Alejandra Ghersi – Arca – is one of the most influential musicians on the planet in the last decade. Even aside from working with huge names like Björk and Kanye West, her ultra-detailed, high drama, electronic abstractions have set the pace for a legion of artists from very underground to ultra-pop.

George Evelyn is one of British music’s more interesting characters. With equal parts Yorkshire bluntness, hip hop swagger and cosmic dreams, he has filled Nightmares On Wax’s beat collages and soul grooves with soundsystem heft and endless inventiveness for over three decades now. Ever since the N.O.W.

Leo Sowerby: Paul Whiteman Commissions & other early works Andy Baker Orchestra, Avalon String Quartet (Cedille)

This record is a heck of a metatextual experience to listen to. In releasing his debut album, 24 year old Finneas O’Connell is attempting to step out of the shadow of one of the biggest pop cultural behemoths of our time – his own sister, Billie Eilish, who he also writes and produces for – and mark out a creative lane of his own. And he’s documenting this in many of these songs, which touch repeatedly on his experience of fame, struggles with identity and the like.

There I was, gleefully prepared to give this a good kick-in but, annoyingly, it’s defied my expectations. I’ve come to associate James Blake’s singing with the worst excesses of I’m-so-vulnerable-me, post-Jeff Buckley, falsetto-voice-breaking, and his public persona with joylessly prescriptive and enfeebled ultra-wokeness.

Along with Tangerine Dream and Jean-Michel Jarre, Vangelis is a key figure in the development of - to be loosely colloquial about it – trance and chill-out electronica. His 1970s work was proggy trip music, laced with classical aspirations that later came into their own. Artists from Sven Väth to Air to Enigma owe him a debt, as do those involved in the current boom in soothing electro-classical sounds.

There’s a strand of music that a friend of mine once referred to as “Caveman Electronics”, which snakes through the decades, never quite becoming a genre. It’s surfaced in scenes and moments like postpunk and electroclash, you can hear it in bands like Add N to (X) and maverick house/techno producers like Jamal Moss and Funkineven. You can trace it back through Cabaret Voltaire’s breakthrough and Suicide back to “Popcorn”, and even Joe Meek’s productions.

Amon Tobin is hard to pin down. His music has mutated over the years. He initially fitted in with Ninja Tune’s late-Nineties/early-Noughties roster of post-hip hop stoner breaks, heavily jazzed. But in more recent years, he’s wandered into an area where glitchy soundscaping and avant-classical experiments are laced with warped sampling. Then there’s his industrially heavy Two Fingers crunch-step project.

As the summer folds away on itself, theartsdesk on Vinyl returns. Beset by backlogs at pressing plants and delayed by COVID, it's finally here, jammed to the gunwales with commentary on a grand cross section of the finest music on plastic. Dive in!

VINYL OF THE MONTH

God Damn Raw Coward (One Little Independent)

When I Hit You - You’ll Feel It opens with “When I Was Walt Whitman”. A French-language answer-phone message is abruptly cut off by a massive-sounding percussive pulse over which a borderline menacing voice enigmatically murmurs words which are hard to make out. There’re snatches about “repeating tiny fragments” and “when I was Walt Whitman you should have seem me…the words wrote themselves.”