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Back catalogue: Experimental/Electronic
Juno's full catalogue of Experimental/Electronic
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White Phosphorus (Chris Connelly Plays Throbbing Gristle) (180 gram vinyl LP + insert limited to 250 copies)
Cat: DPROMLP 176. Rel: 29 May 25
Review: "Random, tense, scary and compulsively fascinating". That's how Chris Connelly describes the period in which the tracks on this album were originally written. As the main man behind some of the most iconic and influential industrial bands in history - Ministry, Revolting Cocks, Murder.Inc... - he's definitely well placed to make this kind of judgment. And it comes across even more understandable if you grasp the fact he's meaning all that in a good way. Throbbing Gristle should need no introduction, having pretty much written the blueprint for industrial musick in the nuclear age. A sound that screamed "get us out". Combine that oeuvre with this guy, then, and you have something which is uncompromisingly explosive and effective. Not to mention fitting, given half the people on the street seem convinced we're rushing headfirst into another atomic standoff, if not something much, much worse.
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Review: A four sided selection of remixes of the goth kingpins' widely acclaimed and long awaited latest album Songs of a Lost World. From the moment Paul Oakenfold's 'I Can Never Say Goodbye' rework opens proceedings i lush strings, half-submerged vocals, and a cinematic pace i it's clear that curation, not just contribution, has shaped the form. Orbital turn 'Endsong' into a glistening spiral of sequencers and tension, while Sally C's raw house take on 'A Fragile Thing' ups the pulse without disturbing the gloom. Smith i still unmistakably the same outsider from Crawley, West Sussex i guides things with restraint, letting the space speak louder than the noise. Four Tet's version of 'Alone' closes the first disc like a forgotten lullaby, cracked and glinting. You don't get every remix i the more textural, post-rock turns are gone i but you do get a sharp cross-section that keeps faith with both atmosphere and momentum. It's the kind of record that feels designed for the night: not to lift it, exactly, but to sink into it willingly, track by track.
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Review: On a remote, gravel-covered spit along the east coast stand the remains of a Cold War-era government weapons testing and radar facility. In the mid-1960s, this site hosted the creation of an over-the-horizon radar-a groundbreaking system designed to bounce signals off the ionosphere to monitor distant nations. Its success depended on a complex interplay of frequency, solar cycles and atmospheric conditions but yet persistent interference plagued the system and rendered it ineffective. Despite multiple investigations, it was decommissioned and dismantled by the early 1970s. Today, the once-ambitious Cobra installation lies dormant, reclaimed by nature as a quiet, unlikely wildlife refuge and these are sounds inspired by it.
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And The Sun (white vinyl LP + MP3 download code)
Cat: CIS 177LP. Rel: 29 May 25
Review: The work of London-based Suffolk lad Dalham (Jon Michaelides) often comes accompanied by textual musings on existential themes, and his latest record And The Sun is no exception, hearing him quip on the mooted tulip that is generative AI: "As humankind strives to create artificial intelligence what will faith, love, or morality look like to a nascent consciousness? Will it be capable of understanding its creators who often hold logic and superstition within themselves?" So do questions of climate, macro-scale recklessness, and internal contradiction abound on this new record; an eight-track sublime that fits in well with the label's retromodernist, sometimes neo-pagan aesthetic sensibility. A weird Western ambient odyssey, where one abstract electronic artist's resident Suffolk surroundings merge with the same piano-led, drum machine-mapped scenes, not also long ago explored in 2024's 'Alive In Wonderland'.
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Cat: TPLP 1964LTD. Rel: 05 Jun 25
Review: Nadah El Shazly returns with her second album and first on One Little Independent and Backward Music. The Egyptian-born, Montreal-based artist blends experimental sonics with Arabic roots and improvisation on Laini Tani, and crafts music that slips between worlds and takes you with it. The whole record pulses like a hot night stretching into morning. It's sweaty, surreal, and endlessly alive and each track is a vivid fragment: defiant, euphoric or quietly raw. El Shazly's lush vocals and layered metaphors weave a dreamstate of meaning and mystery that bold and chaotic yet controlled so is a record to get lost in, then hit repeat as you try to decode its hidden truths.
