brand of glossy, high grade beat experimentation has seen him go on to work with Kanye West and FKA Twigs as well as release on venerated US indie Hippos In Tanks. An album deal with Mute may seem unexpected yet the UK label have a long and proud tradition of challenging conventions. Entitled Xen, Mute have described the 15 track set as full of "mercurial forms, fluxing unpredictably from smooth to spiked to sweet" and you wont get much of an idea from the soundclips. If you were charmed by the FKA Twigs set this is an album that will get your serotonins bubbling.

Review: Originally released in 2007, Bjork's Volta, and later named Voltaic, is considered to be one of the artist's greatest works, one which incorporates everything from African rhythms, industrial tones and even elements of hip-hop thanks to Timbaland's appearances on the LP. At the time of release, the album was and is still praised by critics, it spent a good 10 week's on Billboard's charts and explored another side to Bjork's many talents. If you haven't heard it yet, you have definitely missed out because it is truly magical.

Review: By the time Biometry was first released in 2004, Der Zyklus has developed from an electro supergroup featuring Anthony Shakir and members of Dopplereffekt, to a solo project from Drexciya member Gerald Donald. At the time, it was hailed as one of Donald's finest moments, and 11 years on has lost none of its' ability to inspire and entertain. Now freshly re-mastered, it pops, whirrs and confuses with a claustrophobic intensity. It's notably less dancefloor-focused than much of Donald's work - a couple of frisky work-outs aside - and gains its' allure from a ghostly mix of wild electronics, melancholic melodies, fizzing textures, intergalactic ambience and off-kilter IDM. As a study in 21st century paranoia, it's unsurpassed.

Review: Following from the success of this year's Vulnicura LP, Iceland's Bjork has decided to release an acoustic companion made up of string-only reinterpretations; a more abstract and pensive piece, if you will. One Little Indian is the label, of course, but this time there are strictly no beats, and the only concrete sounds within it are the subtle and placid wails of Bjork's own voice. While it isn't truly a pop album, there is enough playfulness and charm to render it playable not only as a solitary piece of music, but also alongside other pieces...in an explorative DJ set, perhaps.

Review: Originally released digitally in 2013, Pink collated a series of 12" releases from Kieran Hebden issued over an 18 month period on his Text label. Hebden and record club and subscription service Vinyl Me, Please have teamed up to give Pink a double vinyl release for any Four Tet fans that weren't quick enough to nab those 12"s at the time. There is plenty of classic Four Tet to be had here too. "Jupiters" experiments with swung garage beats in an unmistakably UK Bass style, while "128 Harps" is a whipcrack MPC workout given his light melodic touch and "Peace On Earth" is a beatless 11 minutes of analogue kosmische. But it's the centrepiece of Hebden's Fabriclive mix, the brilliantly moody "Pyramid", and the loose limbed jazz-house of "Pinnacles" that really set this album apart from his other long-playing efforts, two examples of timeless dance music which demonstrate why after nearly 15 years in the game Hebden is only improving with age.

Review: It's been a rapid rise over the past few years for Alejandro Ghersi's Arca alias. Following some years spent as Nuuro, his current project launched with aplomb on UNO in 2012 before moving on to Hippos In Tanks, and then last year shored up at Mute with the Xen album in a demonstration of true ascendance through the leftfield ranks. Now Ghersi returns to Mute with a new album Mutant, which sees further exploration of his detailed, unusual style touching on elements of noise, bombastic ambient and neoclassical. "Soichiro" lays down wispy threads of trap in amongst dramatic stop-start dynamics while "En" flirts with lingering piano and static interference in the most artful of ways, just two examples of an album loaded with surprise and intrigue.

Review: James Clements continues his explorations into the depths of the grey zone as ASC with The Farthest Reaches double pack on Auxiliary. Samurai Music's Presha has excitedly called these four tracks "a definitive musical statement from one of the most important electronic musicians of our era," and who are we to argue with him? Making full usage of the format and available space, this is ASC in exploratory mode across a quartet of deep ten minute plus productions that have it all; sound design, atmosphere, groove, bass weight. To simply call these epic is selling The Farthest Reaches short!

