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Review: The "guitar loop" is not just a staple of modern indie and psychedelic music. It is also an access point to a timeless human necessity: the combo of dexterity and repetition. Without repeatedly using our hands to press notes and catenate chains, we would be nothing but fumbly savages. Loop knew this remarkably well, manually twisting a tight coil around the South London music scene in the late 1970s. This was at the height of the motorik rock scene, which was otherwise largely going on thousands of miles away in Germany: as critics enthused at the time, Loop were the sound of Suicide jamming with the Stooges aboard a spaceship built by Hawkwind and piloted by Can. Described by Reactor as "post-psych, pre-shoegaze" figureheads, 'Twelves' is a priceless rediscovery for electronic rock heads across the (fret, mother)board: compiling across a span of five years, '16 Dreams' and 'Spinning' originate from 1986, while 'Collision' marks their Chapter 22 phase from 1988, and 'Primsma Uber Europa 12' closes the loop in 1991. An early case of sonic cybernetic feedback; viscerally loud, intensive circulations of sound.

Review: It's been several months since we first stocked the CD release of Porter Robinson's sweet sophomore album 'Nurture'. Now you can get your mitts on an rare clear vinyl version (contrast to the matte white edition that came out in April). With the album coming about "during a period of intense creative and emotional struggle", this project feels like a triumphant response to nihilism in electronic music form. Bright, major key vocal synthesis and glitch is the name of its game ('Look At The Sky', 'Dullscythe'), cementing the feeling of prevailing through stacked odds.

Review: For the first time, David Sylvian's 29-track career retrospective, Everything & Nothing, comes to vinyl format. Spanning the incipience of Sylvian's craft with key cuts from his Japan and Rain Tree Crow days, through to his solo years with Virgin Records, this is a right summative beauty. We're surprised by its oversight on the part of record companies until now, with the album having initially only made it to a short CD and Minidisc run. Sylvian's sonic and lyrical Romanticism shines as brightly as ever here, with the pith at the wilful core of the record cogent in the pre-chorus line of 'The Scent Of Magnolia': "none of the history books describe what I've seen." Here we're also met with new remixes of 'Ghosts' and 'Bamboo Houses', as well as new session versions of tracks from the standout albums Secrets Of The Beehive and Dead Bees On A Cake.