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BENIN CITY is a fused genre band fronted by Joshua Idehen (vocals), who has collaborated with Pále as well as LV (Hyperdub), Theo Buckingham (drums) and Tom Leaper (tenor saxophone/synths/samples). Their debut album "Fires in the Park" is an immersive journey through synth addled electro brass, leftfield UK hip hop, bass and alternative influences. Produced by pop experimentalist Marc Pell (MICACHU & THE SHAPES), "Fires in the Park" is a testament to the band's maverick nature, refusing to comply with any set of rules or genre whilst remaining consistent to itself in sound and character. From the moody, introspective bass-ness of "D.A.M" to the kwaito-baiting "Faithless" to the funkpop album finisher "So You Say", BENIN CITY is a rainbow of multiple tempo changes and mood flips, idiosyncratic yet familiar in all its guises, fresh sounding yet original. Joshua Idehen cut his teeth in the London spoken word scene, and his narrative/lyrical chops are evident. Royal Academy of Music alumni Tom Leaper's faceted horn/synth arrangement is catchy and multi-faceted, revealing new aspects with repeated listens. Theo Buckingham, drummer and co composer, brings his drum n bass/dubstep producer experience to play, giving the album its vibrant, often marching and sometimes dark persona. The synths interact with the horns to create a sound that is hard and bright; the traditional instrument being made to sound more metallic, more befitting of the urban sprawl BENIN CITY's tales are set. Record Label: Audio Doughnuts Style: Dance

X-In June returns with new album called "Coose Your God" Style: Electro/EBM

Los Angeles’ bassist/songwriter/vocalist Stephen Bruner, aka Thundercat, is impossible to tame artistically. A true master of his craft, he can be found playing bass with Flying Lotus, Erykah Badu and Suicidal Tendencies, in the same breath as performing Record Label: Brainfeeder Style: Electronic

Dear Stranger, is the fourth full length album by TG Mauss following his previous two long players Mechanical Eye and Gravity Will Keep Us All Together on the Belgian label Quatermass. The man from Düsseldorf also known as Torsten Mauss has been releasing records as TG Mauss since 2005 before which he put out several Eps under his early Twig moniker. This truly incomparable album opens with the unexpected combination of vocoder and what sounds like nothing less than pagpipes on OMG. We miss out Monday but come up smiling on Tuesday, a song which fuses atmospheric pop, noise drones and arpeggiated synths. Welcome conveys elements of post-rock, not least of all in the distinctive drumming sound. Besides his TG Mauss solo endeavours Mauss also plays keyboards in the Sølyst project together with Thomas Klein, the drummer from Kreidler. Their project has recently released its second album on Hamburg label Bureau B and live shows have seen them play with Mouse On Mars at Berghain in Berlin and as far afield as St. Petersburg. This live drumming sound is also the driving force on Ghosts, a downbeat ballad slightly reminiscent of Tarwater in its delicate vocal style and percussive element. The instrumental interlude Im A Child is a pleasant forray into experimentalism and despite the title, proves with the use of ambient drones TG Mauss has a very high level of musical maturity. Don’t Argue picks up the tempo again and its clear from the meticulous electronic production and driving rhythm why Mauss was selected to remix the likes of Karaoke Kalk labelmates Roman and Hauschka among others. Of course TG Mauss’s collaboration with Volker Bertelmann aka Hauschka goes back further than that: to their Tonetraeger project via which they have released several albums and movie soundtracks. The title track of the album exchanges the electric guitar for an acoustic six string, giving the song Dear Stranger a distinctly folk feel; this gentlly meandering drift even features the delightful sound of a recorder. Sun King is of course not a cover of the Lennon-McCartney composition from Abbey Road, rather it bears that TG Mauss signature sound that is by now no stranger to the ear. The penultimate tune Dark is actually light in timbre and mood – the meditative loop purveys an anthemic majesty. And Dear Stranger, draws to a modest close with Circle Lane, a delightful song rounded off with pizzicato plucked chords and some lovely lazy slide guitar. Dear Stranger, is musically diverse enough to appeal to fans of electronica and post rock as well as singer-songwriting and folk-rock. The album revokes the old saying about not speaking to strangers; one listen to TG Mauss and you will want to get to know him better. Style: Electronica

