Back catalogue: Electro

Review: For those not schooled in Drexciyan history, Lab Rat XL was a short-lived alternative alias of the legendary Motor City electro duo. Mice or Cyborg, the project's only release, originally appeared on Clone in 2003, just months after member James Stinson passed away. These days original copies are highly sought after, making this reissue more than welcome. It remains a superb example of timeless, otherworldly electro and techno fusion, with Stinson's penchant for ethereal melodies, atmospheric chords and fizzing drum machine rhythms - such a regular feature of his work with both Drexciya and the Other People Place - rightfully coming to the fore. Naturally, the inherent positivity of some of the tracks is counter-balanced by clandestine creepiness in others, making Mice or Cyborg a brilliantly balanced and hugely entertaining collection of cuts.

Review: Utter plunges into the shadows for their long-awaited 13th release, offering a limited double LP from the notorious electro conjurer Labyrinthine. Titled 'II-V', the record summons 11 sinister tracks, cut at 45rpm on striking deep red vinyl. Encased in haunting artwork by Alison Flora, painted in her own blood, this release is not for the weak-willed. The dark, twisted soundscapes are known to mesmerize and overpower even the strongest minds, making 'II-V' an unsettling journey into the abyss. Approach with cautionithis is a descent into pure sonic madness.

Review: Lake Haze's third album on Shall Not Fade is another triumph with his signature shimmering melodies strung out over lush beats. Drawing on house, disco, garage and broken beat it is a rich affair with a strong UK vibe. There is elegance and symphony to opener 'Xyleac' that immediately gets your head amongst the stars. 'Diluspth' keeps up the majestic synth while 'Bbyncole' is double-speed techno with balmy celestial synths and hurried bass that locks you in. Tender ambient pieces like 'Shores Of Eternal Life' reset the mood and then the second half is a series of shorter sketches packed with electronic soul.

Review: Legowelt is absolutely an artist unto himself. He makes a wide array of music always with equal skill and style, mostly designs his own covers and quite often devices weird and wonderful new aliases to do so. Here he returns under his most iconic moniker for A Field Guide To The Void, a superb sonic trip packed with great craft and subtle innovations. As always it's a fuzzy and fizzing kaleidoscope of retro-futuristic melodies, compelling grooves and proud analogue lines that soundtrack a cosmic adventure with happy moments, more introspective grooves and plenty in between.

Review: Linea Aspera is the London duo of Ryan Ambridge (Synths/Programming) and Alison Lewis (Vocals/Synths). They began the project in November 2011, technically drawing inspiration from electronic music from the early 1980s. Within the duo, Alison writes and performs all vocal elements, while Ryan is responsible for the writing and performing of the electronics, as well as recording and mixing of the final recordings. For their debut album they utilized small, simple analog synthesizer set up: Roland SH-09, Roland Juno 6, Vermona DRM MKiii, Korg Poly 800 and Analogue Solutions Semblance. Linea Aspera's sound includes clear influences from early electronic body music, classic synth-pop and, in some instances, industrial and noise. Lyrically the band incorporates the sciences of osteology, neuroscience, and anthropology weaving a new medical language around themes of desire, despair and renewal. Linea Aspera serve up an icebox of dark doom riding on Alison's powerful vocals with a soft but sharp touch.

Review: Leipzig-based record label Riotvan indulges Llewellyn here with a superb full length on limited edition vinyl. The prolific local producer known to his mum as Martin Enke deal in deep house but not as you know it: his sodas come with all sorts of smart drum patterns and retro synth sounds that make them all the more unique. 'On The Edge' is fine example with its suspenseful pads and busy analogue drums, while '1998' has as synths-pop feel and plenty of lush cosmic arps unfolding over the hurried drums. 'Fractured Memories' is another synth laced house jam with squelchy bass that is sure to being some good times.

Review: Lowfish originally released his 'Burn The Lights Out' LP in 2007 on the US label Satamile but we have found some copies of it in the warehouse. Synth-pop meets breakbeats in an electrifying fusion of emotive melodies and bass-heavy beats across all four sides of the long player with ten then-new tracks and two classics from his Sat.31 EP. They all show that his music, complex yet accessible, evokes images of Blade Runner, Wave Noir, or William Gibson. It is post-modern in approach as it skilfully blends past and present styles to create a sound uniquely his own, seamlessly bridging the gap between eras while pushing the boundaries in his own way.