Superior Viaduct US Vinilo y CD

Review: German outfit Cluster were pioneers in the world of prog rock, Kraut and experimental early electronic music some 50-odd years ago. Their music still resonates to this day - and fetches high prices for those willing to pay it - but thankfully reissues like this keep it available to those of us more interested in the music than the format or the investment value. This one is rooted in cold wave and synth elegance, with its loose-limbed rhythms and bendy chords, cosmic intonations and ever-optimistic melodies all making for a brilliantly unique listen and cosmic journey.

Review: Coming to a 'lounge-smoke' coloured vinyl edition, now you truly can 'Buy' The Contortions' breakout LP once more. Released over 35 years ago, this is a unique classic album in the microgenre that was no wave, which took New York by storm in a strange coalescent fog of art punk, new wave and cold noise. Legend has it that either this album or the man who created it - James Chance, our main Contortionist (by trade a saxophonist) - was one of the core inspirations behind Brian Eno's coinage of the genre name 'no wave', after the latter witnessed a live performance of said bittersweetly vapid music. As plastic avant-garde beats melt into liquid skies, this one isn't to be missed.

Review: Originally released in 1985 on cassette, this sel- titled record from Flaming Tunes was their only one. It's a cult home recording that came after collaborative time spent together by childhood friends Gareth Williams and Mary Currie and is influenced by Williams's time spent travelling India and studying classical Kathakali dance. The music was recorded in a house in South London and makes use of piano, bells, clarinets and percussive sounds that are layered up into simple arrangements. The lo-fi melodies, oblique rhythms and hypnotic qualities of it make it a gold standard for anyone who prides themselves on unearthing the more outlier albums out there.

Review: Hardcore record collectors love a leftfield talent or outthere artistic character, and the late percussionist Milford Graves certainly fits that biting. He was one of the most unique artists of his time and grew from the states of his native New York to be known around the world for his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and contributions to the NYC loft era free jazz scene. He linked up with pianist Don Pullen in April 1966 for a show at Yale University that marked a real turning point in that it saw him take more creative control having mostly collaborated up until then. Strap in and listen to what he had to say for himself on this fine reissue of recordings from that night.