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Review: Mark Knopfler's One Deep River album from 2023 immerses listeners in a reflective journey through Americana's heartland. It is a typically poignant album from the rock icon that showcases his mastery of storytelling as it weaves together tales of life's trials and triumphs. With his distinctive guitar work and soulful vocals front and centre, Knopfler paints vivid landscapes of dusty highways and riverbanks at dusk on each track, from the introspective 'Beneath a Prairie Moon' to the bluesy swagger of 'Ride On Across.' With its timeless allure, One Deep River speaks of Knopfler's enduring legacy as a guitar troubadour of the modern age.

Review: The amount of ultra-rare, hard to find, essential Northern Soul classics seems to be infinite. Here comes another reissue that aims to right that wrong with an officially licensed pair of tunes from the Phase One Network that has artwork based on the original promo version. 'Don't You Worry Baby The Best Is Yet To Come' is brimming with soul and immediately swells your heart with its elegant strings, graceful piano chords and swirling sense of groove all lifting you off your feet. 'Try To Leave Me If You Can' is a heartbroken slow song to conjure up memories of all the loves you've lost, or maybe never had.

Review: A sizzling hotplate of previously unreleased, unauthorised edits from deep house hero Chez Damier, released in an unexpected act of dancefloor philanthropy. Regardless of the lack of information and apparent authorisation, 'Boot Germany' have collated four essential Damier cuts, from the cosy swang of 'Jabalou' to the stroboscopic drive of 'Take Me Away' via the timeless synth horn jack attack of 'Mix Masters' and the whimsically titled lounge trip 'Classic Piano'. Essential quick-draw record bag lingerers for discerning house heads.

Review: Sindh combines old and new worlds on his latest mystic hymns, this time kicking off the A-Biotic label with his dark and alluring four-track EP 'Andaman'. He manages to fuse organic and synthetic materials here as he heads down a darkly introspective path where minimal and IDM, dub and techno all collide in mutant form. 'Jangil' is a real standout with its bubbling halftime rhythms and icy synths backed by distant angelic chorals. The bewitching sounds continue on 'Galathea' which rides back and forth on its heels as subtle sines, scurrying synths and menacing pads all interlock before 'Hinam' locks you in a dense synth stasis and loopy sense of lurching rhythm.

Review: The fledgling but already notable UFO Series now looks to Italian producer and prodigious underground innovator Riciar Ghir for a captivating journey through the more energetic house realms, all with an outer space feel. 'Niriba Shuttle' opens with tribal percussion and progressive synths that are coloured by subtle acid lines. 'Silenzio' is slow, heavy and persuasive with its old school piano acting lighting up your soul. There's a twisted tech funk to 'Platter Dreams' that makes it perfect for 2am cruising and 'Bad Egg' sets down with plenty of colour. These cuts will all work several different moments on the dance floor making it a hugely useful 12".

Review: Robert Owens is absolutely one of the voices of his generation. He has lent his tender tones to more classic tracks than you could possibly mention and he continues to do so nowadays with a wholeness generation of producer who want a touch go his authenticity. He has recently achieved another career milestone with a superbly poignant new single that comes with sublime remixes. DJ Spinna's re-flip adds his usual sense of soul and Adeen Records label head Camille then brings some South African Amapiano vibes. Nico Lahs takes it on with a heavy house groove and Scott Hess brings some classic acid jack to his version.

Review: Shadowed Tales From Mulhouse captures punk's original rebels in live action in 1994, feeling like a return to their rowdy garage punk origins after spending the latter part of the 80s helping to shape goth rock and then take it overground and into the charts. No sign of 'Eloise' or 'Grimy Fiendish' here though - this all about genre-defining hits like 'Love Song', 'Neat Neat Neat', 'New Rose' and 'Smash It Up', with a heap of perfectly suited and totally unlikely cover versions, from 'Pretty Vacant' to 'You've Lost That Loving Feeling' and 'I Walk The Line'. All on nice coloured vinyl, too, it stands as a testament to The Damned's storytelling prowess, leaving audiences enthralled and craving more from this enigmatic ensemble.

