Burger / Ink: Las Vegas (Matador) - CD
No, this hasn't been reissued. I just felt like stapling some words to it. For those that don't know, Jorg Burger and Mike Ink (Wolfgang Voigt to his mum) are now part of the mighty Kompakt empire. Originally released in 1996 on the Harvest label (home to Pink Floyd, Can and er, Scorpions). This came to a much wider audience via Matador Records who picked it up in '98.

I'd like to think that this record formed the foundations of the Kompakt sound. Despite their involvement in several projects, this was the only time they recorded something together. And it chronologically makes sense: around the time of the reissue, they were busy starting up their Cologne activities.

There's a concept behind it, but it totally works. A soundtrack to visiting Europeans interpreting Americana via a road trip. But being outsiders, they've managed to make how a night-time road trip through Las Vegas should sound like. From the track titles that reference Roxy Music at every opportunity to the motion blur cover art, this suggests a narrative....of being in motion.

Sonically it's subdued. No raucous riffs, rhythmic rages or quick fixes. Ambient in tone, with repetition and use of looping quite evident. The signature use of treated guitar runs throughout, often forming the main melodic backbone to the track. The echo chamber rhythms are sparse and almost minimal in deployment. But ultimately, this album has mood, atmosphere and an undefinable quality that has meant it hasn't aged since its release.

Chris Clark: Body Riddle (Warp) - CD
Body Riddle may require a different angle of entry to most other electronic albums, but once you're in, it all makes sense. Sonic flourishes that recall Four Tet, Dabrye, and his own earlier work are moulded into an album of instrumental beats primed with with A.D.D. attention spans. The skittish jazz shuffle of 'Herr Bar' is propulsive and noisy, 'Herzog's shift in tempo is brain-curdingly complex - but the standout moment is the lo-slung clip-hop of 'Ted'. Razor-sharp percussion, subtle approach to melody and a loose, almost live feel to the whole thing all add up to what might be one of the finest home-grown electronic albums you'll hear this year. Best thing on Warp in ages, too.

Squarepusher: Hello Everything (Warp) - CD
'Hello Everything' was obviously recorded at a time when the creator was in wallowing in way too much jazz-funk. It's much more "up" and accessible than the dark murmur of 2004's fascinating 'Ultravisitor'. A fact established by the opening pop-bounce of 'Hello Meow' and there's two fierce jungle numbers that will surely please the beat-fiends. Shame it doesn't contain any mutant 2-step, though.

Manor Boys: Chelmsford's Most Wanted (Barry's Bootlegs) - CD
This is terrible; badly recorded, shoddily put together with some real cringeworthy moments. But despite all the above, I can't stop playing it. Casiotone rhythms, stolen hip-hop riffs and two well-heeled white kids who seemed to have forgotten that they were being recorded.

Comedy does have value in modern contemporary music and its in my humble opinion that there's isn't enough of it. Needless to say, if you only buy one Essex-based comedy album this year. Make sure it's this one.

Trentemoller: The Last Resort (Poker Flat) - CD
He dominated 2005 with a series of searing statements in minimal house, but Trentemoller disappoints with his debut artist album, 'The Last Resort'. Making moves away from 4/4 has resulted in an album that's less than satisfying. Just too light where it should be dark, too structured where it should have settled for a groove. It's almost as if progressive house never went away (Sasha has a lot to answer for). Still, if you missed out on the 12"s, they've thoughtfully compiled them onto the second CD here - and they still sound fantastic.