14 days

Review: Given the underground acclaim heaped on Marie Davidson's previous albums - ultra-stylish affairs that blend elements of minimal wave, dark Italo-disco, off-kilter electro and moody ambient - it's little surprise to see her popping up on Minimal Wave offshoot Cititrax. The album's nine tracks are largely sharp, rough and fuzzy, with sparse-but-dense drum machines rhythms underpinning bouncy, delay-laden synth lines, thrusting electronics and Davidson's sleazy, spoken word vocals. It's an attractive combination that guarantees thrills throughout, from the almost claustrophobic throb of "Denial", to the mutant electrofunk bounce of "Good Vibes".

Review: Initially released in 2010, Minimal Wave's retrospective of obscure French '80s outfit Deux remains one of the label's most sought-after compilations. Here, it gets a deserved re-press, allowing a whole new generation of listeners to fall in love with the quirky works of the Lyon-based duo. The album's ten tracks, which were drawn from various obscure cassettes and seven-inch singles, effortlessly join the dots between moody electro, cold-wave, new wave and eccentric synth-pop, reflecting the pair's esoteric approach to wayward electronic pop. This second edition comes in a hand-numbered edition of 999 copies, with Minimal Wave's usual attention to detail present on the weighty packaging.

Review: Pat Mahoney and Dennis McNany's Museum of Love project has always been an enticing proposition. The duo's two singles to date, "Down South" and "Monotronic", tickled the fancy of all those with a penchant for wide-eyed, Balearic-leaning pop - all soft-focus electronics, shuffling rhythms and yearning vocals. This much-discussed debut album continues in a similar vein - albeit with a little more grittiness in places - with Mahoney doing his best Bryan Ferry impression over McNany's warm, loose and melodious production. It's a formula that guarantees great results, from the low-slung, disco-influenced shuffle of the trumpet-laden "The Who's Who Of Who Cares", to the classic DFA swagger of the raucous rock-out "The Large Glass".

Review: While it's become fashionable to reissue obscure post-punk and wave recordings from the turn-of-the-80s, it would be unfair to accuse Stroom of bandwagon-jumping - after all, they've been serving up new editions of quirky, unheralded European records in this style for some time. Their latest must-have seven-inch brings together barely-known tracks from two Belgian bands who were active on the country's punk scene in the late '70s and early '80s. On the A-side you'll find "Tropical Stumble" by Organized Pleasure, a feverish fusion of doom-laden electronics, Joy Division guitars, skittish drums and multi-lingual vocals that never outstays its welcome. Side B boasts another rare cut from 1981, the low-slung, dub-influenced post-punk murkiness of Satin Wall's "Dans Les Profondeurs".

Review: Veronica Vasicka's Minimal Wave label turn their attention to European wave sounds once more with Earlier / Later, a retrospective look at the music of Belgian group Polyphonic Size. Headed by the bespectacled Roger-Marc Vande Voorde, the Brussels based outfit emerged in 1979 and built up quite a discography, releasing three albums and numerous 7? and 12?s over a 11 year period. One of mainland Europe's more enigmatic purveyors of primitive synth pop, Polyphonic Size were partial to singing vocals in numerous languages, forever changing line-ups and had the majority of their lyrics penned by Dominique Buxin, a band member who never appeared during performances or featured on any of their record sleeves. However, it's the band's working relationship with Stranglers bassist JJ Burnel that commands the most intrigue, and this collection offers a contrast between the early days of Polyphonic Size and how their sound evolved after the more rock based production input of Burnel.

Review: Bursting onto the scene with some impressive releases on Hotflush and Permanent Vacation, Danielle Caldelas aka Terr presents a brand new thriller on Correspondant. The Neuromancer EP features yet more of her trademark dark romantic techno, with influences of EBM, synth-pop and house. From the sultry and euphoric title track that's packed full of soaring synths, rushy arpeggios and a distinct retro flair throughout, the falling acid of "Multiverse" with its unashamed Kraftwerk influence or the roaring and neon-lit remix by New York by way of Dublin's Krystal Klear on the flip.