Review: The Soul Surfers share their debut 7" on Broc Recordz, following a promising entree working with various raw funk and soul greats, including with Jack Nilovic on his 'Maze of Sounds' compilation, not to mention appearing on the first volume of the recent Two Tales For The Mind V/A. 'High Roller' and its counterpart 'Big Slick' are two large, roomy, instrumental sonic gateau slices, on which an outsized four-string occupies the front and centre of both mixes, to megalomaniac, almost gluttonous effect. All else follows naturally; plucks, snares and FX licks resound, as we're left to contemplate the ingenious front cover by Italian artist Riccardo Bettazzoni.

Review: Continuing Four Flies' dedication to delving into lesser-explored periods of Italian music, Africamore: The Afro-Funk Side of Italy (1973-1978) takes us on a captivating carpet-ride into the intersection of Afro-funk and the Italian soundscape prevalent in the six years between 1973 and 1978 - a time when disco was still in its nascence, and the nightclub market was rapidly expanding. Bottling the critical moment at which DJs such as Dave Mancuso discovered Manu Dibango's 'Soul Makossa' - with classics such like Jean Paul & Angelique's 'Africa Sound' and Nat King Cole's 'Calypso Blues' following as floor-bound hits - all these productions pushed the boundaries of dance music at a time when disco had not yet taken over.

Review: 'Fast Car' was a groundbreaking song when it came out. Making Tracy Chapman a household name. The song became an international hit and entered the top ten in many countries including being number one in Canada, Ireland, Belgium, Netherlands and Portugal. The single went triple platinum in UK alone. The song was lauded for being a moving account of escaping life's difficulties and achieving some material success only to fail again. Tracy's performance was riveting and the song propelled her to win three Grammy's that year including Best New Artist, Contemporary Folk Album and Best Female Pop Vocal Performance. The song was also nominated for Song of the Year and Record of the Year. The song continues to be an enduring classic having entered the charts multiple times and been covered my many artists. The song is also featured in Rolling Stones 500 greatest songs of all time.

Review: Few labels do minimal as well as Trelik and in terms of artists, Edward is also as good as they come right now. This perfect pairing opens up with the deeply alluring 'Time' with its woozy pads and smeared chords over warm and rubbery drums. It's a hypnagogic affair then 'Vacuum Tube' has a more menacing air thanks to the wispy and unsettling synth details and clunky hooks. 'Watch Out' brings a more spangled and rubbery rhythm that has colourful details peeling off the beats and last of all, 'Stream' ups the ante with some thudding deep house and widescreen ambient synth work.

Review: Blue Note first delivered Horace Silver's Silver Serenade in 1964, adding yet once more to their precious collection of sonorous soul jazz metals. With Blue Mitchell on trumpet, Junior Cook on tenor saxophone, Gene Taylor on bass, and Roy Brooks on drums, the natural scarcity of this serenade is a cultivated one, not spooned; Silver's naturalistic trumpet sounds carpal and easy, dancing brightly against clear, impeccably recorded contrapuntal movements by Brooks and Taylor.

Review: Parisian producer Franck Roger lands on Nu Groove with 'Cosmic Tree' EP, a four-track outing of deep house perfectly at home on the legendary NYC label. Still going strong almost 35 years after its inception, it's nice to see the label is still welcoming fresh talent: Roger delivers a sultry, sauna-dunked steam on 'Part Of My Soul', one of the most contented-sounding house tracks we've heard in a while, thanks in part to the vocal stylings of Rimarkable; then there's the more repetitious ardour of 'Radik'Hall', 'Cosmic Funk' and 'The Music', all of which revel in the purely seductive potentialities of deep house production. "The music just turns me on!"

Review: Danny Krivit's officially sanctioned re-edits of Earth Wind & Fire's "Brazilian Rhyme" and "Runnin" have been sought-after since they first appeared on a Japan-only 12" back in 2004. In fact, such is demand that even later bootleg pressings now go for silly money online. As this reissue proves, though, they're arguably amongst Krivit's strongest scalpel works. Certainly, his three-minute revision of the always too short "Brazilian Rhyme" teases it out to just the right length, in the process delivering a sweltering, sing-along summer anthem. The flipside revision of the equally as summery "Runnin" is every bit as good, with Krivit making merry with the original's life-affirming scat vocals and killer piano solos.