Record Label: Infine Style: Electronic

Not long after Hans-Joachim Roedelius (Cluster, Harmonia) and Stefan Schneider (To Rococo Rot, Kreidler, Mapstation) had released their first album "Stunden", accompanied by a few live shows in 2011, Eric Satie and Brian Eno were quoted as the great inspiration for their musical collaboration. Fine references no doubt, one having invented musique d'ameublement, and the other having refined it into ambient music 80 years later. Yet "Tiden" does not sit easily in either camp. This is neither tasteful decor (à la Satie), nor is it electronic-auditory space filler (à la Eno), gazing towards infinity. The short duration of the 13 pieces is enough to discount either genre. Better to consider these as concentrated, inspired tudes, carefully thought through and in no way random or sketchy. TRACKLISTING: 01. Umstunden 02. Indie Woogie 03. Frankly 04. Whose Contact? 05. Nuance 06. Graden 07. Toast 08. Hohner Omen 09. Mild 10. Unsettled 11. Bald 12. Anderer 13. Pedal Piece Record Label: Bureau b Style: Electro/Ambient

From the opening bars of "Bright Lights", it's clear that Lisbon brothers Bruno and Leo aka OCTA PUSH have redrawn the parameters of their sound. They've developed the elements that defined their breakthrough releases and expanded them to develop a broad, exciting palette of new sonic textures and colours. Their early releases on Soul Jazz, Fabric, Enchufada and others expertly balanced UK bass and African influences to catch the attention of high profile fans like Thom Yorke, SBTRKT and Gilles Peterson. An undeniable ear for melody and a percussive sensibility drawing on the polyrhythms of African music set them apart from the crowd and on "Oito", their debut album, they've taken those two elements and worked them in to twelve compelling tracks that marry the organic and the electronic as well as underground music from Europe and the African continent. The album takes the sub bass and syncopated rhythms of UK genres like garage as its starting point but once again filters that through a kaleidoscope of influences, mainly stemming from Portugal's unique cultural ties to Africa. They infuse the album with musical references to music like Nigerian Afrobeat or Funana from Cape Verde without overtly sounding like the music itself. Re-contextualizing instruments like Kalimbas or Xylophones and playing with complex rhythms gives their music a richness without them ever sounding like copyists. The album also marks an expansion of their work with vocalists, starting on track one with Alex Klimovitsky from the Portuguese/USA group YOUTHLESS. He's now a mainstay of the OCTA PUSH live show, lending his skills as a vocalist, programmer and multi-instrumentalist. The three tracks featuring Alex, "Bright Lights", "Francoise Hardy" and "Splendor" balance great songwriting with intricate vocal layering and melodic work that was only made possible by such a close connection between the three artists. Elsewhere we find Sasha from Berlin's pioneering JAHCOOZI (Ninja Tune, Kitty Yo and BPitch Control), London based Catarina Moreno, and Braima Galissa - one of the best kora players in Guine Bissau. The complex melody of that traditional instrument is woven in to "Ali Dom" along with Galissa's powerful vocals conjuring up the perhaps the most vivid non-European image on the album. Record Label: Senseless Style: Dance

Incl. Bonustracks. Repressed on Morr Music is the lovely debut album from British duo Isan (Integrated Services Analogue Network), originally released in 1998. Swimming in honey-coated electronic signals, it’s a charming and fascinating affair - all feather-light keyboard sounds and tonal melodic structures. Should immediately be added to the vinyl collection of anyone who likes the warm swells of bubbling analogue synthesizers. Style: Electronica/Ambient

