Katalyst will be teaming up with Geoff Barrow for a new project, Quakers, out on Stones Throw. In the meantime, this is taken from Barrow’s latest Invada compilation.

New single ‘Dashing In Passing’ features vocals that sound like an (even more) unhinged Prince, and is evidence the Outfit’s horizons are even wider than they had let on.

‘Hazy Days’ is a summertime waltz that immediately brings to mind the Electric Soft Parade, but that sounds like it was recorded live, to a cassette boom box, somewhere deep in the Pacific.

Young Montana? recasts Radiohead’s ‘Idioteque’ as a major key delight. Swooning melodies, a lilting bassline, and beautiful, thudding kicks.

Our special Manchester focussed feature kicks off with a remix featuring two of the city’s brightest bands.

Machinedrum has injected a breaksy pulse into Gang Colours’ ‘Fancy Restaurant’, shocking the original out of its lazy, Sunday morning coffee haze.

Philco Fiction’s deconstructed disco is bookended by icy synths on one side, and bombastic, pop-hit vocal harmonies on the other.

’666.66′ sees Weird Dreams find the aggression they always needed, suggesting there is more to the four-piece than Beach Boys pastiche.

‘Absences’, by Sheffield multi-instrumentalist Carnivals, starts off a little subdued and hazy before kicking into full glitch lucidity. Download it here.

Crystalline synths and popping percussion form the basis of Becoming Real’s ‘Paramnesia’, a strangely agitating track that builds without ever quite crescendoing.

Sing-songy melodies and helium vocals conjure a particularly unsettling claustrophobia in Sleep Party People’s ‘A Dark God Heart’, before distorted guitars crack it all open again.

Awkwardly monikered headdress enthusiast Totally Enormous Extinct Dinosaurs gives Jonquil’s new single a pop-house workover, all endless vocal delays and marching band snares.

‘Never Change’ is a brand new track that would have slotted quite nicely into The Magic Place. It has the same ecclesiastical aura, all cathedral echo and liturgy-like wordless vocals. Mournful but uplifting.

‘Rising Below’ begins languorously enough, before slowly building into an oddly deconstructed little cacophonic symphony. A bit like a group of children have been given instruments and told to gradually play them louder and louder.

‘Nightshift In Blue’ has all the Jonti hallmarks we’ve come to love: ’60s-tinged song structures, wistful, sliding synths, and beautiful close harmonies.

In Shlohmo’s remix of Lianne La Havas’ ‘Forget’, bathroom reverb vocals are offset against funereal synths, conjuring images of mournful, late-night break-ups.