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Review: This hand-stamped white label 12" from the Pulp Corn crew is the 10th such offering and still, they are cooking up irresistible house fusions that do plenty of good things. 'Track 1' here takes a classic vocal sample from the Pulp Fiction movie and layers it into a freewheeling disco house sound that is cosmic, funky and retro-future by design. After that loopy workout comes the more freewheeling broken beats and Latin-inspired sounds of 'Track 2' which again has a classic movie sample as the centrepiece while the drums evolve all around. Playful and fun for sure.

Review: Not a lot sounds like The Amorphous Androgynous, which is a relief because with a name like that you really do need to back it up with something experiential. A quick search online can tell anyone the duo - better known as Future Sound of London - have a strange relationship with Noel Gallagher, having recorded with him only to then be told by the Manchester man the outcome was shit so he destroyed the masters. Apparently these then turned up in a sock circa 2018 and you could almost be forgiven at least one of the tracks is here.

Actually, The World Is Full of Plankton comprises three tracks from 2005's album Alice in Ultraland, but the wailing, trippy, spaced out vocals that float in and out of dominance on the title number almost sound like the old Oasis lad. It's a deep and very operatic affair, which contrasts the exotic spatiality of 'All Is Harvest' and the prog rock piano stepper, 'The Emptiness of Nothingness'. Amazing stuff.

Review: A Track has been a big name in the EDM scene for well over a decade now. He is one of those DJs often in the DJ Mag Top 100 poll and plays on the largest stages. He also runs the fFools Gold label and occasionally puts out batches of gritty beats made on his trusty SP1200! This is a second such serving that finds him getting busy on the ol' drum machine, serving up the rawest of the raw cut-ups. These four jams are chunky 2-bit numbers that are fad frill and all about the body rocking beats.

Review: Hoavi (Kirill Vasin) lends his services to Ghost Zvuk to deliver a disordered series of IDM 'Phases', which are intentionally numbered incorrectly throughout the record, as if to suggest something got broken in transit. That being said, these are remarkable textural explorations for the synaptic and deep-thinking listener; 'Phase 10' is an incessant repeat ricochet, sounding like the internal workings of a plasmic ball bouncing around inside a supernatural lead pipe; 'Phase 5' is more beat-driven, with pressurised pink noise bursts sounding to escape the alloyed confines of a ritual dubbing chamber.