Review: British duo Raime are back with the first album since 2012's brilliant Quarter Turns A Living Line and their signature style of dark ambience and haunting imaginary soundtracks which incorporate jungle, dub and post-punk influences into the mix also. The album is said to be largely influenced by their side project Moin which incorporates rock and metal influences too. According to Blackest Ever Black "the DNA of dub-techno, garage/grime and post-hardcore rock music spliced into sleek and predatory new forms." Highlights include the moody subtractive rock of "Dialling In, Falling Out", the dub and post punk crossover of "Dead Heat" and the brooding mood-lighting of "Cold Cain".

Review: Joshua Eustis and Turk Dietrich are not the most prolific duo out there, the former being limited to one EP on Bpitch Control back in 2011 and the latter a compilation for Distance Recordings, but their new Second Woman moniker has warranted the attention of the excellent Spectrum Spools and, to us, that is a certified seal of approval. In reality, though, it's easy to hear why they've picked these tracks up; each one of these nine segments are both refreshing and deeply alluring, with drug patterns being given new and exciting shapes by the duo. In fact, the whole LP seems to be made up of a new interpretation around percussion, where Second Woman's jarring sonics are haphazardly folded around layers of brittle drums and noisy electronic manipulations.

Review: Since releasing his second album in 2013, James Blake has become one of the most in-demand artists and producers on the planet, recently appearing on Beyonce's much-hyped "visual album", Lemonade. On The Colour In Anything, it's very much business as usual, with Blake only occasionally veering away from his drowsy, atmospheric, piano-and-vocal template. These variations on a theme - the subtle, 4/4 techno-pop of opener "Radio Silence", the autotune-sporting R&B pop of "I Need A Forest Fire", tactile warmth of "Always", and frankly quite odd accapella throw-down "Meet You In The Maze" - add interest, though Blake remains at his best when concentrating on his most emotion-rich and heart-aching songs.

Review: You'll probably already be acquainted with the name Manuel Gottsching - and you should be - but just in case you aren't, he was a pillar of Ash Ra Tempel's golden years and, among other of his contemporaries, was a pioneer of the genre that is often dubbed 'new age'. E2-E4 was a 1984 solo album from the man, and is certainly up there with the likes of Steve Reich's best minimal material, although it has often gone relatively unnoticed. MG Art from Germany have done us the favour of reissuing this monumental release, and we're utterly awestruck by how contemporary and fresh this album still is. In fact, one could say that a tune like "31'38" is the basis for the sound championed by new labels like Mood Hut, where a significantly danceable beat is laid above placid, warm harmonics. Similarly, "23'00" is just as balearic and phased out but, once again, we just can't believe how great this music still sounds more than thirty years later. Warmly recommended.

Review: Given the underground acclaim heaped on Marie Davidson's previous albums - ultra-stylish affairs that blend elements of minimal wave, dark Italo-disco, off-kilter electro and moody ambient - it's little surprise to see her popping up on Minimal Wave offshoot Cititrax. The album's nine tracks are largely sharp, rough and fuzzy, with sparse-but-dense drum machines rhythms underpinning bouncy, delay-laden synth lines, thrusting electronics and Davidson's sleazy, spoken word vocals. It's an attractive combination that guarantees thrills throughout, from the almost claustrophobic throb of "Denial", to the mutant electrofunk bounce of "Good Vibes".

Review: As Autechre set out on an extensive live tour, Warp has decided the time is right to reissue their 1994 classic, Amber, on vinyl. Given that it's been unavailable on wax since then, and second hand prices have shot through the roof, this is undoubtedly a good thing. It remains one of the legendary duo's standout albums: a peerless collection of brilliant IDM tunes offering a perfect balance between the glistening, atmospheric melodiousness of their early work, and the crunchy, mathematical rhythms of their later releases. There are moments of eyes-closed calm ("Silverside"), bubbly, melody-led workouts ("Montreal", "Slip"), far-out electro missives ("Glitch"), and the odd icy epic (the brilliant "Further").