Review: Lynn Davis, known for her illustrious career as a backing vocalist and member of George Duke's band, continues her solo journey with 'Beautiful You, her second single. Following the success of her debut release, 'Come Over,' Davis showcases her vocal prowess and sensuality once again in this sophisticated r&b ballad with a touch of jazzy swing. In 'Beautiful You,' Davis sings of recognising the inner and outer beauty in her partner, expressing gratitude for finding someone who surpasses expectations. The song beautifully captures the feeling of discovering that something seemingly too good to be true is, in fact, real. With its soulful melodies and heartfelt lyrics, 'Beautiful You' is another standout track from Davis, reaffirming her talent as a solo artist.

Notes: Replacement JNP110 stylus with elliptical stylus and aluminium alloy cantilever.

Fits MP110 cartridge.

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Fits like a glove: Premium Master inner LP record sleeves (set of 50) are an exact 7" square.

Review: Now celebrating its landmark 50th anniversary, Pink Floyd's seminal The Dark Side Of The Moon remains a timeless masterpiece and is a groundbreaking fusion of progressive rock and psychedelic soundscapes. This iconic album, known for its conceptual brilliance and sonic innovation, continues to captivate with its introspective lyrics and haunting melodies half a century on and this 50th Anniversary Edition pays homage to the monumental work on some very special vinyl pressings and packaging. With its celestial tapestry of sound and thought-provoking themes, his record is often cited as one you need to hear before you die, and you really do.

Review: With members living between Denver, Colorado, the UK and Spain, the New Mastersounds are currently centred on the British city of Leeds, and bring their adept keyboard instrumental Hammond funk and r&b chops to us receptive fans in the form of a new ten-track back-to-school album, Old School. Composed in a short breath in a studio situated in the heart of the English Peak District during a rainy week in July 2023, all tracks here showcase the earthy essence of the band via their signature vocabulary of uncomplicated funk, soul-jazz, classic r&b and reggae-infused grooves.

Review: Unstoppable next-gen junglist Nia Archives presents Silence Is Loud, her forthcoming debut album following an introductory onslaught of bangers such as 'Crowded Roomz'.AIn keeping with the contemporary torch-bearer's take on jungle, Archives' sound is cuter and, dare we say, more original than many Terminator-helmeted old-heads would dare allow themselves. Lead single 'Silence Is Loud' demonstrates this as much, with its expository beat drop marking a return to and cogent awareness of, jungle tekno, with its 4x4 undergird topped up by a floaty trip-hop vocal line, its lyrics evoking city reminiscences and staying afloat in troubled times. Promising both banger delivery and sentiment, Silence Is Loud is poised to pave the way for the very next incarnation jungle.

Review: The latest Discotech release finds tech house stalwart Jay Tripwire stepping up for a batch of potent party starters. 'Jaybee Loves Old Shit' is precision-tooled workout for those who need a driving beat track laden with bouncy congas and a throbbing bassline. 'For Nathan' lets a little more synth work into the mix with some distant, dubby chords and analogue bleeps, but they're managed carefully. 'The Omen' is where things widen out more with cascading pads and strafing, low-end monosynth action creating a haunting, late-night mood which Alex Arnout jumps on to cast off into swirling, funked up after hours territory.

Review: This 2024 edition marks the return of Joe Bataan, via the same track that made his name in 2004. Vampi Soul first welcomed the Latin Soul king to the label two decades back, facilitating the release of his 2005 album Call My Name. The pre-release singles for the album were 'Chick-A-Boom' and 'Cycles Of You', packed onto a single 7"; these quickly became DJs' favourites and have thus since remained long out of print. As it was twenty years ago, 'Chick-A-Boom' is a simultaneously upbeat but ghostly track, with Bataan's vocals quadrupling up in a wall of sound while providing the vibe equivalent of a Jackie Chan flick. 'Call My Name', meanwhile, goes heavy on the clavichord and synth whistle, as Bataan revels in a funereal theme, dancing, thundersticking into the great beyond.

