Anna von Hausswolff’s sixth studio album is being trailed as the 39-year-old Swede’s pivot towards pop, which you could say is all relative. For the last decade, Von Hauswolff has dealt in music that is solemn, echo-laden, heavy on the drone of her beloved pipe organ and fully deserving of the adjective gothic.
Her work has elicited comparisons to Nico and Diamanda Galás; 40 years ago, it might have been packaged in a hauntingly abstract Vaughan Oliver sleeve and released on 4AD. She has collaborated with Swans, Sunn O))) and the black metal band Wolves in the Throne Room. Her last album, 2020’s All Thoughts Fly, was a collection of instrumentals, recorded on a replica of a 17th-century German baroque organ in a church in…
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After turning heads locally in 2023 with their excellent debut album 
…This edition adds six unearthed home demos, including unheard songs ‘Hold Me Up’ and ‘Don’t Blow Your Wind’, alongside early versions of favourites like ‘Tangerine’, ‘Summer’, ‘Kitchen Door’ and ‘Clobbered’.
…features 28 unreleased tracks and takes the listener on a journey from the band’s earliest demos and BBC Radio One Sessions through the singles to the album and beyond. Each disc contains rare and, in most cases, unreleased versions of songs.
Given every guitar band since crica 1965 owes a debt – stated or otherwise – to the usual scouse suspects beginning with “B”, you might think that the format has scraped right through the bottom of the barrel by now. But creativity is a weird old thing. Stick a load of the obvious 
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…CD release featuring 5 bonus tracks.
Entrancing tunes to calm the soul… 
Americana is nothing if not a broad brush. In the case of 
…Consisting of Koshiro Hino – he of Osaka’s goat (jp) – and cellist Yuki Nakagawa, 
The latest album from London-raised, Berlin-based artist 
Chameleon: The Very Best of Toyah is the first career-spanning collection to encompass Toyah Willcox’s full recording history.
In 2009, Guy Brewer, riding high as part of drum’n’bass duo Commix, looked around the room at a party he was DJing and thought, “This is fucking shit.” He was part of one of the genre’s most consequential acts of the late ’00s — one of a rare few acts to get an official Burial remix — but he didn’t feel at home there. So he switched gears to burly, monochrome four-on-the-floor beats and found equal success making po-faced, sound design–obsessed techno under the name Shifted. He had one foot in experimental ambient and noise music, and another in the Berlin-centric techno playboy DJ circuit. But as techno became bigger business (Brewer, in fact, coined the sardonic term “business techno”), he came to find it just as stifling as drum’n’bass.