Back catalogue: All genres

Review: Havoc are back, with the fourth release on their label, and arguably the strongest effort yet. Here we have 4 reimagined efforts, including a galloping disco delight that's been tamed to perfection, a deconstructed US New Wave track guaranteed to get the freaks and fiends moving (wait for that kooky vocal and guitar halfway through!), a little-known German 80s gem given the trademark Havoc treatment, and a catchy as hell slo-mo Austrian Europop groover. With these fellas' edits finding favour with the likes of DJ Harvey, you know this is likely to disappear fast, get on this while there are still copies left!

Review: This deluxe vinyl reissue presents the original Bride of Frankenstein soundtrack featuring remastered audio, new artwork, and estate-approved likenesses of Elsa Lanchester. Directed by James Whale and starring Boris Karloff and Lanchester, the 1935 horror classic is widely regarded as one of cinema's greatest sequels and was rightly celebrated as Whale's masterpiece. The movie was added to the U.S. National Film Registry in 1998 for its cultural significance and this historic release has been sourced from master acetates at Syracuse University and Universal's archives and marks the first time the film's original score is available on vinyl.

Review: London's Loraine James has built her signature sound through a mix of refined composition, gritty experimentation and intricate electronic programming. Under her Ghostly International alias Whatever The Weather, she explores emotional temperature and environment. Her second full-length offers a warmer tone compared to its predecessor by moving from an arctic cover photo to a desert scene. Mastered by Josh Eustis, the album blends hypnotic atmospheres and rhythmic textures with diaristic field recordings. The lead single, '12-C,' weaves melody and texture into a soul-stirring groove and is exemplary of James' imaginative and genre-defying approach.

Review: "One might thus regard the Welsh rarebit as a Machine in which a process is applied to the conditioning and perception of the world of bread and cheese." Suffice to say, John White might not have had the same ideas about what constitutes Machine Music back in 1976 as you do today. This is also the first time we've ever managed to get a reference to Welsh rarebit into the first line of writing about a record, so everyone is learning something today. "The Machines" White refers to are the individual tracks themselves, all recorded between 1967 and 1972 and all comprising different combinations of a thing. Six pairs of "bass melody instruments" made 'Autumn Countdown Machine', different permutations of "the articulations 'ging, gang, gong, gung, ho!'" comprise 'Jews Harp Machine'. And 'Son of Gothic Chord' is crafted from the sequential chord progression of four keyboard players, spanning an octave. Conceptual experimental and wildly imaginative stuff on the borderline of electronica, abstract, mathematical and something otherworldly.