My biggest criticism of this duo's first CD for the considerably waning NovaMute sublabel was its lack of cohesion as an album, an all-too common pitfall that techno artists fall into when signed based on their dancefloor prowess. Upon receiving this in my mailbox, I had hoped that Mr. No and Bryan Black would use their second shot on plastic to accomplish something better, to learn from their influences instead of just impersonating them. I should have known better.

Creating new compositions by sampling from popular music has been going on longer than I have been alive. Yet, this debut, perhaps one of the most important albums ever to appear on Kompakt, showcases the work of an exceptional musician operating in and redefining this proud yet still controversial tradition.

This gorgeous package from the the Leaf Label contains eight songs showcasing a new collaboration between Jeremy and Heather of AHAAH, playing with a group of seasoned Hungarian musicians. Rounding out the cast are a few members of Beirut. What results is a brief but exhilarating extra-geographical jaunt through Hungarian, Serbian, Romanian and klezmer forms, as only AHAAH can produce.

Espen Sommer Eide and Dag-Are Haugan return as Alog for yet another fantastic album. They further refine their symbiosis of natural and electronic sounds, always sounding at once earthy and cosmic. Never utilizing weird sounds just for the sake of it, the dozen tracks on this CD are all pieces of music that sound more than beautiful. As expected from Alog, this is a remarkable album that reveals more and more with each listen.

New Zealand has long been home to a remarkably diverse population of experimental musicians, and this excellent compilation collects tracks from some notable examples. While many of these names are doubtlessly familiar, this recording represents a significant break with New Zealand's past musical giants and instead looks boldly to the future.

Laurent Baudoux of Belgium's Scratch Pet Land goes solo with this boisterous new project. Taking the kitchen sink approach to cheap electronics, Baudoux throws gameboys and primitive keyboards alongside guitars to create songs that are frequently catchy and fun.

Norwegian noisehead Lasse Marhaug clearly has an affinity for the cassette tape and the underground culture that went with it.  So I have no doubt he compiled Tapes 1990-1999 with some sense of trepidation, going from that lo-fi handmade scene to the world of professionally manufactured digital recordings.  At the same time, however, it is a testament to his art and talent that those hand dubbed tapes are now being presented as a beautifully packaged four disc boxed set, complete with a 24 page booklet of essays and reproductions of tape artwork.

Steven Stapleton hates this record and for the greater part of the last quarter century has wanted to forget it existed. Thanks in part to Matt Waldron, Kevin Spencer, and the folks at Raash, his diabolical plot to condemn this album to the waste pits of history has failed. Insect and Individual Silenced has been given a spectacular re-issue complete with new artwork, a new mastering job, and some very limited, very peculiar extras.

The 21st century has been quite good to the dark prince of reggae, with labels such Basic Replay, Blood And Fire, Pressure Sounds, and Trojan all jostling with one another to bring his visionary work back into print. Based on the vital Rasta Communication album, this reissued dub set shows precisely why the late artist's catalog undeniably warrants such attention.

The result of a collaboration between two of the UK's finest collage composers is at turns kitschy and whimsical, disorienting and satirical: a suite of kitchen-sink plunderphonic pop tunes that recall the best moments of classic collagists such as Orchid Spangiafora, John Oswald and Die Trip Computer Die.

"Krautrock" would be the most appropriate description for the sound TWoHD make, though their Germanic descent is unlikely, and Wisconsin is pretty far from Europe.  But they do take the approach that Can did with regards to recording to the next logical step.  Instead of just taking sessions of improvisation and melding them into "tracks," they composed the album in different locations, and then pieced it together into coherent works.  The result is very different experience than these ears are used to 

Bearing a sound ideal for the next sentimental Michel Gondry or Zach Braff film, this proficient artist's second album suckles at the fleshy yet noticeably sagging teat of '90s shoegaze while concurrently seeking a way out of the trappings of that tempting template.

This reissue (from 1983) is something of a gem. Virna Lindt's music is a blend of fashion and espionage as perfect as if she were the love-child of Emma Peel from The Avengers and Ilya Kuryakin from The Man From U.N.C.L.E.

This collects for the first time in ten years the band's two EPs: 1995's Fight Songs and 1996's Marshmallows. The results on this record are curious, occasionally interesting, but more often than not frustrating. Brian McMahan's second act following his turn in the massively influential Slint, The For Carnation took that band's adept usage of open space and tension and attempted to apply them to low-key acoustic arrangements.

Just weeks after Psychic TV's dismal new album and mere months since Throbbing Gristle's disobedient reunion record comes the delinquent sophomore full-length from this spoken word project of the ubiquitous frontperson behind all three musical entities, making 2007 one of his/her most prolific periods in many years.

A techno pioneer with countless aliases and highly sought-after releases, Fred Giannelli still apparently holds quite the grudge against former collaborator Genesis Breyer P-Orridge. Instead of bitterly lambasting the transgender icon, this veteran producer displays his biting sense of humor in this electrifying yet cheeky live document.

Cut adrift when Kindercore Records went dormant a few years ago, this Athens, Georgia, band took the separation in stride. Since then, their musicianship and songwriting have evolved, resulting in a more deliberate and energetic style that evokes a broader range of experience. On this, their first new album in four years, Maserati gets everything right.

This release is a beautiful finish to Clodagh Simonds' beautiful Neither Speak Nor Remain Silent trilogy. It is as fabulous as the short previews available online have hinted it would be. There is a further increase in complexity and power, much like the progression from Bloom to Huge. The sound is less abstract but still ethereal, like a familiar setting enveloped in mist.

While the final studio release from Khanate seems to be in cold storage, two essential live albums have been given the remaster and reissue treatment. Recorded a year apart from each other, these two discs provide a couple of vivid snapshots of an imposing live band. Both performances see Khanate in top form, destroying all hope with their sub-bass despair. It is exhilarating to hear such a ferocious racket channelled with such precision and purpose, yet utterly depressing that the group responsible is now no more.

Originally released in 1971 as a tiny private pressing in Japan, this rare psychedelic album finally makes it to CD for the first time. Apparently it took a couple of years to track down the material, but the effort was certainly worth it. Great musicianship, excellent production, and the skillful mixture of various styles make this album enjoyable from beginning to end.