Electronic Pantser Fabriek

One of the first of the blissed-out rave acts to storm the charts, and also one of the longest lasting, the Future Sound of London deserved a good singles compilation, and fortunately they get one with the Virgin retrospective Teachings from the Electronic Brain. Their highest moments were virtually always their singles, and short-form tracks offer a much easier path to understanding the music of Brian Dougans and Garry Cobain than their occasionally bloated LPs. Teachings from the Electronic Brain neglects nothing of real value, beginning with their first chart hit ("Papua New Guinea") and grabbing the best tracks from their albums Accelerator ("Expander"), Lifeforms (the title track), the live-in-the-studio ISDN ("Far-Out Son of Lung and the Ramblings of a Madman," "Smokin' Japanese Babe"), and Dead Cities ("We Have Explosive"). Best of all, licensing requirements prevented the addition of material from 2002's half-baked The Isness.

The electronic music emanating from the Scandinavian region encompasses a vast universe and has a long tradition behind it. In 1964 the electronic music studio EMS in Stockholm opened as a conventional analogue studio, its primary intention being to build the world’s most advanced hybrid studio and to conduct an international research program into sound and sound perception. Since then the Scandinavian electronic music scene has continued to flourish decade upon decade, culminating in the most recent ambient and minimalistic sound shapes. Unexplained Sounds Group, started researching Scandinavian electronic and experimental music in 2015 when it published the Scandinavian experimental underground 015 survey.

Johnny Marr and Bernard Sumner have a unique musical companionship. Both artists bred the '80s British music scene into pop candy delight thanks to Marr's charming guitar hooks while fronting the Smiths, and Sumner, whose ingenuous lyrical poetry pushed New Order's dance-oriented sound into the new wave mainstream. But since their musical collaboration began back in 1991, the duo continues to make music for themselves, uninhibited by current norms and marketing success. Twisted Tenderness, the band's third album, is certainly a vast improvement over their sophomore effort, 1996's Raise the Pressure. Twisted Tenderness steps back into Marr's talented guitar work: carefree, a bit rollicking at times, but in classic Electronic fashion. The obvious rock-laden riffs carry the typical synth-generated backdrops, and Sumner's cheeky lyrics are stylish and breezy.

This album is an official Steven Wilson (Porcupine Tree) release of his experimental and electronic music recorded between 1990-2003. What you get here is a collection of music that Wilson was messing around with for different purposes, none of it was originally supposed to be released to the public. Of course, since there is a demand for anything 'Steven Wilson' it has been collected for those of us who are curious about anything he does. The music here is quite experimental and leans towards his musical explorations of the early days and his experimental project 'Bass Communion'. There is quite a variety of sounds and styles throughout this music, because the songs were never intended to be put together on any album originally…

This is the new instalment of Soul Jazz Records’ ground-breaking Deutsche Elektronische Musik series, ‘A near-definitive guide to some of the world's most extraordinary music’ (The Guardian).

Hard as it is to believe, George Harrison, guitar picker, was also an electronic music pioneer, as these two lengthy, abstract tone poems for early-vintage Moog synthesizer reveal…

Delia Derbyshire’s incredible 1969 library record 'Electronic', written under the Li De La Russe and Nikki St. George pseudonyms along with a few collaboration/contributions by her BBC radiophonic workshop colleagues, David Vorhaus and Brain Hodgson, who were collectively known as Kaleidophon. The material here tends towards Delia's minimal and best work, carefully detailed sketches full of sci-fi feels and abstract scapes, each with their own apt description in the liner notes, and including among them highlights such as the proto-Ø styles of Restless Delays and the sublime series of Delia-suffixed reveries, waltzes and ideas, plus Vorhaus’s brilliantly titled and tripped out Snide Rhythms, including material that eventually surfaced on The Tomorrow People.

Johnny Marr and Bernard Sumner have a unique musical companionship. Both artists bred the '80s British music scene into pop candy delight thanks to Marr's charming guitar hooks while fronting the Smiths, and Sumner, whose ingenuous lyrical poetry pushed New Order's dance-oriented sound into the new wave mainstream. But since their musical collaboration began back in 1991, the duo continues to make music for themselves, uninhibited by current norms and marketing success. Twisted Tenderness, the band's third album, is certainly a vast improvement over their sophomore effort, 1996's Raise the Pressure. Twisted Tenderness steps back into Marr's talented guitar work: carefree, a bit rollicking at times, but in classic Electronic fashion…