Review: While the mythical The Future Sound Of London duo are usually associated with the late 80s and early 90s wave of techno and acid house, they two producers haven't exactly been quiet over the last five years. Their original material is what made them famous, larger than life personalities within the electronic music world but, over the last five years, their Environment series have taken developed - and even matured - their style significantly. That's because they're free to experiment here, just as they did back in the golden years of club music, except that they're now doing this without the restriction of 4/4 patterns, Roland drum machines of acid baselines. The sixth volume of Environment is is a work of beauty, an all-out journey into the deepest reaches of electronica, downtempo, and and drone. Seen through the lens of two veritable pioneers of modern, experimental music. Don't miss it.

Review: 21 years since its release and a good 15 years after its last vinyl repress, Tri Repetae's new vinyl revitalization is incredibly welcome news to fans old and new. Without wanting to preach to the choir but everything about this body of work remains ahead of its time and on its own. From those opening robotic purrs and mechanical breaks to those final tubular space echoes on "Rsdio", the whole album still sucks you in with such alien, otherworldly allure. How they made those sounds and arranged them in such a way with the technology at the time blew minds back then and blows even more in hindsight. A serious document.

Review: These days, we're all familiar with Jan Jelinek's trademark brand of dusty, dubbed-out, jazz-sampling downtempo explorations. That wasn't the case when Loop Finding Jazz Records, his acclaimed debut album, first appeared back in 2001. It has since become an in-demand item, making this reissue more than handy. It remains a fine album; a blazed shuffle through a sonic world where dub techno, ambient, minimal house, jazz and downtempo grooves and seductive vinyl crackle merge into one intoxicating hybrid sound. It's not showy and over-the-top, but rather becalmed and subtly seductive. In other words, it's still a brilliant album and if you don't own already own a copy, you should add this to your cart sharpish.

Review: Meredith Monk is a bit of a legend around certain circles. The multi-talented composer, dance performer and director has appeared in and been the main producer of a a whole world of material from the early 70s right up to this very day. While her most iconic work has perhaps been credited to the infamous ECM imprint, the artist's early work is still regarded as her most poignant and expressive. Key, her debut album from 1971, is a rarity in its original form, so this reissue from Tompkins Square has probably made the wish of many collectors come true! Not only is the album a piece of work to be lauded for its vision and originality, but it also ticks off many boxes and crosses many dots. Guided by Monk's mouse-like sounds in a sort of hyper-falsetto, the LP moves and shifts between different influences and styles; from ominous drones to more dreamy soundscapes, this is ambient cranked up to the max and given a good shouting at. Psychedelic and fearless, Monk prowls on in people's imagination.

Review: If there's one collaboration that we have bowed down to over the last few years, it's most certainly this new found friendship between London's Kevin Martin aka The Bug, and American doom metal guitarists, Earth. One wouldn't immediately make the connection between inner-city future-grime music and suburban stoner rock, but the two styles were in perfect unison, and this is because they're both fascinated with dark, looming clouds of bass. Whether that's through virtual synths or badass bass guitars, it doesn't matter, because the mood is mightily present. Concrete Desert is the alliance's debut LP, and it's all guns blazing from start to finish; tunes like "Snakes vs Rats" or "Metal Drone" represent exactly the sort of freshen-up that each respective act needed - on the one hand, The Bug could have done with some more external influences to the melodic constructions, while Earth needed a new framework to enter the minds of a new, European audience. We've dubbed this style 'metal drone', and we're pretty sure that it's gonna stick after you've played it out for a few minutes. A blinding collab, right here.

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: If you're in the market for a beginner's guide to krautrock and "kosmiche", then the first two volumes of Soul Jazz's Deutsche Elektronische Musik series should be essential listening. This third volume - the first for four years - should be on that list, too. It arguably goes deeper than its predecessors, combining cuts from pioneering electronic and art-rock bands like Neu!, Cluster and Popol Vuh with tracks from lesser-known artists such as Michael Bundt, Dronsz and Achim Reichel. Musically, it's also far more diverse than its predecessors, containing as much space-rock and proto-punk as early electronic experimentation and droning alternative rock. As ever, the accompanying sleeve notes from author David Nobbs expand on the story in brilliant detail.

