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Review: Originally known as The Cretins before altering their moniker to DeeCracks in 2007, the Austrian-born Vienna-based pop-punk bruisers have become legends of the underground over their past two decades of tenure, which is precisely what 20 Years: A Frantic Effort commemorates, celebrates and self-critiques. Spread out across 3x10" green marbled vinyl LPs, this retrospective compendium of the band's personal favourite cuts has been revitalised with studio magic to add additional finesse, riffs, keys and even vocal harmonies to bring the tracks up to the members' increasingly rising artistic standards, while two new cuts in the form of 'Burnt Out' and 'Where We Belong', top and tail the compilation.

Review: As the title suggests, all of the material on this new album from Shibuya Station was recorded at the eponymous station in Japan. The music has previously been flawed as part of various compilations but has never been in one place before. It's leftfield minimal synth with an electronic brightness and cold but alluring rhythms made on gear such as various Korgs, Moog Little Phatty, Moog Voyager, various Roland keyboards and VST synthesisers such as the ARP Odyssey. All that defines the vintage textures of the sounds across six captivating tracks.

Review: Hyperdub founder Kode 9 has always operated at the vanguard of his own musical world. The author of the hugely dense and academic Sonic Warfare boss approaches making music from a different perspective and shows that again here. This new 10" on Flatlines features two 12-minute plus tunes. the first of which 'Astro Darien" (part 1)' opens with a dialogue about space travel before glassy melodies, solar winds and cosmic ambiance take over and another dialogue starts. There are no beats on 'Astro Darien' (part 2) either - it's another atmospheric bit of cinematic mind-movie music.

Review: This intriguing little 10" LP charts some of the so-called king of rock n' roll's most romantic tunes to ever hit the shelves. On pink and green vinyl comes 'Blue Suede Shoes', 'Blue Moon' and 'Tutti Frutti', reminiscing on a thoroughly missed era of the skiffle monarchist Presley's heyday. Watch out, as it comes with a 16-page booklet full of exclusive track breakdowns and extra notes. Thank you very much.

Review: Recorded at home in Ringo Starr's Roccobella West studio, the former Beatles drummer has drafted a number of long-term partners in crime for his latest release. Those names include Steve Lukather, Linda Perry, Fave Coz, Jose Antonio Rodriguez, and Bruce Sugar, among others. But, ingredients aside, what's the end result actually like?

Well, for one thing, it feels like a record made with camaraderie. The appropriately-titled 'Everyone & Everything' has a definite Fab Four vibe to its outro, requesting that all in earshot get involved in a chorus designed to get everyone and everything singing along. 'Let's Be Friends' takes that atmosphere to the after party, "Ya, ya, ya, ya" vocal hook making the whole thing sound slightly madcap. Meanwhile, closer 'Free Your Soul' invites us into smoother and sexier surrounds via sax and tropical beats.

Review: The Advisory Circle (Cate Brooks) is a central cog in the machine that is Ghost Box, one of the most compelling labels to operate in the genre of hauntology in modern times. Brooks' too-perfect muzik is uncanny, reflecting on the grey memories of attempted architectural utopias and 80s library music for TV. These are slow instrumental electro ballads that inspire something of a failed sense of wonder in the listener, and they form a perfect addition to Brooks' extensive catalogue.

Review: In 1976, seven Cabo Verdean musicians going by the name Voz Di Sanicolau gathered in a small recording studio in Rotterdam where they laid down an album of fearsome coladeira songs inspired by the music of their home island of Sao Nicolau.

The album took only a few days to record, which may explain the unexpected urgency that fires each track. Treble-soaked electric guitar lines snake back and forth through percussion-and-cavaquinho driven rhythms rooted in the sound of the islands established by the previous generation of Cabo Verdean emigres; subtle keyboards wash through the background, and the vocals, traded between Joana Do Rosario and To-Ze, alternately push the music forward and soar above it. The resulting album is both deeply felt and fiercely executed, and in its grooves one hears the sound of some of the finest Cabo Verdean musicians of their era locked in complete unity of purpose.

It should have been the beginning of something extraordinary; but the pressures of making ends meet forced the musicians back to their day jobs, and Voz Di Sanicolau vanished as quickly as they had appeared, leaving their lone album, Fundo de Mare Palinha, as sole proof of their existence. Forty-four years later the album sounds as fresh as it did the day it was recorded. It is unknown if dutch sound engineer Frans Rolland, who oversaw the recordings, knew he was helping to make history: during these sessions, Joana Do Rosario, whose majestic vocals were crucial to the sound of Voz Di Sanicolau, became the first Cabo Verdean woman ever to appear on a long playing record.

Review: 'Blues & Rhythm, Exotica & Tittyshakers' - if ever there was ever an album sub-title we could buy into, it's probably that. The fifth instalment of the celebrated Gibble Gobble blues compilation series lands and brings with it some of the farthest reaching tracks from the heyday of a sound which, let's face it, seems incapable of ageing, even if it often sounds like the era it was produced in.


Bringing together a stack of iconic names onto one expansive album, everyone will recognise artists like Earl Hooker, Howlin' Wolf, and Bob Callaway, while only the die-hard will be drawn to this collection by the inclusion of The Voodoos and Touissaint McCall, talent that goes someway towards explaining why we're recommending this one 'til we're blue in the face. A record that will introduce new generations to forgotten greats.

