Back catalogue: Indie/Alternative

Review: Bjork and Rosalia team up for the limited marble vinyl edition 12" double-sider, 'Oral', now coming packed with a stunning remix by Olof Dreijer from The Knife. The record is described by its releasers OLI as not just a single release but a "call to arms", with 100% of the profits being funnelled directly to AEGIS, the Icelandic charity dedicated to eradicating intensive fish farming in the country. 'Oral' itself is now a staple of the latest incarnation of Bjork's ever-mutant career, consummating her and Rosalia's recent rapport; a sabre-wielding, purblind aesthetic - befitting also of another of Bjork's collaborative contemporaries, Arca - fits seamlessly with the elegiac reggaeton of the song. Dreijer's remix is rabid and wonky by comparison, its draggy, morphemic rhythms belying Bjork and Rosalia's equally wetted vocals, producing a wacky litany of faunal electronics and whizzing FX.

Review: Yeah X 3, the latest single from David Holmes and Raven Violet's album Blind On A Galloping Horse, diverges from the overtly political themes of the record, instead offering a personal revelation. Featuring remixes by Panda Bear and Sonic Boom, as well as The Vendetta Suite's Gary Irwin, the single showcases diverse experimental approaches. For the A-side, the remixes are atmospheric and heady, creating a euphoric feeling with your head in the clouds. The second remix being the more beat forward version. For the B-side, massive amounts of sound heavily affected the remixes processing. The first being more of an ambient version while the last version is more straightforward and radio friendly. If you like the original song, then these versions will sit alongside them very well.

Review: Gemma Rogers was recently witnessed adding her disticntrively raw vocal tunes to a new track by prog house heroes Fluke, but this new four tracker is very much her own thing, with elements of punk, new wave and synthpop colliding head on across four new tracks. Her lyrical talent is clearly considerable, and versatile too, veering from the envigoratingly angry ('Never Have I Ever', kicking back againsty the noramlisation of sexual violence against women) to the impressionistic ('DKU', which re-imagines the Grim Reaper as a stressed out single mum to be). The most beautiful and poetic moment, though, is the title track, which borrows a little of early New Order's grim grandeur and bears the vaguest smear of the Sex Pistols' 'God Save The Queen' in its melody, but this 12" from Ode to records - a new offshoot of esteemed punk stable Holy Dotage - really runs the emotional gamut. Class sounds, for those who like it fierce.