Review: When he originally released his second solo album, Tomorrow's Modern Boxes, in 2014, Thom Yorke only made it available as a download via BitTorrent. The paid-for package proved popular, with over a million listeners scrambling to download it in the first week of release. Here it finally gets a physical release (a limited Japanese pressing in 2015 not withstanding). The album is naturally typical of much of Yorke's solo work, blending his fragile and dinstinctive vocals with heart-aching piano motifs, crunchy electronics beats and all manner of weird and wonderful sonic textures. Early reviews stated that it was Yorke's most challenging work to date, but one that just gets better with every listen. That remains a perfect summary of an alluring and deliciously odd collection of tracks.

Review: Domestica presents a vinyl version of Oscar's X-mas Carols. For this album's tracklist, Jordi Serrano and Oscar Smit made a personal selection from the three previous cassettes which were originally released on Christmas Day 1984, 1985 and 1987 respectively by Smit's imprint Noel Tapes in Holland. The 15 tracks here are a selection of the best tracks of these three cassettes, mastered from the originals by Ruud '66' Lekx. It also features a cover painting by Max Kisman, laminated translucent sleeve and is hand stamped. Complete with dossier including liner notes by Smit, band bios, photos and download code, it's allegedly the only experimental Christmas compilation ever published.

Review: Music From Memory has a reputation for doing the unexpected. It would be fair to say that few would have predicted the Dutch label's decision to release a collection "electronic and contemporary music from Brazil". As usual, the Red Light Records affiliated crate-digging crew has done a superb job with Outro Tempo, which was compiled by label affiliate John Gomez. Musically, it's predictably varied but always beautiful. It mostly focuses on tracks that fuse traditional Brazilian instrumentation, percussion and musical ideas, with elements of electronica, ambient, jazz-fusion and Reich style minimalism. The accompanying liner notes do a great job in putting the collection in context, explaining how the music was often inspired by political changes within Brazil during the 1980s.

Review: Having taken time out to travel the world and experience new things (including psychedelic substances in California), John Hopkins planned to make Singularity, his ninth album, "a sonic ecosystem that starts and ends on the same note". He soon got frustrated by these limitations, so instead just laid down a fluid and hazy album that combines his usual luscious, ambient electronics with a variety of sparse, heavy and off-kilter rhythms. While undeniably laidback in parts, the album also boasts a number of foreboding techno workouts and uses a wider palette of instrumental sounds than we've come to expect (including some fine strings and his own intricate piano playing). The resultant set is rather impressive, all told, and while not quite a "sonic ecosystem", it's certainly an enjoyable journey.

Review: Raul Lovisoni and Francesco Messina's seminal LP from 1979 Prati Bagnati Del Monte Analogo not only introduced the world to the work of two gifted composers, but is also notable for being produced by electronic pioneer Franco Battiato. Both central figures within the Italian avant-garde, they were part of a generation of artists who contributed to a radical rethinking of musical practices and composition. They reveal Minimalism as it's rarely known: with delicate melodies, subtle harmonic interplay and incorporating diverse creative traditions - slowly giving way to an ever-expanding open space. Skirting the outer edges of ambient, new age and experimental music, the LP has a transformative beauty unlike anything else.

Review: We are honored to release 'A Boy Alone', a double LP set from Manchester electronic music pioneer Eric Random. Best known for his early recordings for New Hormones and Les Disques du Crepuscule and collaborations with Pete Shelley (Buzzcocks), Cabaret Voltaire and Nico. As an original member of The Tiller Boys with Shelley, Random injected a healthy dose of Krautrock into the dour Manchester post-punk scene in 1978/79 before going solo the following year. Random's first 7" "Subliminal"/"23 Skidoo" was released in 1981 via Les Disques du Crepuscule and explored ominous sonic surrounds. That same year also saw the release of a second 7" single on New Hormones, "Dow Chemical Company"/ "Skin Deep". Both tracks offered bubbling, rhythmic sound patterns, and were the first to feature other musicians that would become know as The Bedlamites. Consisting of Lynn Walton on vocals, Ian Runacres and Andy Diagram of Dislocation Dance, and bassist Wayne Worm, aka Wayne Sedgeman. Their debut 12" single "Subliminal Seduction"/"Bedlam-a-Go-Go" was released in 1982 through Plurex, mixing arid funk textures and sparse melodies. That same year the group contributed proto chill-out track "6.55" to Plurex compilation 'Hours' and the highly filmic track "In Cassette Conference" to the Touch cassette package 'Feature Mist'. In 1983, Random spent several months in the Himalayas with a group of musicians from the Kulu Valley and studied non-Western instruments such as tabla. On returning to Manchester, Random convened a new group of Belamites including Walton, Sedgeman and drummer Graham Dowdall aka Dids of Ludus. They released the 12" single "Mad As Mankind"/"Dream Web Of Maya" in 1984 on Cabaret Voltaire's Doublevision, embracing electronic, industrial and dub styles. In 1985 they contributed the soothing "Pure Power" to Food Records' "Imminent Episode One" compilation. Our reissue also includes 4 unreleased bonus tracks from Eric's archives recorded between 1981-1984. The whole set adds up to 115 minutes of sinister, somnambulant Random music. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a gatefold jacket designed by Eloise Leigh featuring a spread of ephemera, photos with liner notes by James Nice of LTM.

