Back catalogue:

Review: A aka Mika Vainio's 'Fermionit' is a significant release from the late Finnish producer, who passed away in 2017. Originally featured in a Belgium Detuned 6x12 boxset just before his death, the track received critical acclaim from collectors and fans. Now, it returns to Mika's own Sahko label for a well-deserved 12" release. 'Fermionit' embodies the essence of Finnish techno with its minimalistic, cold and stark sound. The track's passive-aggressive edge showcases Vainio's signature style, blending raw, unfiltered textures with a profound sense of depth. This release not only honors Vainio's legacy but also offers a chance for new listeners to experience the pure DNA of Finnish techno. An essential listen for fans of minimalist and avant-garde electronic music.

Review: The 140+ BPM revolution race with scarcely a look in the rear view mirror. Malaizy here dropping two tracks that show just how wild and weird stuff can get in this part of the dance music spectrum. 'Burgercome' itself has hints electroclash, juke, ghetto tech, footwork, and EBM, without fully committing itself to any of those things by way of a DIY punk on speed in a Parisian warehouse party vibe.

Over on the flip, 'Stuck' is an entirely different beast altogether, which probably isn't that surprising considering the unique and particularly niche nature of the opening tune. Rather than setting a break neck pace, instead we descend into a staccato amalgamation of white noise, distorted drums and inaudible human murmurings.

Review: Sanderson Dear's Stasis Recordings released the original Time Capsule compilation in 2020 - a 20-track exploration of ten different ambient techno artists exploring two ideas each in compact form for a box set of 7"s. Now the label has revisited some of the project's standout moments and offered a chance to enjoy extended versions gathered on a single 12". From Maps Of Hyperspace shaping out atmospheric halls of synth work on 'Beta' to Glo Phase offering some gorgeous, sparkling grooves on 'Fire Flies', there's plenty of ground covered on this release. Of course the mighty John Beltran is a big drawer too, and his typically stellar 'The Descendent' doesn't disappoint in its full extended version.

Review: Having built his reputation via a trio of must-check EPs on Bokeh Versions, Mars89 transfers to Alex Hall's "mutant electronics" imprint Natural Sciences. The producer is a neat fit on the imprint, with "2020" containing a quartet of creepy, hard-wired, industrial-tinged cuts that seem eerily fitting for these troubled times. He begins with the bone-rattling beats, machine-gun percussion hits, ricocheting metallic clonks and gut-punching bass of "GoodThing", before successfully fusing mutilated industrial sounds and paranoid rhythms on "JoyCamp". Over on side B, "DayOrder" is a strangely swung slab of mind-altering electronica that defies easy description, while "MiniLuv" is a thumping stomp through lo-fi techno territory in the company of a steroid-fired monster.

Review: Like the orographic cloud formed around the hill on the front cover, Martinou's latest record is a restorative future garage via techno myst. Released through the German minimalists Fauxpas - who've confirmed their pride at having finally gotten to release with the Swedish artist - this vinyl edition contains an exclusive track on the fifth runout, 'Thoughtless'. But the fact is, all the tunes here are more than worthy for soundtracking a condensate moment of downtime and renewal. Paced blissfully, our faves are 'Woven' and 'Hold Then Release', both of which exculpate all our anxieties through burbling, filtered woodblocks and field-studied sonics, hand-picked to arrest and wow. A sublime new outing from the Sewer Sender founder.

Review: Two years ago, Italy's Balearic Gabba Soundsystem switched from remixing and re-editing their favourite cuts to curating compilation style EPs of similarly minded fare. They're in that mode again here, presenting a trio of cuts that combine the saucer-eyed warmth and loved-up musicality of Balearic music culture with grooves and rhythms firmly focused on the dancefloor. They begin by showcasing Wallace's sublime remix of Sewell & The Gong's 'Better Worlds', a locked-in, hypnotising fusion of semi-organic deep house grooves, new age melodic motifs and the dreamiest of ambient chords. Over on the flip they dip into slo-mo Italo-disco/acid house fusion via SIRS fine revision of My Friend Dario's 'Tell Aro', before treating us to a Pedro Bertho remix of Verdo's 'Belvourdier' in which sparkling Balearic house piano riffs, undulating acid lines and mid-80s "chorus" synth sounds rise above a fluctuating synthesiser bassline and hustling beats.

