A concept album exploring themes of broadcast communications, Radio-Activity marked Kraftwerk's return to more obtuse territory, extensively utilizing static, oscillators, and even Cage-like moments of silence to approximate the sense of radio transmission; a pivotal record in the group's continuing development, the title track – the first they ever recorded in English – is their most fully realized electro-pop effort to date, while "The Voice of Energy" precipitates the robot voice so crucial to their subsequent work.

Although Kraftwerk's first three albums were groundbreaking in their own right, Autobahn is where the group's hypnotic electronic pulse genuinely came into its own. The main difference between Autobahn and its predecessors is how it develops an insistent, propulsive pulse that makes the repeated rhythms and riffs of the shimmering electronic keyboards and trance-like guitars all the more hypnotizing. The 22-minute title track, in a severely edited form, became an international hit single and remains the peak of the band's achievements – it encapsulates the band and why they are important within one track – but the rest of the album provides soundscapes equally as intriguing. Within Autobahn, the roots of electro-funk, ambient, and synth pop are all evident – it's a pioneering album, even if its electronic trances might not capture the attention of all listeners.

The Man-Machine is closer to the sound and style that would define early new wave electro-pop – less minimalistic in its arrangements and more complex and danceable in its underlying rhythms. Like its predecessor, Trans-Europe Express, there is the feel of a divided concept album, with some songs devoted to science fiction-esque links between humans and technology, often with electronically processed vocals ("The Robots," "Spacelab," and the title track); others take the glamour of urbanization as their subject ("Neon Lights" and "Metropolis"). Plus, there's "The Model," a character sketch that falls under the latter category but takes a more cynical view of the title character's glamorous lifestyle. More pop-oriented than any of their previous work, the sound of The Man-Machine – in particular among Kraftwerk's oeuvre – had a tremendous impact on the cold, robotic synth pop of artists like Gary Numan, as well as Britain's later new romantic movement.

Last year Scott and I were invited by the folks at Vancouver New Music to present a concert for their Vox Organi festival, based off of the work captured on Colours of Air. The invitation was special in that it asked us to work with an organ live, and not just as a rich sound source.

Moritz von Oswald's latest solo album is his most startling, time-bending material since the Basic Channel days, a collaboration with a 16-voice choir that refracts techno and choral music into dizzying psychedelic traces, exploiting mind-altering xenharmonic synth tones, Ligeti-like operatic phrases and abyssal kicks with a veteran's cunning. We've been knocked sideways by this one - trans-dimensional afters music at its absolute best.

This anthology is the second compilation from EM Records of the works of the late Henry Kawahara, a media artist and electronic music producer who was particularly active in the Japanese cyber-occult underground of the 1990s, a scene linked with technologies such as 3D (binaural) recordings, brain machines, sound chairs, computer graphics and compact discs. These tracks, produced 1990-95, include a series of recordings described as “Parallel Data Sounds” and “Sound LSD”, a “new language system that speaks directly to the cerebrum” using “frequency components that are not perceived by the conscious mind”, reflecting Kawahara’s interest in concepts such as astrology, love mantras, and astral projection. Also here are two pieces featuring dolphin sounds and human brainwave feedback, as well as pieces from a recording unit called H Music De-perception (HMD) and a group called Xiaoyun.

Scope Neglect is an experimental and genre-shifting album forged from Frost’s admiration for metal with the mindful removal of its conventional attributes. Where the record touches aspects of the genre, it’s met with glitching electronics, immersive ambient industrial churns and deeply contemplative explorations that result in something impossible to pigeonhole. Created with guitarist Greg Kubacki (from New York’s progressive metal band Car Bomb) and bassist Liam Andrews (from Melbourne band MY DISCO), the album was recorded at Candy Bomber studios in Berlin with engineer Ingo Krauss (Swans, Nick Cave, and Mick Harvey).

"Hit Parade of Tears" is an album inspired by the short stories of Japanese author Izumi Suzuki, married to musician Kaoru Abe, who tragically ended her life at the age of 36. Suzuki's wholly original short stories paved the way for the science fiction genre and in many ways predicted the cyberpunk movement. Ikue Mori and Zeena Parkins have created a beautiful and mysterious collection of musical miniatures that reference Suzuki's sensibility with remarkable feeling and compassion. A touching tribute to a powerful creative woman by two powerful creative women.

The first release on Jim O'Rourke's legendary Moikai imprint in over two decades, 'Spectral Evolution' is a defining statement from Portuguese vanguard Rafael Toral, an album of subtly orchestral, jazz-inspired guitar music that's been slowed to a vertiginous crawl. Using his arsenal of hand-made synths to sing like birds around stretched, steel-wound drones, he evokes Bach, Loren Connors, Gavin Bryars and Rhys Chatham on a longform piece full of conventional chord progressions and alchemical sleights of hand that will have you reeling, and no mistake.

In 1948, Moses Asch founded Folkways Records with a self-proclaimed mandate to record the sounds of the entire world. From the Sounds of North American Frogs to Speech After the Removal of the Larynx, Folkways documented the audible nooks and crannies of existence on hundreds of LPs produced by field recordists, scientists, and experimentalists probing the margins of the human soundscape. Seventy-five years later, electronic music duo Matmos have diced, looped, stretched, and recontextualized these recordings on their new album Return to Archive, which was assembled entirely from the so-called non-musical sounds released on Folkways. On just the album’s first track, dolphins, beetles, telephones, humans stretching the limits of their vocal cords, a shortwave radio, and metal balers co-mingle in a fantasia of sound both everyday and extraordinary. Each track on Return to Archive morphs its source material into something completely unexpected, honoring and expanding on Folkways’ legacy of sonic exploration. Featuring Evicshen and Aaron Dilloway.