Record Label: Claap Style: Electronic

Record Label: Now Again Style: Electronic

Record Label: Ubiquity Style: Electronic

Mike Paradinas has been a pioneer and a mainstay of the electronic music scene for over 20 years now and "Chewed Corners" is his first proper solo album since 2007. As the boss of electronic label Planet Mu, he's always been at the forefront of innovations and has released music by some of the most celebrated modern electronic artists around. The album was written in the same period as Mike's recent Heterotic project while he was home alone. Mike says he intended the compositions to evoke drama and emotion and while the music was made with no conscious influences, after listening back Mike says KUEDO, APHEX TWIN, CHICAGO FOOTWORK, ART OF NOISE, ORBITAL, JAPAN and RUSTIE must all have had an effect. While his last album, 2007's "Duntisbourne Abbots Soulmate Devastation Technique", was at times as harrowing and miserable as its title suggests, "Chewed Corners" is almost the polar opposite, relaxed, self-possessed, and a pleasure to listen to. The innovation is subtle and inviting and it exudes happiness. It also foregrounds probably one of Mike's most important characteristics - something that has always shone through his far-reaching experimentation and kept it sounding both personal and accessible - his knack for great melody and lush arrangements. "Chewed Corners" sidesteps affiliations to any genre; instead it's a suite of 14 retro-futurist tracks, created with a lush, analogue sounding palette. Style: Electro

Record Label: Last Night On Earth Style: Electro

TECHNOMANCER (alias Roy Julian Digre) ist seit 2004 ein electronisches Ein-Mann-Projekt aus der dunkelsten ecke Norwegens. In den letzten 9 Jahren wurde eine Menge Material produziert und digital und via youtube veröffentlicht, jetzt ist es and der Record Label: Emmo.Biz Records Style: Electro/EBM

Raynham Hall is one of those stately old English manor houses to be found in Norfolk, England. In the 1930s the probably most famous ghost picture of all times has been taken there: the now legendary "Brown Lady" descending the grand staircase in the foye Record Label: Equinoxe Style: Electro/EBM

"Swiss producer Ripperton returns to present his new studio album A Little Part Of Shade. The musician’s second full-length album will further deepen his impressive catalogue of work and follow the 2010 critically acclaimed Niwa seeing his return to Joris Record Label: Green Style: Electronic

Record Label: Omniverse Style: Electronic

Wonderwheel Recordings is proud to present Karimba Diabolic Remixed, a brand new remix album from the Peruvian future roots collective Novalima. Record Label: Wonderwheel Style: Electro

Record Label: Cherry Red Style: Headz

Pioneering British electronic composer Matthew Herbert will release The End Of Silence via his own Accidental Records. The new album is another of Herbert’s unique sonic experiments, built entirely around one 10-second audio recording. The soundbite in question is of pro-Gaddafi forces bombing Libya in 2011. On the frightening recording, listeners can hear a plane in the background, followed by a whistle warning and shout, and then, suddenly, an explosion. “I wanted to freeze history, press pause, wander around inside the sound – trying to understand its component parts, wondering why it was so scary when I had never actually heard any bomb first hand,” Herbert commented in a press release. “In stark contrast to the written reports of the atrocities committed by dictators in the Arab word during the Arab Spring, here was something that rendered it real. It turned the virtual word back in to the visceral. Despite immediate and disparate access to news of world events, it’s rare to find something that punctures the safe veneer of distance that computers create. By hearing this sound, one is compelled to live inside the moment.” The Ivor Novello nominee “fragmented and atomised” the recording into a number of “sample instruments” that were then played — rather than programmed – by Herbert and his band. “In many ways I think of it as a jazz quartet record,” he added. “We are just now improvising and playing with texture, memory, meaning, and friction as well as the usual tenets of melody, harmony and rhythm.” The end result is broken into three parts — take a listen to “Part 1″, a stimulating 24-minute composition, in the SoundCloud player below. Record Label: Accidental Style: Electronic