London Eye, South Bank, London

Whilst everyone comes back from their hi-art, lo-brow musical sojourns (Sonar, Glastonbury). Loaded with tales of eccentricity, mild binge drinking and bouts of casual violence. We have the diabolical Live 8 jizz-up this weekend here in London's Hyde Park.

Luckily I'm off to a country where they not only don't give a fuck about Africa, but positively hate on their own people through human rights abuses....Turkey. Byeeeeee.

Exile: Pro-Agonist (Planet Mu) - CD

Exile is known for all different styles of drum'n bass. But this debut album should see him breaking away from the restrictions of that genre. The rolling breakbeat pleasers are there of course. But sitting alongside are some pretty deep forays into reaktor patch ambience and digital disruption.

The centrepiece is the insane 'Broken Language'. A remix, no, complete re-edit of a track he did with John B. The hyper-edit cuts and DSP tricks do not detract from the addictive groove. Comes complete with the most almighty drop half way. I defy you not to be rhythmically propelled.

All hits, no misses. The up-tempo tracks really kick and grind, the experimental pieces are worthy of expansion and the whole album has an easy flow and narrative to it.

Close to the edits. The Art of Exile.

Richard H. Kirk: Earlier / Later (Mute) - CD

Even those who aren't aware or don't particularly care for the output of the godfather of British electronic music will find something of value in this double CD set. Electro, acid house, proto-rave, techno...it's all there. Whilst not exactly renowned for hands-in-the-air anthems, the ever-present motifs of dread, suspicion and political statements provide decidedly choice moments.

CD1 is from his eighties period, I guess when 808's and 909's provided Kirk's more esoteric experiments with a bit of kick. Roland's entire repertoire fused with stark northern minimalism. I think it's all ace, just the sort of noise I'd make if I was stuck in a rain-soaked industrial town with nothing but drum machines for company.

CD2 is the more 'intense' of the two. Made in the mid-seventies: open-reel tape machines, musique concrete and a fondness for distortion / feedback reveal a more direct approach to composition. 'Kinshasa Express' is fucking rad, 'Entering Creation' rocks hard.

For anyone with even the slightest interest in any of the music I mention on this blog.

Solvent: Elevators and Oscillators (Ghostly) - CD

'Apples and Synthesisers' LP was clever songwriting and deft use of romantic synths all illuminated in a warm light. This could be seen as a remix accompaniment with a few new tracks thrown in as filler.

Mitgang Audio, Legowelt and Lowfish all work in similar fields, so their remixes simply re-arrange the electro template to their own ends, resulting in slightly predictable workouts. Alter Ego though aim for jugular with an epic robot rock, hints of tension and sex but as empty and vacuous as their own output.

Best of all are the two poptastic turns by the ace Schneider TM and new Ghostly signing JDSY. Schneider reworks 'My Radio', twisting the lyrics around to reflect his own indieboy story whilst adding a zesty burst of jangly guitar. JDSY replaces the vocoder on 'For You' with suave swoon and dancefloor sophistication.

Skane: Revisited (New Speak) - CD

This has 'music for graphic designers' written all over it. Veers between noodly IDM bollox and more substantial drum pushers that are few and far between. All the more surprising that the original source material is by Andreas Tilliander. Both the label and artist have done better elsewhere.

Made: Tracktitle (SCSI-AV) - CD

Skam-affiliated and it sounds like it. Dour, moody and fucking miserable. Staple IDM-business that'll be down with the backpack brigade. Moves between futurist-electro and subdued clanking. Neither of which impress much.

The token "Hey, I'm down with this click house vibe" track is here ('On/Off') and of course it's better than anything else. But the power-grinder driven 'Aroh' has some sense of urgency to it. Outgoing track 'Zero Four Three' makes a last gasp at some freneticism. But on the whole this is pretty nondescript.