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Review: Backdrops of engineered silence and societal distraction inform on this from Fatboi Sharif and Driveby, twin rap verbalisers from the hinterzones of New Jersey. Let Me Out confronts the fractured psyche of a world numbed by noise: a raw, unfiltered dispatch from the underbelly, where six-figure illusions swing pendularly over mirrored truths, and suppressed rage simmers beneath manufactured calm. Tracked at 2ndststudios and shaped by the precision of Steel Tipped Dove, the record is sharpened further by the eerie co-production of DJ Boogaveli on 'We Fought for this Country!?' and haunting backing vocals from Paul Keim on 'Krossroads'. From milk-and-oil confusion to the cracked prayers of trauma survivors, each track on this grittily sculpted noise rap record erodes our psychic Achilles' heels, through emotional debris and soul static.
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Acrobatizm/Prepared Wave (translcuent pink vinyl 2xLP)
Cat: DATAK. Rel: 10 Jun 25
Review: Legendary video game soundtrack-er Motorhiro Kawashima is best known for his efforts on the iconic Streets of Rage 2 and 3 titles. The latter is remembered as one of the hardest to define scores of all time, certainly in terms of a playable titles, and even 30 years on still amazes and baffles anyone who encounters it. Less well known are the artist's solo and standalone efforts, which came much later. Acrobatizm and Prepared Wave were the first two of those records, and emerged in the pre-pandemic late-noughties. Both draw heavily on the glitch and leftfield experimental techno worlds, which were in rude health at the time, doubling down on staccato rhythms and mind-blowing arpeggiation, with the punchiness and jerky vibes more than nod to the glory days of 8-bit gaming.
… Read more in stock $37.02
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Cat: BF 074LP. Rel: 05 Jun 25
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Review: Built as a continuous 55-minute suite split into nine movements, Marconi Union's The Fear Of Never Landing hears the duo recapture a state of exhilarating levity. Their 12th studio album, it finds them in refreshed head and soundspace, having come a heck of a long way since their 2003 debut Under Wires And Searchlights. The record emerged slowly over two years, during which the Manchester duo (Jamie Crossley, Duncan Meadows) grappled with creative uncertainty, reconnecting with their foundations through live experimentation. The catalyst came while scoring the cult 1975 film Downhill Motion, an experience that rekindled their affinity for cinematic composition and set the tone for this surefire introspection aid. From 'Eight Miles High Alone', a hypnotism which finds its inducer in sequencer-driven pulses, evoking isolation, weightlessness and quiet tension.
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Review: Madrid duo Pablo Miron and Juan Vacas return with their second album, En Perpetua, which delves deeper into their signature decayed collage and psycho-acoustic soundscape while building on their debut Of No Fixed Abode. This time out they also embrace new creative confidence and the possibilities offered by a fresh Madrid studio and use violin, harmonica, voices, guitars, a looper, FM radio and diverse array of field recordings-from the Spanish countryside to exhibition sounds-to bring it to life. They craft eight re-pitched meditations that explore fractured music and rhythmic patterns which unfold through their distinctive, open-ended and immersive tonal journeys.
