With a title taken from the Spanish version of the band's motto – "sing while you may" – Canta Miedras Puedas is a useful enough single-disc compilation of the Legendary Pink Dots' work in the first half of the '90s…

Phil Knight AKA The Silverman was born 1954 in the UK, and is a co-founder of the fantastic British experimental Psych rock/Electronic group the Legendary Pink Dots with Edward Ka-Spel, and has also been a member of groups such as Mimir and Big City Orchestra. Phil Knight embarked on his solo career with the release of Dream Cell in 1995, and continues his solo career to this day…

The Legendary Pink Dots exist in the fields of experimental and psychedelic music. The band is fronted by Edward Ka-Spel, who doubles as singer and chief lyric writer. Phil Knight (The Silverman), Erik Drost, and Raymond Steeg make up the current lineup of the band. The sound is often a conglomerate of electronics, saxophones, guitars, drums, and Ka-Spel's distinctive voice and lyrical invention…

Most of the tracks on this album from Camouflage band member Heiko Maile were recorded with a basic stereo (2-track) cassette recorder. The studio set-up looked more or less like this: a drum computer (no Midi) and a sequencer were connected to each other and synchronized rhythmically. I crafted melodic sequences and rhythms and usually transposed them to the desired pitch manually, using the keyboards. Other live instruments were played over the top. Then everything, the sum of all the sound sources, was put together in a kind of "live recording" with the aid of a mixing desk. Just a single mistake would mean having to start all over again. Reconfiguring many of the sounds once the controls had already been adjuste was a painstaking process. I ended up with heaps of cassettes, often featuring seemingly endless versions and variations of the same track. Demo Tapes 1984-86 by Heiko Maile includes a selection from his beginnings of electronic music and the bizarre sonic worlds he inhabited.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. Operating in their unique orbit within dance music’s nebulous echosystem, the duo’s hyper-detailed productions are inventive, groundbreaking but always possessing a signature joyful experimentation. A genre-less embrace of cutting-edge technologies have ensured that each Mouse on Mars release sounds strikingly modern, a fact made more remarkable when one reflects on the duo’s 25 years of making music. New album AAI (Anarchic Artificial Intelligence) takes Toma and Werner’s fascination with technology and undogmatic exploration a quantum leap further. Collaborating with writer and scholar Louis Chude-Sokei, a collective of computer programmers and longtime Mouse On Mars collaborator/percussionist Dodo NKishi, the duo explores artificial intelligence as both a narrative framework and compositional tool, summoning their most explicitly science-fiction work to date.

Like its predecessor (similarly designed right down to the traffic cone cover, though green instead of red), Kraftwerk 2 has never been properly re-released, giving it the same lost-classic aura as the first album, or at least lost, period. Thankfully, bootleg reissues in 1993 restored it to wider public listening; even more so than Kraftwerk 1, its lack of official reappearance is a mystery, in that the band is clearly well on its way to the later Kraftwerk sound of fame. Stripped down to the Hütter/Schneider duo for this release, and again working with Conrad Plank as coproducer and engineer (this album alone demonstrates his ability to create performances combining technological precision and warmth), Kraftwerk here start exploring the possibilities of keyboards and electronic percussion in detail. Given that the band's drummers were gone, such a shift was already in the wind, but it's the enthusiastic grappling with drum machines and their possibilities that makes Kraftwerk 2 noteworthy.

For the first time on vinyl; two super rare 1980-82 tapes by Two Daughters; a near-mythical, Throbbing Gristle/Industrial Records - affiliated duo who recorded glossolalic hymns, spectral percussive rituals and Bowie cut-ups in Brixton, c.1980-1982 for Nurse With Wound's United Dairies. A huge recommendation if you're into Dome, Zoviet France, O Yuki Conjugate, Panda Bear, NWW, Early Current 93 - what a find!

A year in the making in complete secrecy, the intention was to spring "The Moon Cracked Over Albion" without any warning or preview upon an unsuspecting World. In fact, personal anticipation scuppered that plan and here is the finished article a little ahead of time. Conceived and recorded in a nation (a World?) so tragically divided, it could fall apart, it's hoped that just a few seeds of hope and optimism can be sown over the course of the time you'll spend in this peculiar World.

Anganok is a mini-opera composed by The Residents with San Francisco artist Spoonman in 1991. A recording of Anganok was released on Robot Selling Device in 2009, alongside an instrumental version (minus Spoonman's vocals). Anganok received its first CD release on November 14th 2020 via Klanggalerie, featuring the previously unreleased complete version of the vocal recording.