Evergreen house master Kerri Chandler digs back into the vault for 'Lost & Found Vol. 4', the latest instalment in his archive series on Kaoz Theory. A genuine house pioneer, he continues to shape the genre while staying mighty true to the scene's roots. And it's fair to say there aren't many out there making more authentic house music than this veteran US producer. Vol. 4 unearths more hidden gems, including 'Since I Met You' featuring the late Michael Watford, the piano-laced joyride of 'Grandiose Garden' by Alopeke, and the brooding soul of 'Circles' featuring Natalia. Closing things out is 'The Dark One', a deep and driving cut built for the floor, with its dramatic string stabs and searing synths.

On Alligator Bites Never Heal, Doechii blends her Tampa roots with her current Los Angeles life, embodying the past, present, and future of music in under an hour. A verbal banjaxer of countless genres, she delivers an eclectic mix of sounds, striking a pose on the cover as a stone-faced albino alligator queen. The mixtape follows the success of her Eurodance-ish hit 'Alter Ego', which was praised by SZA and remixed with a verse from JT. Doechii now finesses her streak, with such energetic tracks as 'MPH' and 'ROCKET' making for remarkable, cutting summer anthems.

In 1995, Portland hipsters The Dandy Warhols made tentative steps towards gatecrashing the mainstream by signing a major record deal with Capitol Records after their indie debut Dandys Rule OK caught their attention. But it wasn't until this album, their second on a major label though, that things really started to kick off for the Courtney Taylor-Talor fronted icons. And it's easy to see why it was such a hit, Dandys could conjure pure beauty with their psychedelic indie pop melodies. The single that became their definitive hit and likely haunts them to this day is 'Bohemian Like You, who some of you will remember from that Vodaphone advert. But it's an album that doesn't rely on a single hit, it's one to whack on, go through the looking glass and see the world through their artfully fantastical vision.

On her sixth full-length album, Tokyo's Satomimagae continues to refine her idiosyncratic fusion of folk, ambient and sound collage into something singular and quietly expansive. Hailing from Japan's acid-folk scene, Satomi's music often blurs the edges between the intimate and the cosmic, the rooted and the abstract. Taba floats beautifully in that liminal space. Rather than traditional song structures, she presents Taba as a series of open-ended vignettes, each radiating with a soft-focus clarity. The arrangements are centered around fingerpicked guitar, hushed vocals and ambient textures that are deceptively gentle. Closer listening reveals a rich interplay of glitchy electronics, subtle field recordings and haunted atmospheres. Tracks like 'Many' drift on echoing voices and vaporous folk melodies, while 'Tonbo' finds a summery sweetness in its fusion of pop and pastoral folk, complete with the sound of nature rustling at its back. 'Omajinai', perhaps the emotional core of the album, embraces traditional pop structure only to dissolve it into a haze of nostalgia and spectral warmth. Taba is not background music, it asks for deep listening, but rewards you with quiet truths and melancholic beauty.

Coorreente Belgium delivers a compelling slice of modern techno with 'Interlink', a four-track compilation that dives deep into rhythmic exploration and sci-fi atmospheres. Each cut offers a unique perspective, yet together they create an excellent and cohesive experience. Orbe's 'Jaxa' kicks things off with a spacey, melodic groove. The track's sci-fi techno aesthetic is underscored by rhythmic intricacies, creating a sense of forward momentum through the cosmos. It sets the tone with a blend of dreamlike melodies and pulsing beats. 'Refraction' by PTTRNRCRRNT follows, venturing into tribal territory with creative, off-kilter rhythms. Alien-esque warning sounds weave through the mix, adding a sense of unease and mystery that keeps listeners on edge. On Side-2, Deluka's 'Axis' plunges into subterranean techno with a deep, hypnotic vibe. Elements of trance filter through crisp production, guiding the listener on a spacey, introspective journey that feels both grounded and ethereal. Jorge Flukso's 'Synaptic' closes the EP with a nod to classic underground techno. Its dynamic, brooding build recalls the raw energy of Surgeon's warehouse bangers. The track's evolving layers and relentless drive create a late-night atmosphere perfect for dark, crowded dance floors. 'Interlink' is a well-curated snapshot of techno's diverse spectrum, balancing the cerebral and the physical with finesse. If you are one that thinks techno has been over-saturated the last decade and that there is no good techno coming out anymore then I would check this EP out.

Techno tachyons Midi Mode, based in Ireland, provide a home for "warped and twisted" sounds and those who create them. After five vaporwave-tinged, reality-bending debut EPs from the likes of Ikeaboy and Power, they now present their very first selectors V/A EP on a gooey green wax edition. It's quite the assembly of Eireann techno royalty, with a host of seasoned players lead by probably the country's most esteemed DJ, Sunil Sharpe, as well as Kerrie and Wexford's Lee Holman. Quality is, naturally, at a consistently high label - with closer 'Phase-One' proving an especially computational, objectivist, mad, pitiless track.

Medellin producer Marck D (Charlie Escobar) is a new Planet Rhythm poster child, though his digital releasing repertoire is nonetheless colossal even without them, his many affairs including Illegal Alien, Phobiq and IAMT. Shocker it is, then, that 'Dune' is Escobar's first ever 12"; the record brings ultraphonic chord slurries ('Behind The Chord') and federated, intergalactic-dynastic codes of techno honour ('Atreides'), riding the sand-wormed thematics of the Frank Herbert sci-fi classic.

As we hapless reviewers make our way through these five new experimental LPs by Current 93, we cannot help but feel increasing torment and terror at the figures portrayed on the front covers of each record: hand-painted by David Tibet himself (the artist has increasingly indulged such formal solo trend-buckings through his own Cashen's Gap imprint in recent years) they appear like sleep paralytic demons or the ghosts of cancelled English folk yore. All the records are apparently ritually connected to a recent string of live appearances between London and Hastings, and Tibet's penchant for demonologic peerage titles such as GreenSleeve Drakon and Gnostic Sketch - blurring a sense of self-referentiality and occult otherworldliness - leave us bewildered and slack-jawed.