Back catalogue: Experimental/Electronic

Review: Yu Su's eclectic, organic sound is one that has been perfected over every consecutive release, and reaches its yetmost peak with 'I Want An Earth'. As if to make a defiant cry for a habitable planet, this one contains four tracks inspired by the artist's time spent in the deserts of Ojai, California, and the coastal areas of British Columbia, presenting a deeply pad-driven, warm and modular sound to match. A dazzling work of odd-timed cosmickery and varied sonics.

Review: Sean Bowie is back with another ode to the tortured, damned, and damned good. The Florida-born enfant terrible of US alt-rock can barely put a foot wrong in our eyes, whether that's the post-chillwave of Teams, the moniker he was recording under in the early-2010s, or the Tumor releases. This is the place where Death In Vegas fans come to be reassured it's not quite over yet.

The Asymptotical World, not to be confused with The Asymptomatic World, is a case in point. This is punk, if punk decided to dive into bed with electroclash and they had a baby that wasn't really what anyone expected. It's sludgy, scummy, guitar-driven chaotic noise that occasionally dissipates into white mayhem, all the while maintaining not just its sense of self, but an underlying feeling you're two seconds from a rave while in the moshpit.

Review: Yaeji's latest offering is a perfect tightrope walk between dreamy pop, DIY house and plenty of the Korean American artists own unique sound designs. It is starkly emotional and demonstrates a lightness of melodic touch that is beautiful to experience. Introverted and perfectly poised for self reflection, the album is an essential audio partner for these strange and unsettling times in which we live. There are darker moments of experimentation, but always balanced with improve jazz or lighter moments that lifts the mood. It's perfectly time during an era when we can't be back in clubs, and is her strongest work by far.

Review: Born in Algeria, when it was still among France's colonies, to French parents who themselves claimed Italian heritage, it makes perfect sense that Edouard Joseph Scotto Di Suoccio would wind up making music that seemed born out of a very different place to the one you're looking at. No matter what, or where, you're gazing upon. Strange tunes that take some describing, let's start at the beginning. Following his series of chanson singles released in the late-1960s under the pseudonym Ted Scotto, by the middle of the next decade he'd adopted the Tregger alias and was dipping toes into tones along the lines of what Space Oddities is packed with. First laidback jazz funk, things became more and more exploratory, sci-fi, disco, and kosmische influenced as the years went by. That legacy is remembered and honoured today on some of the world's finest groove-soaked dancefloors and the DJs that dominate them, with this collection giving an insight into the more experimental end of that oeuvre.

Review: Roland P. Young's 80th year on the planet is marked by a celebration of his EM Records label with a sixth album from the great talent. It's an album that has 113 new tunes that cover a diverse array of sounds that are joyful and celebratory odes to life. The artist grew up in Kansas City and then had time in San Francisco and New York before he started to release his self-produced solo music in 1980. Along the way, he picked up influences as diverse as soulful and spiritual multi-world avant-music and took cues from bits of ambient, jazz, soul, new age and electronic music.

Review: Osaka's Koshiro "YPY" Hino built his reputation on a series of fearlessly experimental cassette releases, before breaking cover to deliver a 12" of frazzled techno on Nous last year. Zurhyrethm marks his long-form vinyl debut, and contains eight suitably experimental tracks stretched across two slabs of wax. While there are clear tropical influences, a humid feel and nods towards the visceral pleasures of ambient, Hino's greatest strength is his eccentric drum programming. Zurhyrethm's dense - but often subtly mixed - percussive backing dominates throughout, with nods to African and South American rhythms, Sweet Exorcist's C.C.CD-era "clonk techno" (look it up), and the metallic clanking of classic industrial music.