Review: Given his innate ability to craft intensely atmospheric and often fundamentally unsettling music, it seems apt that Thom Yorke has finally got around to producing a film soundtrack. It's fitting, too, that said soundtrack is for Luca Guadagnino's weirdo remake of 1977 Italian horror flick "Suspiria". Yorke nails the brief, delivering a string of chilling, otherworldly instrumentals that not only draw on his well-established love of dark ambient and gruesome electronica, but also foreboding neo-classical movements and sparse, wide-eyed arrangements. There are a smattering of superb vocal moments, too, with recent single "Suspirio" - described by one broadsheet reviewer as "the saddest waltz you'll ever here" - standing out.

Review: Minimal Wave present a reissue of Yoshifumi Niinuma's 1980 self-titled debut album, having already released his Automaticism and Plastic Love EP's previously. Produced in his Tokyo living room, Niinuma built his own synthesizers and speakers from scratch to create these 'intense proto-techno soundscapes.' A zeitgeist of early pioneering electronics, it runs the gamut from minimal synth ("A Worm"/"Automatic Type"), noisy industrial beats such as on "Temprament" or early electro sounds as heard on "Quick Starttype".

Review: Efficient Space's latest essential release sees Andras and Instant Peterson take a trawl through the darker, lesser-visited corners of Australian electronic music. According to the label, the pair lifted material from "local 12" singles, CD-Rs and the archives of community radio station 3RRR FM". Highlights come thick and fast throughout, from the acid-flecked, "Nude Photo" style Detroit fun of FSOM's "Resist The Beat" and chiming, trumpet-laden bliss of Ian Eccles-Smith's "The Slaughtering Eye", to the jaunty, mid-90s New York style bounce of Blimp's "Yellowgold" and the ultra-deep ambient techno pulse of Tetrphnm's "Track 11". Check, too, the enveloping dreaminess of Screensaver's drifting ambient closer, and the jazzy dancefloor depth of Inner Harmomy's "Da Lub Club".

Review: Having previously reissued Mkwaju Ensemble's inspired 1981 debut "Ki-Motion", WRWTFWW now turns its attention to their equally impressive follow-up from the same year, "Mkwaju". Beginning with a breezy chunk of Marimba-driven four-to-the-floor bliss, the album sees the Japanese trio - whose members included legendary percussionist and ambient artist Midori Takada - shuffle between hypnotic, Steve Reich-influenced minimalism ("Shak Shak"), melodious fusions of new age electronica and modern American classical ("Tira-Rin"), and glacial ambient soundscapes ("Pulse In The Mind"). Best of all, though, is "Flash-Back", a dense and intoxicating percussion workout that stretches out over 13 mind-bending minutes.

Review: The enigmatic Pom Pom appears for the first time outside of their eponymous imprint to deliver this ever curious collection of tracks for A-Ton: the offshoot of Berlin's Ostgut Ton for archive, ambient and art-related releases. There have been many rumours as to who may be behind the music, but they've done a pretty good job of keeping under wraps all this time - we must say. Much like moments in their extensive back catalogue, it's a fairly diverse affair covering everything from ambient ("Untitled 6 & 13"), bass music reductions ("Untitled 7"), early '80s style synth-punk ("Untitled 10") and even a bit of classic bleep techno as heard on "Untitled 12".