Review: Back in 2005 we might not have predicted what a phenomenon Ghost Box would become. In the years since, the label has become a beacon for the hauntological exploration of Britain's inherent oddness creeping just below the surface. Julian House's graphic design is a huge part of the label's artistic merit, and it figures his music as The Focus Group follows a similarly aesthetically rigorous direction. There's a pastoral collage quality to Hey Let Loose Your Love which takes you right back to the 70s, with beautiful musical passages offset by surrealist samples and unexpected diversions into the recent history of these wyrd isles.

Review: Brussels label By the Bluest of Seas is a secret gem of the free jazz and improvisation scene that should get plenty more eyes on it in the wake of this new album from Delphine Dora and Mocke. it is their second long player after one on Okraina Records and it invites you to slip into a dreamstate as languid guitar strumming and drawn out vocals stretch to infinity. Melancholic arpeggios gently rise and fall, there is both tension and tears and a churchy architecture to this which places you at the centre gazing up in awe - no shock really given that it was recorded in an old church in the village of Mauzun in the Puy-de-Dome.

Review: For a project that has taken thirty years it would be totally inadequate to call the formation of Hypocritical Beatdown a lockdown-project. There's a deep history and psychology in these records by Violators Of The English Language and their spin-off groups Magnets (Rap Group) and ProVerbs, that combines stage-fright, loss, pride, creative-schizophrenia, racial inequality, surrealism, personal politics, brotherhood, artistic-constipation, better judgment, love, anti-love, soul searching and much more.

The one remaining untapped energy source here is perhaps FEAR, refreshing when used correctly, but never imposter syndrome. As maligned and mutated as this British Hip-Hop might appear to be, it could not be more pure. Each member of all of the Hypocritical Beatdown crew were committed to this cause as soon as the doors opened. They rapped on stages before they had even tasted beer or lost their virginity and the curse had already taken hold in the years when these youngsters still had to be back home before dark and it has never left their bloodstreams.

That's why this record NEEDED to be made. Completed, recorded, exorcised, committed to vinyl, rotated and liberated. Not unlike the VHS tape in a well known Japanese horror film, every listened copy, complete with its broken beats, old-school sensibilities and Marmite Mancunian accents, adds to the mystic circle... breaks the dream... some people might even like it. If you were given a chance to go back and meet your teenage self, wouldn't you?

Review: There's not a huge amount of background we can share on Mysterium, a startlingly beautiful and complex self-titled six-tracker on the always reliable Silver Arrow. A collection of music that lulls you with its blissful moments but still manages to maintain an air of uncertainty about it. A guitar-led dreamscape filled with achingly serene sections, yet underpinned with a real atmosphere that's neither relaxing nor intense, but is ever so-slightly unsettling at times. At least that's true of 'April Food' and 'I Am The Chaos', two tracks that open scoring here. Both seem to build a subtle darkness in comparison with closer 'Turn In', with its quietly rousing and affirming key changes. Taking elements of shoe gaze, beach pop, psychedelic rock, trip hop and more, it's an intoxicating ride through a spectacular unknown.

Review: When he's not busy exploring the minutiae of electronic frequencies as Alva Noto, Carsten Nicolai likes to amuse himself with experiments like this one, where he sent magnetic tape and photographic film out to various parts of the world addressed to Mr Nemo from 20,000 Leagues Under The Sea, hoping for the packages to be returned to him. The idea was these magnetic tapes and photosensitive films would pick be exposed to electromagnetic waves and radiation during their respective journeys, and so when he received his parcels back, he digitised the results and made this album, presented as a gatefold 10" with an eight-page booklet.

Review: The House Of Love was the name of both a British indie band and that of their debut album. Notably part of the C86 scene in the late 1980s - a catch-all term to describe a wave of bands at the time making jangly indie with a distinctive power-pop song structure, and which was sadly maligned after a dismissal by massively influential radio DJ John Peel - the band's sound fit well into the category and is a suitable precursor for an undeniably British sound which still resounds today, whether exemplified by its lead track 'Christine' or follow-ups 'Shine On' or 'Destroy The Heart'. The reissue is pressed on vinyl for the first time since 1989.

Review: These days the Fury name is most often associated with traveling families and world championship boxing. But in the 60s, Billy Fury was the heavyweight champion of proto-indie pop. This reissue of his Three Saturdays with Billy album pulls together a collection of live recordings he did on TV with the BBC. Most such things used to get deleted as soon as they were aired and only eight tracks from 1967 to 1970 have since appeared, while nothing from 1968 and '69 was known to have survived, until now! The sound quality is good and tunes include his own special versions of David Bowie's 'Silly Boy Blue' and the Bee Gees' 'One Minute Woman' amongst others.

Review: Haruomi Hosono was a key player int he 80s music scene, often fusing myriad sounds and styles from all over the world into his music. Another of his key album has been reissued by Light In The Attic this month, while this one comes on Sony and is a truly playful electronic pop gem. He may be one of the most revered figures in the Japanese music industry but his record with its playful melodies and shuffling beats, vocal ad libs and pirouetting grooves all prove Hosono doesnt take himself too seriously.