Review: With roots as a backing singer for Stevie Wonder, Wycoff went on to become a soul ambassador throughout the early 80s. This 1982 reissue is one of the best examples of his silky, heartfelt delivery... "Looking Up To You" is a dynamic love song where traces of big 70s production build and build throughout. "(Do You Really Love Me) Tell Me Love", meanwhile, was only ever released as a B-side. Its 80s production counter the dramatics of the A-side with cool synthetic perfection. Reissues don't get much broader in production or sweeter in sound than this.

Review: Where's My Utopia? is the follow up to the Leeds band's critically-acclaimed debut record The Overload, which arrived in January 2022. A co-production between Yard Act and Gorillaz member Remi Kabaka Jr., this latest album comes across as a meditation on the contemporary post-Fordist condition of the creative worker. Speaking about 'Dream Job', the band's James Smith said: "'Dream Job' feels like an apt introduction to the themes explored on Where's My Utopia? - though not all encompassing. In part I was scrutinising and mocking myself for being a moaning ungrateful little brat, whilst also trying to address how the music industry is this rather uncontrollable beast that hurtles forward unthinkingly, and every single person involved in it plays their part." Echoing the conflicted inner turmoil of reluctant bandleaders such as Mark E Smith of the Fall - "it's a constant battle" - and the sonic affect of Talking Heads, the album addresses a question central to our times: what do you do when everything you've ever wanted suddenly lands in your lap, but the questions still keep on coming? How do you handle fame and success, when your fans secretly resent the structures that elevated you to that status? Despite these contradictions, all this doesn't stop James Smith, Ryan Needham and Sam Shipstone from delivering a rip-roaring album as expected. If they can find the motivation to make such effective music despite their doubts (meditating on present conditions of poverty while keeping up a smile), then so, perhaps, can you.

Review: Azimuth, a collaboration between John Taylor, Norma Winstone, and Kenny Wheeler, presented an enchanting blend of jazz mastery when it was released in 1977 and it still resonates to this day. The album showcases the trio's seamless interplay and innovative approach to improvisation with Taylor's delicate piano, Winstone's ethereal vocals and Wheeler's evocative trumpet creating a mesmerizing tapestry of sound. From the introspective ballads to the spirited compositions, Azimuth captivates with its emotive depth and musical sophistication. This timeless LP remains a testament to the brilliance of three exceptional musicians pushing the boundaries of contemporary jazz.

Review: Jazz and punk's best legacies fuse together with this latest collaborative release between The Messthetics and James Brandon. Brandon is a jazz saxophonist and contemporary virtuoso from New York; meanwhile, the Messthetics consist of former Fugazi members - bassist Joe Lally and drummer Brendan Canty with guitarist Anthony Pirog. Continuing the latter's pegging as a 'jazz punk jam', the focus here is on Brandon's novel sax playing, lent to the Messthetics' cathartic, ultimate punk-riffing focus. All is instrumental, as signalled on the lead single 'Emergence', which finds pure enjoyment in variation around a singular four-by-four bass loop. In the saxophonist's own words: "The Messthetics are friends at this point and collaborating with them over the years has now brought us to another high point of musical bonding and purely unapologetic energy!"

Review: Calibre's brand new drum & bass album Rudy comes in a minty-fresh contrapuntal breath, following hot on the heels of a new white label reissue of his earliest and most enduring works from the mid-to-late 1990s. The sudden time-warp back into the present day proves just how far he has come since then, yet also just how much he has retained what worked, too; Rudy begins in an orthodox liquid jungle fashion with the likes of 'Stunted', before breaking away into impressionistic vocal free-associations like 'The Game' (with Dominic Martin) and halftime reese-swellers like 'Heaven'. All the tracks originate from the same aetheric stratosphere - imagine if drum & bass had kicked off not on a terrestrial, but totally gaseous planet - yet Calibre still gleans enough variation from this potent condensate to either pack both more vacuumy punches ('Cousin') or more laid-back but cerebral inhalations ('Dumb Bum').

