Oakland-based musician Zachary James Watkins has learnt from the very best. His Mills College education brought him into contact with the likes of Fred Frith, Pauline Oliveros and Alvin Curran - setting him up rather nicely for a career in the world of the avant-garde. A bit of a polymath when it comes to musical styles, Watkins is as comfortable with heavy noise as he is with subtle electronic experimentation, currently motivated by the healing power of high-vibration resonance. As he himself says, “the conscious investigation of harmonic tunings, acoustic resonance as well as social relationships can yield powerful experiences.”

Dark and brooding, the second release from Ulvtharm (Jouni Ollila, co-founder of Mz.412) descends with intensity and gravity, forcing the listener to focus on every beat, squeal, and syllable. 7 Uthras presents itself mostly through a martial industrial guise, though Ulvtharm's touches expand this into more realms, making the album the engaging piece gracing one's turntable. Mixing noisy synths, different rhythms, and oppressive vocals, 7 Uthras plays like the soundtrack to an alien invasion, and our new overlords aren't very happy

‘The Bad Shepherd’, a new suspense horror thriller directed by Geo Santini debuts in the UK on 22nd April.

From the early 1970s Impulse is drama come low-key thriller, with some psycho horror undertones, and a fair bit of soapy melodrama/ 70’s camp. It features in its lead Willam Shatner, as a charming-to-unbalanced playboy. Here from Grindhouse Releasing is a double disc Blu-Ray release of the film- taking in two bonus films, and a truly hefty selection of extras.

Collaged from the texts of phishing emails, Jan Jelinek has produced something so contemporary that it struggles to be interesting, which, I guess, is maybe the point. Much of the text is in English, but there are fragments in German as well, in case any of us happened to be unaware of the boundless reach of the global. This sounds dismissive, but, really, there is no lingua franca when it comes to attempts to con us out of money, access, whatever. In a sense, these emails are as geared as almost anything to a specific market or audience. The voices are ones that we’ve become accustomed to – robots, though that sounds hopelessly nostalgic – made to sound like humans, and the failure to do so is certainly rife with sonic potential. Jelinek repeats or cuts the texts of said emails, and puts them to mostly agreeable soundtracks, though nothing that feels intentionally musical.

Zwosch, Zwosch & Zwosch is an improv release that wonderfully swings between the manic and seared, to the more moody and atmospheric. It’s an album/ release that truly keeps the listener firmly on their toes throughout its nearing thirty-three-minute run.