A lovingly presented, outer-disciplinary collaboration featuring Ben Lancaster playing Moog, Sean Roche on saxophones, and visual artist Justin Hibbs. The music is a no-nonsense jazz stomper with Sun Ra running through its veins, and an eastern flavour; in two quite different arrangements.

Electro revivalism, jumpy and sick, very nice.

‘Bisk is back… as cheerfully unhinged as ever… absurd and exhilarating in equal measure. The Japanese producer’s drum programming weaves through knotty thickets of syncopated beats and white-noise bursts, chasing ghosts and dodging potholes. His samples are fragmentary dispatches from far-flung points, and any given musical phrase might shoehorn multiple worlds into wobbly union—free improv with easy listening, kindergarten recess with NASA Mission Control. Beneath each drum hit lies a potential trap door, and his melodies, if that’s what you can call his tangled scraps of electric bass and modal keys, ricochet like pinballs repelled at every turn by shuddering mechanical bumpers’ (Pitchfork).

Six archival recoveries from the Trilogy Tapes spar, including Hotline and other stuff slated for Mo Wax way back when, lashing together ragga, UK garage and hip hop.
As judicious, unruly and fresh as the day it was born.

None other than Blawan on his lonesome ownsome — after collaborations with Pariah as Karenn, and Surgeon as Trade — returning to the blood-drenched scene of his heinous Why They Hide Their Bodies.
New name, new sound; heavier and slower than his Ternesc output. The title track is the banger. Acid techno — deliberate, widescreen and ominous.

Beau Wanzer + Rezzett = maximum worries squared. Five frazzlers for all us nutters in the dance. Borez they izn’t.

Mostly from two cassettes, Douce Torture and Aut Aut, each limited to twenty-five copies, originally self-released in the early 2000s by Vincent E.F. from Turin. ‘A mixture of hardware electronics, guitar and musique concrete-style sampling techniques, recorded on everything from minidisc to VHS tape. With its roots in vintage dub, Krautrock and Italo-Industrial artists like Maurizio Bianchi and Mauthausen Orchestra… and yet strikingly original.’

Text-book BH GBH. A charged, densely rhythmic, super-ominous re-deployment of classic 80s sci-fi noir, shot through with spaced-out effects. Ekman in his best Robert Armanis on the flip.