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Review: There are seemingly no limits to the music Emotional Rescue will put out. This time they look back to the post punk scene of Bristol in the early 80s. Mouth was a short-lived outfit that put out just a couple of releases, but each one blazed a trail though leftfield percussive sounds, wave, weird jazz and electronics. Andy Guy and Rob Merrill were the main members with the likes of Nellie Hooper also in the band's orbit. This record is packed with tribal drumming and floating horns, broken dubs and avant-jazz but all with a proudly DIY attitude. It's packed with heady moments and wild steppers that havent aged a bit and still sound future.

Review: Is there any artist in electronic music that releases as little music yet remains as highly revered as Burial? We can't think of any. As it happens, this new Streetlands EP is actually the hallowed UK producer's second outing of 2022 after the ambient offering Antidawn back in January. As always it finds him back on Kode9's Hyperdub label. 'Hospital Chapel' is eerie atmosphere and lo-fi samples, 'Streelands' is another sparse ambient cut that is full of melancholy and 'Exokind' is the soundtrack of a faraway planet with distant solar winds and only the smallest of microbial activities for you to tune into before a signature angelic vocal brings the beauty.

Review: Emotional Response present something intriguing and oh so fresh from Cherrystones, who has most commonly been spotted recently lurking about labels like Bahnsteig 23, but in fact has a legacy reaching back to the late 90s. This new mini-album is reportedly the result of a pointed retreat to Scotland - a period of semi-isolation with minimal distractions from the serious business of analogue synths and reel-to-reel tape. There's a lot going on, from the slinky, boogie-licked groove of 'Amaziac' to the sludgy, wave tinted 'Rave Digger', but throughout the common theme is one of rough, upfront waveforms - maximal sounds with lashings of character, wielded with glee by an artist knee deep in their craft.

Review: Indica Dubs and Kai Dub link up here for their second collaboration, which is the first release of the year for the label. It features the full flavour and futuristic stepper that is 'Elevation Dub', complete with wooden hits and Digital pads, warrior chords and a nice sleek aesthetic. 'Higher Dub' then flip sit into a more heady affair with plenty of mad studio effects and endless reverb, floating toms and sizzled pads. These triumphant tunes are primed and ready for big plays on huge sound systems.

Review: Berlin's Cocktail d'Amore and Tokyo's Ene Records have come together once again to present the music of Solidair. The duo of Cocktail alumni Luigi Di Venere and Jules Etienne present three tracks aimed to induce a dance floor hypnosis. Orgonite (Riding the Waves) does just that, a slow build awash in the ebb and flow of acid tinges, just enough to wet your whistle on a Saturday night. The original mix keeps the skeletal support but throws in a life preserver of 8 bit gaming synthesis. Frisky arps call and respond to each other before making way for sinewy pads to lift off. Tiger's Eye sets itself onto cruising speed incorporating elements of late 90's acid techno with the sleek and smooth clubbing aesthetics of modern day Berlin.

Review: Cherrystones returns with the second of the "Aged" EPs for Emotional Response. Time propels and so does sound, thus orbiting nuances and motion leads us here, to present whatever maybe or interpreted as. Since the acclaimed Aged Of Bronze EP a symbiotic progress of craft arrives in the aptly titled Aged Of Silver. Again each track is like a coded syntax, unlocking the puzzle to aid a listeners journey and experience, building blocks to a utopian scape in form without form notes and pictures living and residing in the dimensions.

Never pandering to trends, his art based on immediacy and the moment, no disposable sub genres that fade as fast as they emerge, transposing and emitting heard and unheard a way to communicate with himself and those that identify.

A capsule of touched emotions bearing gifts for those in the present and wishing to be present, a key with keys analogue for Silver Tongues and Brass monkeys living in the shadow of a Scorpian's Tail.

Review: People of Earth shakes things up for #016 with a limited 12" from Charolastra entitled Karuna. Only 200 copies pressed of this continuous play, crossover jazz release. Brought to the realization with some of ATLANTA's most talented instrumentalists. It is an amalgamation of genres but the underlying emotions are immediately recognizable. Grief, loss, regret and the transcendental power of the spirit to overcome these hardships. Blending elements of jazz, IDM, broken beat, drone, and dub, while it may be difficult to put your finger on Karuna it doesn't make it any less enjoyable.

Review: Since first emerging in 2011 via the globally renowned Bella Union stable, Swedish indie rock duo I Break Horses have certainly set out their stall. The pair, better known as Maria Linden and Fredrik Balck, have - among other things - hit the road to support both M83 and Sigur Ros in the years between then and now. Indicative of their incredibly textured and subtly all-consuming approach to soundscapes, while this release comprises two remixes it still feels every bit a Horses outing.

There's just so much timbre to get to grips with. 'Death Engine' belongs in a twisted math rock dream, as grungy and rough as it is epic and emotional, if you look beneath the immediate discordance and distortion. Mythologen's take on 'Turn' is a cleaner second act, taking the pace down a notch and removing chaos, leaving only calm and serene harmonies of real beauty behind.

Review: Trauma Collective returns to shock your system on their fifth release, which comes courtesy of Spain's Rafael M. Espinosa aka Geistform. The Barcelona-based artist, also known for his exploits under the Univac alias, has crafted a singular style that exists at the interzone of IDM, digital noise and electro and having earned him releases on Pi Electronics, Femur and Hands Productions in recent years.

Espinosa executes four programs in sonic warfare on the Antena EP, all sounding akin to complex bitstream amplification. A multi-level barrage of frequencies play offense on opening cut "Proxima B", which sets the theme for more widescreen pulsations that gash the senses, as heard on the syntax error of "Note Repeat" and building up to a climax on the monochromatic soundstage of "Norc" - a jagged and angular exploration in bass artefacts and static redux.

Since unleashing the austere techno of Birmingham legend Mick Harris (as Monrella) and hometown hero Kwartz on unsuspecting ears, the Madrid-based collective has now ventured into more experimental spheres, as heard on the off-kilter mentalism of ASC's Loop Research and the brooding atmosphere of Makunaimadama's limited cassette release last year. Antena is the logical progression for the label's next chapter, where it continues to push the threshold of electronic music's outer limits.

Review: Malin Genie welcomes an extensive EP treat from Lava Lap, an emergent producer with an affinity for the kind of braindance that will have fans of Jodey Kendrick beating their drum machines with approval. The acid is slippery, the structures ever-shifting and a wealth of expression spills out of every bar. There are faster drum & bass paced bits, melancholy detuned electro and much more besides. Far from just being clever music though, it's also amazingly emotional and so impeccably produced. Any electronica head should be all over this.

Review: After launching last year via an arguably overlooked EP from Obsidian, Parallel Connection has made us wait a little while for the London label's second release. It comes courtesy of Sela, a 25-year-old French producer who apparently honed his soon to be trademark sound while living in the UK. There's much to enjoy across the four track missive, from the alien electronics, loose-limbed broken electro beats and chiming lead lines of '2020 Connection' and sub-heavy, acid-flecked stomp of 'Animal Kingdom', to the pitched-down electronica eccentricity of 'Really Get Fucked' and the psychedelic late-night tech-house hedonism of 'Mr Rabbit', which boasts bleeping melodies reminiscent of both mod-90s ambient techno and Yorkshire bleep and bass.