Well preceded by a pair of killer singles ("It Just Won't Do" and "Less Talk More Action!"), The Little Ginger Club Kid aims to be an audacious debut full-length for Tim Deluxe. And indeed this colorful release by Darren Emerson's generally on-point Underwater Records label largely hits the mark, bundling those killer singles with nine similarly fun-spirited tracks that should delight anyone who'd already taken note of this talented Brit and his exuberant style of vocal-driven house music. If you're not one of those people who'd already taken note of Deluxe when "It Just Won't Do" and "Less Talk More Action!" were burning up dancefloors from London to Ibiza during 2002-2003…

Woob² 4495 is the second full-length album from Woob, the stage name of ambient musician Paul Frankland. While not generally regarded by ambient music fans to be as cohesive or ground-breaking as its predecessor, Woob 1194, Woob² 4495 still contains material reckoned to be among the best ambient music released in the 1990s - particularly the 25-minute long Depart, and the album's closer, Later. It also contains the shortest Woob track to date, the 33-second long Cupboard, which is made up of elements of Depart. The album also makes less use of vocal samples than 1194, instead utilising organic sounds such as hand-claps and heartbeats.

Before his prolific activity in the field of music therapy, Agostino Nirodh Fortini also embarked on his own path in electronic music. In the early eighties he was a close collaborator of Walter Maioli and Fred Gales, at the time of the pioneering label Sound Reporters. “Suoni Immaginari”, released only privately on cassette in 1988, contains a wide range of keyboards and lots of ethnic field recordings assembled with an absolutely modern praxis ahead of its time. Nirodh imagines his planetary odysseys as a complex of harmonic devices, nebula storms, glassy explosions and gravity-free falls. His operational horizon reflects further cultural ideas and suggestions; not only the artifice between natural sounds and the programmed machine but also the intrusion of arabesque dreams and jungles contaminated by invading insects and mad pipers. These are spectral symphonies which can have analogies with the fourth world of Hassell and Eno.

Doesn't the beginning of "The Step" sound like Pink Floyd's "Run Like Hell"? Maybe. It does for a tic anyway, before vocalist Nic Offer starts emoting all cool over eight layers of bass, spidery guitar, horns, and drums that wait patiently for the break. And when that break finally arrives, it falls out of the verse like Franzia from silver Mylar. Party time, baby! Let's keep it going with the bass groove of "Hammerhead," or "KooKooKa Fuk-U"'s chattering cool-part-of-town disco. On this, their self-titled debut for Gold Standard Laboratories, !!! trash the axiom that says bands influenced by angular post-punk must be populated by dour misanthropes who sport wallet photos of Ian Curtis. "If you're looking for a friend/You can kiss my ass!" Offer declares on "KooKooKa Fuk-U," and encourages suicide for - wait for it - someone else…

Philip Glass' soundtrack to Martin Scorsese's Dalai Lama epic Kundun captures the grace, beauty, joy and melancholy within the film. Glass uses familiar minimalist structures, but works with traditional Tibetan instrumentation and monks, giving the music an alluringly otherworldly feel. It's an entirely original, evocative score, and one of Glass' high-water marks in the field.

Continuum was a collaboration between Steven Wilson and Dirk Serries (VidnaObmana, Fear Falls Burning) that resulted in two releases, Continuum I (2005) and Continuum II (2007), originally issued by US label Soleilmoon in limited editions that sold out almost instantly. The project was motivated by their immense passion for a wide-range of musical styles, ranging from spacious ambience to pounding doom metal.

'Fragmented Boundaries' is an album that has been in development for almost exactly six years after Ian and Phil started sharing noisy synth patterns back at the end of 2013. Quite unlike any other Home Normal release, the album is more focused on the bursts of randomness and melodic stabs produced by dying analog synths as well as carefully constructed rhythm and beats, edited almost exclusively in later cuts onto tape. The final mix of the album was done mixing a number of reels in real time; capturing their respective elements and worn textures, alongside the wonderful cello work of Aaron Martin on 'Haven Returns'. Cover art has once again been provided by regular collaborator Eirik Holmøyvik to match the music and the depth of autumn perfectly; the perfect season for reflection.

Continuum was a collaboration between Steven Wilson and Dirk Serries (VidnaObmana, Fear Falls Burning) that resulted in two releases, Continuum I (2005) and Continuum II (2007), originally issued by US label Soleilmoon in limited editions that sold out almost instantly. The project was motivated by their immense passion for a wide-range of musical styles, ranging from spacious ambience to pounding doom metal.

An amazingly titled triple-cd compilation of early material on Virgin Records. Provides a pretty great survey of the mid-1970s: Captain Beefheart, Faust, Robert Wyatt, Fred Frith, even Can… very nice! The cover deftly imitates a well-worn old record from the period, and the set also comes with extensive liner notes.

Uncut Gems is a soundtrack album by electronic musician Daniel Lopatin, containing the original score for the Safdie brothers' 2019 film Uncut Gems. It was released via Warp on December 13, 2019. It received positive reviews from critics. It peaked at number 44 on the UK Soundtrack Albums Chart. At Metacritic, the album received an average score of 74 out of 100, based on 6 mainstream critical reviews, indicating "generally favorable reviews." Thomas Johnson of The Line of Best Fit called the album "further proof Lopatin will be held in the same esteem as Ennio Morricone, John Carpenter, Vangelis and so on." He stated that the album is "filled with heartfelt synth lines, gorgeous revolving, spacey sequences and emotive samples".

Aftermath, the second Projekt release from Belgium’s Stratosphere (a.k.a. Ronald Mariën), is built upon layering shimmers of guitar and bass-generated tones and drones. The album’s core seems inspired by post-rock, drone ambient and the work of Fripp & Eno, yet it speaks its own expressive voice. The stormclouds of guitar-generated soundsculpting utilize textures, sometimes shadowy, sometimes melodic and engaging, all swirling in slow dynamics of change to obscure and reveal the passionate resonance of the creator himself. On Aftermath, Stratosphere continues to explore the consequences of a darker period of life, still feeding on his recent experiences which influence compositions towards tension and emotional outbursts not found on early Stratosphere releases. These moods are translated into six tracks of an introspective, personal nature.

The music on this album is a culmination of compositions manifested during a 5 year period from 2014-2019. Unorthodox methods including but not limited to tape manipulation, layering, FX as well as inherent limitations were employed to achieve a commitment allowing the listener to transcend.