Take out the old, bring in the new. I guess the increment of the year by one does kick start change, transition, shift. Record label activity signifies this and whilst I know that in the grand scheme of things, most people won't give a shit. I just feel it ought to be mentioned that Austria's Mego records has closed up shop and will morph into Editions Mego. But the real knock on effect for me is the closure of the MDOS online record store. Which looked good, held ace stock and generally kept me sane. Long Live Mego!

Various Artists: Year One (Project Aristotle) - CD

I so badly want to dislike this crudely presented compilation of grass-roots electronic music. But I just can't bring myself to do so. Musically derivative, but some thoughtful ideas in there. All the artists sound like other established practitioners of electronica. So fleeting nods to the likes of the Boards of Canada, Leftfield and the Warp roster the nineties give this an air of comfortable familiarity.

Lloop: Bulbbs (theAgriculture) - CD

I guess on initial listens this sounds like The Orb: layered ambience, phases of treated hip-hop loops, spoken word samples, swathes of orchestral flushes. It might all sound terribly 1995 when the likes of 'trip-hop' ruled the record racks. But this release from 2001 (originally recorded in 1994) somehow avoids the 'downtempo' tag through its unhurried exploration of differing sonic textures.

Philip Jeck: Host (Sub Rosa) - CD

Supreme statement of avant-garde turntablism from Liverpudlian Philip Jeck. Lots of talk about the methods involved in making such fierce sonic statements, but ignore all that Wire talk and just immerse yourself in three pieces of narrative, maladjusted sound. Those interested in process should find answers in the supplementary 20-minute media clip.

Various Artists: Futuristic Experiments #006 (Background) - CD

I don't think I've ever been struck by anything outstanding from this label. I mean, all the right elements for a minimal house label are present. The wireframe graphics, locality (Duesseldorf) and artists like Sutekh and Andy Vaz. But somehow everything is played out too safe, too controlled for my liking. All perfectly demonstrated by this rather dry collection of granular grooves, only Akufen's 'Red Skies' seems to possess any sense of destination.