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Review: Kurt Cobain favourites and Texan punk outliers Butthole Surfers don't know when or where exactly this live recording was made. But who cares!? The most important thing to know is the recording is gnarly and the band sound out of this world with their blend of noise, punk and psychedelic rock a truly idiosyncratic affair. Highlights on here include 'The Annoying Song' with singer Gibby Haynes' belligerent use of a toy megaphone. The guitar solos are top notch here, too. While 'Human Cannonball' is a thrilling number that you imagine created raucous circle pits at the actual show. It's great to see technology put to good use and cleaning up old live punk shows and getting them sounding this powerful.

Review: While not the band's final album, there's a solid argument to be made that 1995's Worry Bomb was Carter USM's last hurrah - a top-ten set that marked the beginning of the end for the distinctive South London duo. This expanded 30th anniversary edition pairs a remastered version of the original album -which boasts typically gritty, soaring and powerful classics such as 'Young Offenders Mum', the punky 'Airplane Food/Airplane Fast Food' medley, the riotous 'Me & Mr Jones' and the introspective 'My Defeatist Attitude' - with a disc of B-sides and rarities and, most excitingly, a previously unreleased live album of their performance at the 1994 Pheonix Festival. Throw in a DVD featuring videos, Top of the Pops appearances and freshly recorded interviews, and you have an essential item for Carter fans.

Review: Brian Eno and Beatie Wolfe join forces on a dual release infusing two distinct musical visions rooted in shared environmental concern. Their new joint release unfolds across two sides, with Luminal offering a vocal-led collection leaning into alt-pop ambiances and timbres, before Lateral rears itself in counterpart as a seamless ambient composition, making up a study in contrast and connection. Recorded in London, the project reflects Eno's lifelong exploration of mood and atmosphere, alongside Wolfe's ongoing push to blur the lines of digital innovation and tactile experience. The project builds the activist art works of Wolfe, a British-American concept artist based in Los Angeles, named by WIRED as one of "22 people changing the world," and tracks the expression of music beyond language or form.

Review: Cindy Lee's Diamond Jubilee invites listeners to experience an exquisite journey through sound and emotion. Hailed as a major contender for the 2024 Polaris Music Prize, this album offers a fascinating tapestry of ethereal melodies and haunting reflections. Crafted over countless hours in studios stretching from Toronto to Montreal, Patrick Flegel channels a unique blend of nostalgia and longing. With infectious hooks wrapped around evocative arrangements, Diamond Jubilee is a striking embodiment of innovation in experimental pop, solidifying Cindy Lee's position as an important figure in contemporary music.

Review: Coinciding with the "post-psych, pre-shoegaze" ingenues Loop's retrospective album, Twelves, on triple LP, this new CD version from Reactor offers a digital alternative for those proto-gaze indie heads seeking a clearer and cleaner sonic experience. Spanning the band's output in chronological order, this comprehensive set captures the evolution of Loop's hypnotic, fuzz-drenched sound, from the early '16 Dreams' demo and debut single, through 'Spinning', 'Collision', 'Black Sun' and 'Arclite', to rare contributions to Nick Drake and Neil Young tribute albums, and even a Godflesh cover from their Clawfist split. As it is with the vinyl version, The World In Your Eyes is a completist deep dive into Loop's essential non-album material.

Review: Smiting us down with the third and final chapter of his The God Trilogy, Vinnie Paz' ninth solo LP comes packed with demiurgic collaborators including Young Buck, Cappadonna (Wu-Tang), Onyx, Army of the Pharaohs, ILL BILL, Sick Jacken, and Lord Goat. Rising from Philly’s underground, Paz co-founded Jedi Mind Tricks in 1996 with producer Stoupe The Enemy Of Mankind. Paz’s solo work, starting with Season Of The Assassin, tends to hear the artist explore personal narratives, and this is reheard with a renewed roar on the likes of ‘Two Knights Forced’ and ‘Acid Heat’, exemplifying a highly processed production style echoing the craziest ends of horrorcore and Memphis rap.

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.

Review: After almost three decades, Kompakt Records is set to deliver its' 500th release - a ridiculously impressive landmark that few electronic labels have previously achieved. To mark the occasion, the Cologne-based imprint has decided to deliver an anniversary compilation featuring (mostly edited) versions of some of its most iconic club hits, underground gems and early obscurities. It does a terrific job in explaining, via music, the label's contribution to European electronic music culture - think 'maximalist' minimal, off-kilter tech-house, ambient pop, synth-heavy hypnotism and twisted, off-kilter nu-disco. Naturally, all of the label's most significant contributors are present (Superpitcher, Justus Kohncke, Robag Wruhme, Gas, The Orb, Jurgen Paape etc), alongside artists you probably didn't realise had released on the label.