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Review: Bill Orcutt's approach to the guitar feels less like playing and more like detonating: a flurry of stabbing phrases, mangled blues motifs and broken time signatures that teeter constantly on the edge of collapse. It's a sound he's refined over decades, from his early days in Miami's punk and noise scenes to his present-day experiments in live-coded digital abstraction. This new album, which features two versions of 'Anxiety of Symmetry', finds him at his most feral and funny in years i a twisted tribute to the clunky MIDI guitar presets of the 90s, rendered via his cracked-software experiments with two fifteen-minute compositions built from a single concept: six sung numbers, each mapped precisely to pitches in a major scale. These micro-phrases ('1-2', '1-2-3', and so on) repeat and multiply, creating swirling polymetric harmonies that flicker between gentle hypnosis and algorithmic overload. Female voices loop in cycles of uneven length, forming structures reminiscent of Glass's Einstein on the Beach, but without its theatricalityithis is music of obsession, not spectacle. The emotional register is unusually soft for Orcutt, but behind the surface calm lies a meticulous compulsion. In an essay of the same name, he aligns this method with "Just Right" OCD, proposing a feedback loop between mental fixation and machine logic. What emerges isn't ambient in any passive sense, but a kind of orderly unravelingicomposition as therapeutic ritual, echoing the recursive spirals of Hanne Darboven or the trance-state potential of counting itself.
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Review: People Like Us, the long-running project of Vicki Bennett, returns with her first album since 2018's The Mirror. Again via sampling, and stylising in vintage neo-psych-tronic audio collage, Copia here muses on abundance and self-replication, reassembling fragments of sound into something sub-interconnected, rhizomatic. Emerging from her recent AV performance The Library of Babel, the album blends electronic textures with whimsical, often uncanny vocal moments, inlining contributions from Matmos, Ergo Phizmiz, Hearty White, Gwilly Edmondez, and others. Lyrics and melodies by Phizmiz act as a connective spine, while the project as a whole embraces an "exquisite corpse" approach, multitracks traded over oceans and timelines, forming a gaudily grotesque patchwork resistant to linearity. As always with Bennett's work, Copia blurs the borders of past, present and potential, offering a poignant meditation on creativity.
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Tall Tales (Japanese Edition) (UHQ-CD with obi-strip)
Cat: BETE 32153762. Rel: 04 Jun 25
in stock $48.60
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Aborted Towns The Deadly Silence Before Utopia (black & grey tri-coloured vinyl LP limited to 150 copies)
Cat: SSRLTD 152. Rel: 29 May 25
in stock $23.17
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Aborted Towns The Deadly Silence Before Utopia (LP limited to 250 copies)
Cat: SSR 152. Rel: 29 May 25
in stock $21.20
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Review: Words and terms such as benchmark, revolutionary and paradigm shift are thrown around far too casually and liberally when writing about music. But if there's one electronic album that really does live up to those tags it's Ultravisitor. Still sounding like it's from another planet to this day, from the moment eponymous opener headbutts us with an ice breakbeat shatter to those very last guitar plucks on 'Everyday I Love', this is concentrated Squarepusher in every possible geometrical permutation. So many breakcore and IDM parameters were set on this exceptional body of work. From the metal militancy of 'Steinbolt' to the fantastical drive (and wild slap bass) of 'Tetra-Sync', this remains a wholly unique LP that's both wonderful challenging and definitely not of this earth.
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Asuma (remastered) (limited LP + MP3 download code with obi-strip)
Cat: EMEGO 037V. Rel: 02 Jun 25
in stock $33.07
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Review: The most aptly-named record label in the world, Light Sounds Dark present another collection of wildly experimental bits and pieces cultivated in the lab of things that you simply don't hear in other places. Suitably christened 'Track 1', 'Track 2', and so on until 'Track 29', this is a huge point of entry for newcomers to the LSD realm and an excellent deep dive for veterans alike. Winds howl and thunder crashes before beautiful harmonies change the vibe from cold to warm, Gregorian chants echo in and out above dubby, stubby beats, and post punk guitars lunge forward beneath jerky, naive melodies. And that's just the first few parts here. A journey to the outer reaches of the musical universe, then back again, turning left at the industrial jazz and continuing through shoegaze, soundtrack, field and weirdo pop. Mind you don't get lost, now.
