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.

Public Eyesore 

On this very brief pink/red marbled vinyl 7", the two artists collaborate on a rather subtle work with both sides showing a very distinct character.  "Properties" is all stuttering electronics, field recordings, and other near-impossible to place sounds.  Squeaks, bangs, and a bit of guitar abuse sound like damaged childhood toys put out to pasture in a suburban parking lot to deliver their dying breaths.  The flipside, "Ribbons" is somewhat more conventional, based around guitar textures, electronic tones, and field recordings of birds and insects.  It's a bizarre set of recordings, but very compelling in their oddity and definitely worth checking out.

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.