Review: Returning with his redemption attempt follow up to 2020's We Are Chaos, industrial metal shock-rock provocateur Marilyn Manson seeks to skirt the numerous controversies and accusations accrued in the last few years with his most potent musical statement in decades. Signing with Nuclear Blast and enlisting the likes of Chelsea Wolfe collaborator/producer Tyler Bates to helm the project, his 12th full-length One Assassination Under God: Chapter 1 (indicating that more is sure to follow), offers up some of the heaviest and introspective material of his career to date, with cuts such as 'Nod If You Understand' harking back to the unhinged angst of Antichrist Superstar, whereas 'As Sick As The Secrets Within' breathes with the same mercurial synth-gloom as the strongest moments on Mechanical Animals. A cynical attempt to regain fan adoration, or the sound of a tortured artist finally coming to terms with his own demons and attempting to rediscover former glory and prowess, the interpretation is entirely your own to consider.

Review: Argentinian crowds are probably the most exciting to play to in the world. And Marilyn Manson at this time had just released his Trent Reznor-produced masterpiece LP Antichrist Superstar and was at the peak of his game, so to say a ticket to this show at the Velez Sarsfield stadium in Buenos Aires was hot property is an understatement. This is about as good as heavy metal rock n' roll gets and not many will come close to the thrills that a 90s Marilyn Manson show brought. The setlist is monumental, with singles from Antichrist Superstar such as industrial metal banger 'The Beautiful People' and 'Tourniquet', which sounds like the blueprint to the nu-metal boom that was to come, among the highlights. Unusually for a live album, it's taut, with the track list limited to 11 songs, but this is for good reason. In a moment of Spinal Tap-esque horror, shortly after the final track you hear on the album, the band's drummer Ginger Fish received an electric shock whilst playing and the show ended abruptly. Putting his body on the line like that to deliver this blistering set is an heroic deed and it's a fantastic consolation to have this show fossilised onto vinyl.

Review: The somewhat surprising return and attempt at redemption from the industrial metal shock-rocker Marilyn Manson has been a bold pill to swallow, with the once iconic provocateur seeking to avoid the many allegations and numerous controversies he has garnered over the last decade. Attending rehab and becoming fully sober over the past few years has seen dramatic weight loss, a notably more lowkey public demeanour and a newly signed record deal with Nuclear Blast (having been dropped by Loma Vista not long after 2020's We Are Chaos) turn a few heads, simultaneously cautious and curious as to the authenticity of this humble arc. With lawsuits recently thrown out, the court of public opinion appears to be the only form of due process that shall occur, leaving it to individual listeners to make up their mind as to the merit of the artist as a person. As to the art itself, One Assassination Under God: Chapter 1 is the 12th album to adorn the name Marilyn Manson, and it's his best since 2000's Holy Wood. Tapping Chelsea Wolfe collaborator/producer Tyler Bates to oversee the entire project has helped to create a generational bridge between how out of sync Manson himself had become with his own artistic strengths and audience desire, and Bates' insider knowledge as a younger fan first, collaborator second. Together they rediscover the core industrialist menace, gothic romanticism and hedonistic nihilism that kept listeners hooked after the initial shock of aesthetic would cease, but for the first time in decades, it feels earnest and earned rather than forced. Boasting Antichrist Superstar style buzzsaw synths and chug-heavy breakdowns on cuts such as 'Nod If You Understand', while the self-deprecating admission of using drugs to hide behind monstrous flaws on the gloomy balladry of 'As Sick As The Secrets Within' harks back to the most fragile moments of Mechanical Albums. Be it a cynical cashgrab or attempt to regain fan adoration, or the genuine musings of a tortured artist finally learning to face his own demons head on, there's simply no denying that this is Manson at his most potent, intimate and focused, begging the question of how different of a career trajectory and latter day output might we have had if the man had learned to look inward long before hitting the bottom.