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Music To Accompany The Poems Of Edgar Allan Poe (purple & blue vinyl 2xLP)
Cat: LOTO 01809. Rel: 02 Jun 25
in stock $31.93
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Next World Sound Vol 4 (translucent lavender vinyl LP + insert)
Cat: HYPSPLP 15. Rel: 04 Jun 25
in stock $27.70
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Cat: ZIQ 111. Rel: 05 Jun 25
Review: One of the flagship albums by Aaron Funk aka. Venetian Snares (alongside Songs About Cats, Higgins Ultra Low Track Glue Funk Hits 1972-2006, Winnipeg Is A Frozen Shithole and The Chocolate Wheelchair Album), Rossz Csillag Alatt Szuletett marks itself out in his sonography as a breakcore album which, aside from its lobotomising breaks, features mostly classical strings and brass. Gloomy and melancholic, the album's title translates from Hungarian to "Born Under A Bad Star", i.e. "cursed from birth", and the record transmits a superstitious chain of influence, with track 3 covering Budapest composer Rezso Seress' 'Gloomy Sunday', which was said to have inspired the suicide of the original musician's own girlfriend. Renditions of Mahler, Stravinsky, Paganini, Prokofiev and Edward Elgar all follow in morose but energetic fashion, demonstrating the Canadian IDM artist's quirkily sized collection of drill bits.
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Drained Strands (LP in lenticular spray-painted sleeve limited to 300 copies)
Cat: PEAK 22. Rel: 28 May 25
Review: Adam Winchester and Laurie Osborne (probably still best known as Appleblim) are Wrecked Lightship and they have an inventive approach to dub, breaks and bass. Their work creates an immersive world full of rich, atmospheric textures and the latest example of that is Drained Strands, a new album for Peak Oil full of fragmented, genre-blurring sounds. The six-tracker is full of experimentation and new ideas from the off. 'Delinquent Spirits' for example is a jumble of jungle breaks and vast basslines with minimal percussion, 'Reeling Mist' is warm, blissed out dub and 'Somnium Sands' is an eerie and evocative world of synth designs and industrial decay.
… Read morePlayed by: Alexis Le-Tan
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Evangelic Girl Is A Gun ('iris of bloodlust' translucent red marbled vinyl LP + poster (indie exclusive))
Cat: ZEN 315E. Rel: 29 May 25
Review: Yeule (Nat Cmiel) is something of a sonic scrapyard varmint, scouring the lost wastes for augmentable audio parts perhaps useable in their madcap experiments. An avant-garde spin doctor of ash-faced, death-ray-desert-bomb glitch-pop, they've kept their place at the knife-edge of innovation, blending genres and non-genres at the violent vanguard where sounds remain in constant, slipped flux. In the lineage of Machine Girl, ecolagbohrsac2021 or Hakushi Hasegawa, 2022's Glitch Princess laid nutritious ground for Cmiel's now evermore fractious work, Evangelic Girl Is A Gun, which hears the somewhat alter-egoic Yeule now delve into the complexity of a fragmented identity, embracing the duality of light and shadow while echoing surreal animes, such as Serial Experiments Lain and Angel Egg. The LP reimagines Yeule as a haunting figure, exploring ego deaths and transformations in partnership with visual artist Vasso Vu.
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Review: Non-binary performance artist Nat Cmiel from Singapore, often also known as yeule, continues to push the boundaries of glitch-pop and alt-electronica with their latest release. After solidifying their reputation as a trailblazer with their sophomore album Glitch Princess and its follow-up softscars, Cmiel takes a more daring, raw approach here. It's a cathartic exploration of self-destruction, trapped identities and the dark undercurrents of post-modernity, where Cmiel's ethereal vocals intertwine with dissonant beats, creating a paradox of beauty and tension.The sprawling atmospherics of 'Tequila Coma' and '1967' unfurl into a liquid haze, giving way to the razor-edged urgency of 'VV' and 'Dudu', which channel a palpable, jittery rhythm that commands attention. Collaborating with the likes of A.G. Cook and Mura Masa, the album navigates between haunting introspection and electrifying energy. It's a striking nod to Cmiel's ability to balance vulnerability and sonic experimentation, presenting a portrait of the artist struggling with the very image they've built.
… Read more in stock $24.59
