Back catalogue: Experimental/Electronic

Review: The Udacha label might have been away for a while but is now back with a vengeance. First up for this return is a new long player by the mighty fine Kurvenschreiber quarter, which is made up of Sergey Komarov, Vlad Dobrovolski, Ilya Sadovski and Alexey Grachev. These sound artists have been excelling in their field for some 10 years now and use synths as well as found sound objects to create their work. Magnetic tape loops, various instruments, pre-recorded loops, shortwave radios, transformers and much more give rise to this unique record which mixes up Boolean jazz, kurventronika and post-rock.

Review: Among the many hot takes about the recent London romance film Rye Lane is that it is the UK's Amelie, contributing further to the continued coolification of South London's Peckham, in which the film is set. Whatever your take on the film is, it's certainly far less controversial to consider its stellar soundtrack work by Kwesi Sey aka Kwes, a longtime fixture of London's musical spirit. A curveball compared to his wholly original releases with Warp, Kwes took a detour here, in part taking on the image of his collaborator Mica Levi by debuting his first ever soundtrack. Quirky, pink and full of the ideal spirit of the film, Kwes' chosen sound is unfiltered, opting for ear-to-the-ground neo-soul motifs and clear-eyed ballads written with his friends Tirzah and Sampha.

Review: Call a track 'Rotterdam In De Jaren 90' and you can expect people to have some pretty strong feelings about what it might sound like. Especially given this double-A from Nous Klaer Audio opens on what grows into a tense, electronic, club-ready builder, for a while at least. Cast any thoughts of gabber out the window, though, because if this is the Dutch port city's rave scene on record, it's a post-sweat soaked, blissed out reflection on the wonders of whatever happened the night before. Kems Kriol's mini epic, a 15-minute long tune no less, is a beautiful combination of wistful woodwind and synthesised refrains, presumably found sounds, and strange, abstract noises. 'Tegenlicht', on the other side, shares some of those qualities in the extended intro and outro sections, but also spends some of its 18-minute running time in the basements and warehouses we were originally expecting to find.

Review: "The Next World Sound Series is a collection of work by contemporary sound artists working in long form instrumental composition and translated to the tangible medium of vinyl. These modern day offerings capture the analog quality and experience of last century electronic recordings, presented to you with today's technological advances in home playback, for your environmental listening pleasure." Or so say heads at the iconic and truly enigmatic label Dark Entries of this latest addition to their catalogue. A collection of work that spans the strangely frantic sci-fi tones of 'Oberenginen 0930' to the almost monastic drone of 'Soma', dubbed and muffled drums and vocals on 'Lixsm', club-ready broken beats of 'Destruct', and the evocative futurist refrains and samples of 'John Gore'. As expansive as it is exploratory and adventurous, you'll need to set aside some serious listening time for your first play here.

Review: Leipzig has a lot to answer for. The East German city has a very hushed reputation for being the place Berlin once was, albeit on a far smaller scale, but the sprawl is nonetheless changing at a rapid rate. So while you're still likely to find an abundance of squat parties, exceptional but internationally unsung club spaces, and memorable dive bars, some institutions are vanishing. The 'off-space' Kardamom is sadly one of the more recent losses.

Just before the place disappeared, though, Travel By Goods boss Arthur Boto Conley decided to bring together Kassem Mosse and Mix Mup for a live performance that would form this album, circa 2019. Comprised of on-the-fly remixes from the label's back catalogue, it's a grainy, sample-heavy, often off-centre and off-beat deep dive into collages of sounds, drums, loops, hooks and ideas. Basically, you'll wish you were at the show, but that's a feeling you'll have to put up with.

Review: Mount Kimbie's journey of self discovery continues with the next instalment in the MK3.5 series. Whether this really is a new era for the pair, or not is of course besides the point - Kai Campos and Dom Maker have displayed real evolution on the road to get their two-man project to this point, and at this point it really shows.

Dom's side is an altogether more colourful and varied affair in the sense it opens with sultry piano-driven late night drinks electronica via 'dvd', featuring the perfectly suited vocal cuts of Choker, before edging into rainier territory with 'in your eyes', welcoming everyone's favourite UK MC with loads to say, slowthai, and Danny Brown . Sparse but technically astute, Campos opens his lot with clubbier tones, namely the muffled crunch-house of 'Q', quickly moving through broken filter bass ('Quartz'), and warm, laidback beats ('Satellite'), among other vague descriptions.

Review: Twinkle3 are a trio made up of accomplished flautist Clive Bell and electronic experimenters David Ross and Richard Scott. Their latest project welcomes the legendary David Sylvian into the mix alongside Kazuko Hohki, who was in 80s synth pop oddity Frank Chickens amongst other projects. Their collective venture for Cortizona treads predictably unpredictable territory, where minimalism, sound design and free improvisation merge into a meditative, distinctive whole. The woodwind and electronics intertwine in sublime fashion, resulting in a compelling trip for anyone who appreciates delicacy and risk in their leftfield electronica.