The fifth installment of Sub Rosa's series dedicated to the works of Henri Pousseur highlights the composer's efforts to experiment with different serialist techniques and tonal systems. The compositions presented on this disc span decades and feature a variety of musicians, including a rare performance from Pousseur himself.

Hot on the heels of Cosmarama, this time Nick Saloman ventures across the Atlantic to focus on '60s garage rock from the United States. Saloman leaves no stone unturned in bringing these tracks to CD for the first time, making for another remarkably entertaining compilation.

Uzeda uses razor wire guitar, bass that frequently takes the lead, and merciless drums to mold the perfect foundation from which to launch their unrelenting vocal attack. Restless and turbulent, the band thrives in a constant state of eruption.

The first studio material recorded by KK Null and Seijiro Murayama in almost 20 years achieves a sonic symbiosis that’s both riveting and incendiary. While there are plenty of noisy electronics involved, they entertain rather than alienate on this chaotic yet warm recording.

After the Asian volume a few years back, Ididn’t expect further investigation of Eastern psych currents, but I’m happy tobe proved wrong by the series’ tireless curator, Thomas Hartlage, who’sproduced another absolutely solid collection of lost psych brilliance.

The first solo outing of Julian Cope's Head Heritage webmastercould've come with the tinkling of nepotism's alarm bells, but insteadit brought out the ringing drones of doom. Drafting in Brain Donor'sDoggen, SUNN O)))'s Stephen O'Malley and Cope to help out Holy McGrailshows that it takes more than pagan chic and black clothing to craftclassic drone rock.

On their third release, this Norwegian duo of Jostein Dahl Gjelsvik and Rune Andre Sagevik continue to channel an organic warmth that would stick out so blatantly in their cold homeland, mixing unidentifiable sounds with bits of traditional sounding music. Tele sounds like the natural follow-up to 2010's Sval, fleshing out the concepts there with a greater sense of polish and experience.

Since his emergence from self-imposed exile in the late 1990s, Maurizio Bianchi has become extremely prolific, and even more so in the past few years. Like other artists who release this volume of material, I have only dabbled here and there amongst his contemporary. The newer material is more in-line with the sound art and ambient worlds than his older MB material was to the then-burgeoning industrial and power electronics scene, and judged on its own merit, is quite good, as is this album here.

These two albums are two thirds of what I consider to be Whitehouse's most idiosyncratic, and therefore most compelling phase in their 26-plus years of activity. Culminating with 1995's Quality Time, which I have discussed at length before, the phase began here, with probably their most musical and understated (in relative terms, of course) works, respectively.

After so many albums, I fear that someday Aaron Moore and Daniel Padden will stumble but thankfully with their latest album they prove that they are still firing on all cylinders. As varied as expected, Golden Rhythm/Ink Music is an exciting and gripping exploration of barmy improvisation and deeply intense, almost ritualistic, music. It does not reach the dizzying heights of early Volcano the Bear but it is definitely one of the best things they have done since coming back in from the cold a few years ago.