Review: It's time to do the Harlem Shuffle once more here and lock into the rhythms of Ray Martell. His 'She Caught The Train' is something of an early reggae classic that now makes its way onto 7" vinyl for the first time. It was originally released in 1970 on the Trojan sub-label Joe in the UK and then rose to fame once more as a cover version from UB40 in 1983. The original has been on a load of compilations but has never stood alone on wax. When it came first as a single it was backed with 'Tea House From Emperor Roscoe' by Dice The Boss but here the label adds a super rare Ray Martell song in the form of 'Cora'.

Review: You might think that you could cop a copy of New Order's seminal hit 'Blue Monday' fairly easily and cheaply given its ubiquity over the years. But no, copies in good condition still fetch around 50 quid, so this remastered reissue is well worth a cop. The single's iconic bassline and twitchy synth modulations very much soundtrack a generation, if not an entire youth revolution, but still enliven any dance floor many years later. What's more, the de-humanised vocals will always provide real singalong joy. On the flip is a 'The Beach', which is drenched in echo and reverb and general sonic filth.

Notes: Latest version of the classic Technics DJ headphones, updating the classic RP-DJ1200 design, which sold more than half a million units in its lifetime. Solid stuff. Popular for a reason.

Supplier notes:
New-Standard EAH-DJ1200 DJ headphones with excellent functionality, furability, and DJ playing performance.

The EAH-DJ1200 is a successor model to the RP-DJ1200, which has sold more than 500,000 units since it was launched in 1996. While inheriting the basic concept of the previous model, the EAH-DJ1200 better meets the needs of today's DJ users, resulting in DJ headphones with more advanced functions, design and sound quality. In addition to ordinary listening, the EAH-DJ1200 provide precise monitoring of the beat even in large-volume sound environments such as those in clubs. The matte finish black colour design also makes it an excellent match for the SL-1200MK7 DJ Turntable.

The newly developed driver uses a 40mm-diameter CCAW voice coil. It achieves clear, detailed sound, and high-durability input (2,500 mW) with no distortion even at high volumes. Also, because the sound is well balanced from low to high ranges, DJ play in high-volume surroundings is not buried in noise and monitoring is comfortable.

The EAH-DJ1200 is a lightweight on-ear type design. The housing is equipped with lockable swiveling mechanisms so the headphones can be used for monitoring with one ear. It adapts to all styles of monitoring by DJs. The headphones can be folded compactly for easy portability and storage.

The detachable cord is easy to clean and maintain. A locking mechanism is provided to prevent accidental detachment of the cord during use. The stretchable coiled cord, coupled with the L-type plug which resists internal wire breakage, enables extra ease of use and high durability. It withstands harsh and intense usage by professional DJs.

Based on the RP-DJ1200, which remained as a long-selling model in the market for more than 20 years, the EAH-DJ1200 sports a contemporary black color scheme for an updated appearance. Armed with high durability and excellent functionality, the EAH-DJ1200 matches perfectly with the SL-1200MK7, which features a matte black finish.

Review: The Phonogramme label is a real stamp of house quality, whether serving up deep, French or garage-tinged. This new 12" from Lucas Monet does a bit of all that and more. 'Low Gravity' (feat Dusty Fingers - Deeper dub is a classic New Jersey sound with neon chords and Kerri Chandler kicks. 'Losing You' (Paradise mix) has a more optimistic and upbeat feel with organ stabs and finger clicks and 'Deep In The Blue' (937 club mix) has a little more jack and swing to it. 'Music' (UKG Private mix) shuts down with an irresistible old school groove full of love.

Review: Blue Note's Tone Poet series is one of the most prolific and driven reissuing motors out there, focusing on faithful, audiophile-quality restorations, remasters and re-presses. Next on their list is Brooker Ervin's sax masterpiece Tex Book Tenor (1968). Contrasting to the revolutionary unease of its year of release, Tex Book Tenor abides by the book, bringing together five steady performances, including two covers (of Kenny Barron 'Gichi' and Woody Shaw's 'In A Capricornian Way'), and three originals, 'Den Tex', 'Lynn's Tune' and '204'. The album is soft-spoken in sound here - contrasting to his reputation for tough playing elsewhere - but this variety only proves Ervin's status as one of the fullest vessels around.

