Back catalogue: Experimental/Electronic

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: It's quite shocking it's been six years since the last Caribou album, 2014's knockout "Our Love". Dan Snaith has never felt the need to rush his music out, and there was an interim Daphni album in 2017 to be fair to the guy, but here we are with a new set that sees Snaith returning to a little of the delicate songwriting and winsome electronica he forged his reputation on in the early days. There's a lot going on in here, from smooth as silk yacht rock-isms to deliriously modernist cut ups and more than a few wild pitch shifts to keep listeners on their toes. It's playful and heartfelt, and rarely lingers in one place for too long while still retaining a sense of calm. It may be not at all what you expected from Caribou's return, but we'd wager it's even better than you hoped.

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: Klamm is the new label dedicated to the artistic output of Saele Valese. After "Ivic", a collection of old and new materials published on Alva Noto's label (NOTON) at the beginning of the year, Saele Valese releases now his first real album "A White, White Day". Written and recorded between 2018 and 2021 the material of this work was sliced, glued and recreated several times, just like a filmmaker in the editing process, before finding its final form. Inspired indeed by the most poetic cinema, 'A White, White Day' represents, in the form of a non-linear and enigmatic narrative, a personal and psychological reflection on time, memory and dreams. Mastered by Rashad Becker.