Synchrophone proudly present the latest Gerard Hanson aka. Convextion release; a head-turner moment, since the last proper EP by the 2845 artist was over seven years ago, with Vectorvision for the EP 'Zy Clone'. Since then, Convextion has been hard at work, eschewing all concavities for a purely thermal, fluid sonic exercise. 'Torc' and 'Andas' are unsettling, looming techno visions, confecting a hypothetical world in which the hard sciences have taken total precedent over the human, resulting in a rapid dissipation of heat. The only energy that remains is that which is fed through the machine, as further evidenced on the sinister murk-movements on ERP's version, its two-tone Reese stab suggesting utter indefatigability when begged for mercy.

Japanese Breakfast's fourth album is the first that they've recorded in a proper studio. They traded their usual makeshift spaces for the holy grail of recording studios: Sound City in Los Angeles. That's where Nirvana's Nevermind was recorded and Dave Grohl spotlighted in a major documentary. To make the most of the space they hired Perfume Genius, Laura Marling and Fiona Apple producer Blake Mills and together they've crafted a stunning album that, as the title indicates, takes the listener on a more melancholic journey than ever before. 'Orlando In Love' marries the strum of an acoustic guitar with stately string sections and it feels vulnerable yet hopeful. Meanwhile, 'Mega Circuit' works around a vocal melody that wouldn't be amiss in a Katy J Pearson song. In terms of the mix, it's an ambitious and sonically colourful affair with plenty to hold onto and keep the listener discovering new elements upon each listen.

SFJ, formerly Sunglasses For Jaws, introduces ‘Drifting’, a nine-tracker tracing one duo's evolution from humble beginnings in a friend’s shed to a fully realised studio in East London. The London duo blend lounge, experimental and groovy 70s influences with a modern edge. The offbeat ‘Computer Spiritus’ brings a quaint curiosity about it, while ‘Chasing’ prefers a fader-happy vignette in funky, action-sequent frequencies. Only the latter half of the record provides any longer extension, ‘Bad’ being the baddest of them all.

Re-United nobly unveil their second release, ‘Shock’, a sharp, stylish repossession of the talents of one Paolo Driver and Alberto Bof. A perfectomundo blend of classic trance tranches and modern jam-house, the release also houses a remix by Niki B on ’The Spring', with profound implications to follow. Said closing remix is especially swarthy and down-under, evoking catlike slinks down alleys in the night with its slower-burning, electrostatic moves.

As a former member of Kraftwerk, Wolfgang Flur is never short of offers to collaborate. On Time, his first solo album for three years, he's once again taken up many of these offers. So alongside regular collaborators Peter Duggal, U96 and Miriam Suarez, you'll also find contributions from New Order bassist Peter Hook, Thomas Bangalter (aka Vangarde, taking his disco-making father's moniker) Detroit electro and techno pioneer Juan Atkins (who appears on opener 'Posh'), and long-serving techno producers Anthony Rother and Fabrice Lig. As a result, Time is rooted in sharp electro, synth-pop and revivalist new wave, but also offers nods to techno, electroclash, acid house and proto-trance, with Suarez and Flur take it in turns to add their own atmospheric vocals. If you enjoyed Flur's previous album, Magazine, you'll lap this one up - it's an even stronger proposition.

Back in 2019, Soul Jazz marked Record Store Day by releasing a rather tidy seven-inch box set of classic Studio One reggae jams, the simply titled Showcase 45. Six years on, they've decided to reissue the collection on CD in expanded, 18-track form (the original edition featured 10 tracks stretched across five 45s). It provides a perfect introduction to the Studio One universe, showcasing cuts from such masters of reggae, rocksteady and ska as Freddie McGregor ('Beat Down Babylon'), Bob Marley and the Wailers (the original version of the later re-recorded 'One Love'), Jackie Mitoo (the rhythm & blues-tinged, Hammond organ-rich 'Mixing'), the Heptones (the horn-heavy shuffle of 'How Can I Leave You'), Horace Andy (the cheerful-sounding 'Miami Blue') and the Skatalites (bona-fide dancefloor gem 'Sudden Destruction').

Berlin-based Sydneysider LOGIC1000 (real name Samantha Poulter) enjoyed a prolific and productive 2024, becoming something of an in-demand DJ, producer and remixer on the back of her acclaimed debut album Mother, a typically distinctive affair that pulled deep house in a variety of woozy, melodious and inventive new directions. Her inclusion in K7's long-running DJ Kicks series is therefore well-earned. It offers a home listening-ready distillation of her sound that's notably 'calmer' (in the label's words) than her club sets. But that's no bad thing, as it allows greater exploration of experimental, downtempo and hyper-pop, alongside a string of exclusives (including the obligatory track created for the series) and some heady, mid-tempo dancefloor grooves.

Recorded in October 1997, but lost and rediscovered two decades later by digital artist Gvoon Arthur Schmidt, GVoon: Brennung 1 is one of countless gems nestling in the sound archives of the late, great Holger Czukay. Described as a "futuristic sound meditation" by remastering engineer Dirk Dresselhaus (better known as experimental electronica producer Scheider TM), the single, expansive piece was created by Czukay at a point in time when he was happily working with German techno and electronica producers (Westbam included) while exploring the potential of digital music-making and production technology. The results are typically immersive, enveloping and off-kilter, sounding as far-sighted and ahead-of-their-time as they no doubt did when the piece was originally recorded in 1997.