Review: Wah Wah welcome the return of multi-talented Norwegian producer Espen Horne, following a 24 year hiatus. Sometimes, such resurfacings must happen - even after such long periods of time - if only to reaffirm the round-robin integrity of the label. The Anatomy Of Serene Eloquence is thus the logical, LP-form follow-up to 1999's acid jazz single/EP 'Magnetica', which, though released only to furtive acclaim, launched the label's reputation as a pusher of delights. This new one, however, makes for a remarkably different turn in sound, coming as a full-length of ambient, tremolo-ing and glistening jazz-funk verging on hip-hop (though certainly cut from the same cloth as 'Magnetica'). Vocalists and instrumentalists such as Olav Wollo, Faye Houston and Aich are kept firmly in tow, squeezing the icing onto an already spongy, delicious sonic gateau.

Review: Greg Foat and Sokratis Votskos come together for a superb jazz-infused Mediterranean musical trip on Live At Villa Maximus Mykonos that was recorded in a picturesque setting. It captures the essence of a sun-kissed Greek island with its breezy rhythms and soulful improvisations as Foat's masterful piano and Votskos' evocative saxophone intertwine seamlessly to transport you to plenty of tranquil seaside vistas. The duo's synergy is palpable and evokes a sense of serenity and joy with each note from enchanting melodies to vibrant improvisations. This gorgeous album really celebrates the beauty of music to take you to another place.

Review: For years, Purple Disco Machine has been igniting dancefloors worldwide and his momentum shows no signs of waning here. His latest single, 'Higher Ground,' is a collaboration with German artist Roosevelt and is a track that channels the vibrant energy of the 80s to deliver a club banger with an infectious synth loop that keeps dancers sweating on the dance floor. With its retro-inspired sound and undeniable groove, 'Higher Ground' is poised to become another standout hit for Purple Disco Machine and Roosevelt.

Review: Leeds indie stars English Teacher serve up a fantastic debut album here with 'This Could Be Texas'. Preceding hits 'The World's Biggest Paving Slab', 'Nearly Daffodils' and 'Mastermind Specialism' have all topped BBC 6 Music playlists and helped build the band quite the following. Their rise continued to soar after they appeared on Later With...Jools Holland, and they have since played a sold-out UK and US tour. Lead singer Lily Fontaine's vision for the album was "an odyssey to space, revealing Doncaster's likeness. It's about navigating in-betweens, cherishing home, and tracing Desire Paths." Fontaine reflects on being mixed-race in post-Brexit several times throughout the album and it comes here on lovely green vinyl.

Review: You might have heard about this LP..... After a pre-release campaign that took on Hollywood-esque proportions, French pair Guy-Manuel de Homem-Christo and Thomas Bangalter return as Daft Punk with their fourth studio album Random Access Memories sporting a A-list cast of guests and contributors. Given the input of disco icons Giorgio Moroder and Nile Rogers it's entirely understandable that the overbearing sound on Random Access Memories is one of classic disco with lead single "Get Lucky" a good indicator for what to expect. There's also a smattering of yacht rock within the thirteen track set, whilst the ubiquitous Panda Bear turns up on the midnight stutter funk album highlight "Doin' It Right". Those expecting a return to Daft Punk's Homework heyday will be disappointed but Bangalter and de Homem-Christo are touching forty so the polished, expertly constructed disco direction makes perfect sense.

Notes: The Groovewasher Mondo Record & Stylus Care System

Groovewasher's top-of-the-line record and stylus care system. Elegant and effective.

Groovewasher's walnut products are solid chunks of 40 year old Black Walnut trees. Every one is unique. Some may have small surface cracks, splits or knots. This is the character of the wood, not a craftsman's mistake.

Review: The Roulade label is doing things right - not only is the music they are serving up superb, but so to do this second 12" comes with great and original artwork. Its neon glow and diffuse light capture the vibes of the synths on the opening cut 'C'est Party' perfectly. It's a melodically rich tech house cut with rubbery bass and great spoken words from a world disco dancing competition. Occibel's 'Give 'Em Some Rest' is busy and dense with whirring sci-fi synths, funky Prince riffs, thudding house beats and plenty of colour. Add in two more equally vibrant and characterful cuts from Hearthug and Wooka on the flip and you have one of the most unique EPs we've heard in some time.