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Review: Given that Paul "Mudd" Murphy, Ben Smith, Ursula Major and krautrock legend Holgar Czukay debuted their Bison project back in 2010, this debut album has been a long time coming. Happily, it was worth the wait. Recorded at Czukay's legendary Cologne studio and featuring mix-downs from Conrad Idjut, Travellers is a particularly dubwise trawl through hazy, krautrock-influenced disco and horizontal Balearica. By anyone's standards, it's a deliciously intergalactic concoction; a fearlessly atmospheric blend of low-slung grooves, delay-laden horns, quirky percussion, stargazing electronics and mesmerizing, eyes-wide-shut vocals. Pleasingly, this CD version also includes a pair of fine extended versions of former single "Mandy" by Mudd, of which the intoxicating Dub is particularly potent.

Review: William Bevan has now been operating long enough under the Burial alias to be awarded a celebratory "best of" compilation by Hyperdub, the imprint he's been releasing on since 2005. This is no ordinary retrospective, though. It deliberately ignores the celebrated early portion of his career, with the artist choosing to focus not only on tracks made and released in the last eight years, but also those tucked away on B-sides and the darker corners of his EPs. It offers a fine snapshot of the subtle evolution of his sound, quietly creeping between the hushed field recordings and glacial synthesizer lines of "Nightmarket", the intensely up-beat breakbeat madness of "Rival Dealer", the haunting, near 14-minute melancholy of "Rough Sleeper" and the future garage rush of recent single "Claustro".

Review: Robert Smith has always treated remixing less like revision, more like ritual i a habit that's followed him since his days in Crawley, West Sussex and then surfacing officially on the first Cure remix album, 1990's Mixed Up. This triple-disc release of reworkings from the band's latest LP Songs of a Lost World feels assembled with obsessive care, mapping out every possible mood lurking beneath the surface. There are club-ready flips, yes i Sally C, Danny Briottet and Gregor Tresher all push the rhythm forward i but they sit beside glacial pieces that feel more like haunted sketches than reworks. Mura Masa's take on 'All I Ever Am' is disintegrated almost beyond recognition, its vocal a flickering memory. Mogwai's 'Endsong' feels like the end of the world in slow motion. Even Chino Moreno turns in something striking i 'WarSong' morphs into a sludgy howl with heat-warped edges. But it's the sequencing that surprises: these aren't bolted together, but grouped in arcs, as though Smith were arranging the bones of an old idea into something still alive. Four Tet's version of 'Alone' is a high point i deeply textured but featherlight. Like all The Cure's output, what really matters is the feeling of being drawn somewhere, and Smith's hand never letting go.