Review: Marilyn Manson is back with another of his famously bold and provocative new albums, One Assassination Under God: Chapter 1. Mansn has always been known for pushing boundaries - as well as buttons - and comes through again here with a dark and gripping collection of tracks that blend his usual tropes of industrial rock, haunting melodies and raw, intense vocals that come from deep down inside and ooze with menace. This album explores themes of power, corruption and rebellion, all wrapped in Manson's signature mix of shock value and unusual expression. It adds up to a journey into a twisted, dystopian world filled with layers of atmospheric sounds and unsettling lyrics so is perfect for fans of Manson's uniquely confrontational style.

Review: Italian-born, Berlin-based. These details alone are enough to mark Velvet May out as a product of location. Italy has long-been obsessed with a distorted futurism, musically at least, with a slew of hugely respected noise pioneers calling the country home, particularly in northern areas around Torino. Meanwhile, Germany's capital is all about those dystopian aesthetics and technophile attitude. Fusing together industrial, rock, and electronic in a visceral, mechanical, human-trapped-in-machine amalgamation of sound, the grit of production lines meets the unbridled raw energy of punk, the sex droid seduction of electroclash steaming headfirst into the forward momentum of techno. It's angry, frustrated, perhaps even desperate, voices calling out from behind wires and controllers. Yet, in other moments ('Haven of Thrill', for example) it's positively life-affirming and, dare it be said, owes something to the euphoria of rave.

Review: Drew McDowall's latest album, A Thread, Silvered and Trembling, is an exploration of electronic processing and traditional Scottish pibroch music. Co-produced with Randall Dunn, the album features a dynamic orchestral ensemble arranged by Brent Arnold, creating an eclectic and transcending sonic experience. The album's four pieces move between shrouded electronics and enigmatic orchestration, surging into elegant crescendos and evoking deep animism. Tracks like 'Out of Strength Comes Sweetness' and 'And Lions Will Sing with Joy' feature keening strings and disorienting drones, while 'In Wound and Water' sways with eerie cello undertones and lush layers of electronics. The album reaches its climactic peak with A Dream of a Cartographic Membrane Dissolves, where processed voices and grand orchestral stabs converge to create a haunting and cathartic finale. Throughout, McDowall's music explores themes of sacredness and profanity, creating a journey that lingers long after the music fades. A Thread, Silvered and Trembling is a testament to McDowall's ability to blend traditional influences with experimental electronic soundscapes, resulting in a thought-provoking work.

Review: Masami Akita, known as Merzbow, continues his sonic exploration with 'Circular Reference,' his latest release and debut on No Holiday. Renowned as a pioneer of extreme noise, Akita unleashes a torrent of synthesised tones intermingled with layers of feedback and midrange noise, creating an intense listening experience. Despite the relentless intensity, the album also offers moments of lurching rhythms and uneasy calm, characteristic of Merzbow's distinctive style. With over 500 recordings since 1980, Merzbow remains a seminal figure in noise music, drawing inspiration from diverse influences including progressive rock, heavy metal, and dadaism. The name 'Merzbow' itself pays homage to Kurt Schwitters' Merzbau, reflecting Akita's fascination with found objects and avant-garde aesthetics. Circular Reference promising to impress long time fans while making some new ones along the way. Amplify the experience by playing it loud, and experience Akita's latest impact on experimental music.

Review: This extended triple vinyl edition of Batztoutai with Memorial Gadgets revives Merzbow's groundbreaking second vinyl release from 1986 in an all-new and special package. Widely regarded as one of the Japanese master's finest albums, this is its first-ever reissue on vinyl and the first release featuring the original recordings. The 1986 RRRec edition was a remix by the label, whereas this version presents the original tracks but also it includes bonus material from the same era to offer a definitive and immersive look at Merzbow's early work. Noise and experimental music fans, do not sniff at this one.