14 days

Review: Post-punk aficionados may already by familiar with Crash Course In Science, a Philadelphia-based band who released two acclaimed singles between 1979 and '81, before going their separate ways. Here, one of the band's previously unheard 1981 demos gets mixed and released for the first time. "Jump Over Barrels" is a song about overcoming adversity, and in newly mixed form sounds like a lost post-punk classic. It's accompanied by a couple of demos - their initial 1981 recording, and an earlier, deliciously skeletal and heavy rehearsal version - and a fresh remix from Tadd Mullinix under his now familiar Charles Manier alias. The Ann Arbor-based producer does a good job of toughening up the track for modern dancefloors, whilst retaining the free-spirited essence of Crash Course In Science's original.

Review: Earlier in the year, modern minimal wave and coldwave hero Marie Davidson signed a high-profile deal with Ninja Tune. Here, she makes good on that contract, following a couple of killer singles with what could be her strongest album to date. After setting the tone with clandestine, tongue-in-cheek opener "Your Biggest Fan" - a creepy spoken word cut taking aim at stalker-line fans to the accompaniment of heavy analogue synth bass and creepy computer bleeps - Davidson giddily flits between elastic dancefloor workouts (the brilliantly sleazy "Work It" and mind-altering "Workaholic Paranoid Bitch"), attractive post-EBM instrumentals (the psychedelic and fizzing "Lara"), meditative ambient melodiousness ("Day Dreaming"), bizarre experimental weirdness (the suitable dystopian "The Tunnel"), and stylish analogue pop (the whispered vocals and off-kilter early morning funk of "So Right").

Review: Given that Ghost Vision is the combined work of Thomas "Cagedbaby" Gandey and Psychemagik man Danny McLewin, you'd expect this 12" - their second in as many weeks following a debut outing on Love on the Rocks - to be pretty darn hot. It is, of course, with the duo serving up two deliciously epic chunks of kosmiche-inspired hypnotism. A-side "Saturnas (Ghost Vision Theme)" is particularly potent, with exotic synthesizer lines, spacey chords and bubbling TB-303 acid lines gently rising above a chugging, locked-in groove. "Zuul Passage" is an altogether more languid and meandering affair rich in evocative electronics, tear-jerking synthesizer melodies and sparse-but-solid vintage drum machine beats. It's also really rather beautiful.

Review: Influenced by her time in the French countryside after a bout of touring exhaustion, the latest release by Caroline Herve is the most spiritual release yet from the artist more widely known as (Miss) Kittin. The electroclash pioneer and techno veteran gives up past formulas on the Cosmos LP, although there is a familiar sound on the moody electro-pop opener "Cosmic Address". Elsewhere, she proves there's variety in her sonic arsenal such as on the precision IDM of "Question Everything" or "Last Day On Earth", to the deep and introspective dub techno on "Multiverse" and the remainder of the album's expressions in organic, leftfield electronica.

Review: Wolf Muller and Niklas Wandt's first official collaboration is a hot one, indeed, and by the time we've finished writing this message, we hope for everyone involved that there'll still be some copies on our shelves! The duo land on Hamburg's Growing Bin Records with Instrumentalmusik Von Der Mitte Der World, a punchy blend of danceable non-music that is prone to causing mass levels of hysteria - both off and on the piste. Through catchy, wild-eyed blends of funky tribalism, house-tinged 4/4, and wayward electronica, these two have created a world of their own, and one which will undoubtedly appeal across fans and across genre fanatics. If you're into the whole Finnish/Norwegian connection, then this is for you.