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Review: Given that Paul "Mudd" Murphy, Ben Smith, Ursula Major and krautrock legend Holgar Czukay debuted their Bison project back in 2010, this debut album has been a long time coming. Happily, it was worth the wait. Recorded at Czukay's legendary Cologne studio and featuring mix-downs from Conrad Idjut, Travellers is a particularly dubwise trawl through hazy, krautrock-influenced disco and horizontal Balearica. By anyone's standards, it's a deliciously intergalactic concoction; a fearlessly atmospheric blend of low-slung grooves, delay-laden horns, quirky percussion, stargazing electronics and mesmerizing, eyes-wide-shut vocals. Pleasingly, this CD version also includes a pair of fine extended versions of former single "Mandy" by Mudd, of which the intoxicating Dub is particularly potent.

Review: Back in 2011, Nicolas Jaar joined forces with fellow Clown & Sunset contributor Dave Harrington for the Darkside EP, an impressive trio of untitled tracks that pitted the former's scratchy, near-paranoid production style against the latter's penchant for lo-fi indie-rock inspired fuzziness. Here, the duo dusts down the Darkside alias once more for a first collaborative album. Predictably, it's an impressive set, offering a collection of downtempo tracks that shuffle between crackly, out-there atmospherics ("Sitra", reminiscent of much of Jaar's Space is Only Noise album), echo-laden alt-rock experimentalism ("Heart") and heart-aching fragility (the James Blake-ish "Greek Light").

Review: Over the course of two fine, full-length excursions, Don Glori (real name Gordon Li) has perfected a warm, breezy and frequently life-affirming trademark sound that cannily joins the dots between jazz, samba, MPB, jazz-funk and soul. He leans into the latter elements more on summery third set Paper Can't Wrap Fire, drawing on the talents of a wealth of Melbourne music friends across nine sublime tracks. There's much to admire throughout, from the sun-soaked jazz-funk/soul fusion of 'Brown Eyes' and summery head-nodder 'Janet', to the spiritual jazz joy of 'Song For Ants', the Brazilian brilliance of 'Precious' and the oceans-deep nu-jazz shuffle of 'Saturn's Return'.

Review: Rod Modell's Music For Bus Stations, released by Silentes in Italy, is a masterful exploration of ambient and dub techno that immerses listeners in a transcendent soundscape. Known for his Detroit roots and innovative use of old-school recording techniques like tape loops and echo devices, Modell crafts a sonic experience that seamlessly integrates with modern architecture. The album serves as a generative backdrop, enhancing the atmosphere of bus stations with its ethereal and progressive sounds. Designed to complement rather than clash with architectural elements, the composition creates a constantly evolving, organic sound tapestry. By utilising polyrhythmic elements and shifting sonic phenomena, Modell's work induces a state of calm and reflection. Inspired by avant-garde bus station designs, such as those by Domitianus Arquitectura and Bluck & Morgen, Music For Bus Stations transforms everyday spaces into immersive sound environments. The result is a living, unpredictable auditory experience that elevates the mundane to the sublime, perfectly capturing the essence of ambient exploration. Act fast if you want a copy, Rod Modell fans are die-hards!

Review: Following last year's timely reissue of Moodymann's superb Black Mahogani set - an expansive collection of some of his deeper, jazzier moments - Peacefrog have dusted down and repressed its 2004 follow-up. While its predecessor mixed fluid jazz with a deep house pulse, Black Mahogani II has no dancefloor pretensions. Instead, it offers up some of Kenny Dixon Jnr's finest deep jazz recordings. The album's centerpiece is undoubtedly the epic, 18-minute jam "When She Follows" - a tumbling, constantly-evolving journey through deep jazz built around looped acoustic bass, skipping jazz drums and exquisite Rhodes keys. The album is worth investing in for this moment of genius alone.

Review: There's a strong argument to be made that 1993's Orbital II, popularly known as 'The Brown Album', is the Hartnoll brothers' finest single album - a sublime fusion of bustling breakbeats, heady vocal samples (many provided by then unknown vocalist Alison Goldfrapp), twisted acid lines, memorable melodic motifs, and rush-inducing breakdowns. Here reissued in remastered and expanded form, the set - which includes fan favourites 'Lush 3', 'Halcyon' and the superb 'Impact (The Earth is Burning)' the album sounds as fresh and forthright as ever. This time round, it includes a second CD featuring key cuts from the two-part 'Raddicio' EP (including two takes on the Scott Walker-sampling 'The Naked & The Dead') and superb revisions of Lush 3 by Underworld and Psychick Warriors Ov Gaia.

Review: For the recording sessions for Gorthleck, long-running collaborators Paul 'Mudd' Murphy and Ben Smith set up a small studio in a loch-side house in the Scottish highlands. The dramatic scenery and ever-changing weather patterns seem to have proved inspirational, because the album is arguably the downtempo duo's strongest to date. Variously influenced by kosmiche, Balearica, neo-folk, ambient, Tangerine Dream and movie soundtracks, the album's nine tracks meander along impressively, subtly shifting shape whilst winding their way into your subconscious. It's a beautiful set from start to finish, rich with hazy musicality and mood-enhancing moments, and comes highly recommended.

Review: By now, we should all know what to expect from deep house legend Ron Trent. Over the years, he's fine-tuned his musically complex, emotion-rich sound to a tee. This fourth album, the follow-up to last year's more mixed up Dance Floor Boogie Delites, sees him at his most cosmic and melodic. Think smooth pads, darting synth doodles, hypnotic - and occasionally percussively complex (see "Atmosphere" - grooves, and twinkling piano melodies. For those who appreciate his slightly soft focus approach, it's a delight, with some genuine gems to behold. "Sweetness", "Space Dance" and the darker, clubbier "Blood & Fire" are arguably among his best tracks of recent years.