All genres charts

Review: Arriving almost six years on from their Grammy Award-winning eighth full-length Electric Messiah, Oakland, California stoner-sludge behemoths High On Fire return with the highly anticipated Cometh The Storm. Plumbing the depths of post-COVID woes, the increasing proverbial fire of the world at large, and our brittle purpose within the cosmos, these long-gestating beastly cuts offer up some of the most heaving tonal bedlam the trio have delivered in well over a decade, whilst simultaneously operating as their most sonically daring and expansive chapter yet by tapping into middle-Eastern influences and utilising Turkish instruments to craft a worldly, encompassing sense of global dread. When you absolutely, positively, require some of the most grooving, hefty, nihilistic sludge/stoner/doom available, you're always in luck when High On Fire rear their Cerberus heads.

Review: On their third LP, British-Singaporean singer-songwriter Nat Cmiel is moving in a new direction - not only with a move from Bayonet Records to Ninja Tune, but also favouring a guitar-led indie rock sound, a departure from the critically acclaimed 'Serotonin II' and Danny L Harle produced 'Glitch Princess'. Lead single 'sulky baby' is a bright affair, distorted guitars circling Yeule's brand of gloomy lyrics sang with a smile. 'dazies' gets off the mark with a killer electric guitar lead, giving way to a plucked ambience with a computerised Nat ringing off a word association of a person kicked to the curb. When Kin Leonn isn't working their production magic, Yeule's self-production breaks the space. 'fish in the pool' is an ambient piano interlude with light-as-a-feather vocal adlibs, something that wouldn't be out of place in a Studio Ghibli production.

Review: Dal Platinum is back once again like a reneged master. His last outings on the fantastic Breakbeat Paradise Recordings came in the form of a remix and a huge Powerhour free download and now he comes correct on a new 7". He kicks off by bringing some crashing breakbeats and funky drumming to a hip-hop classic on 'Breath & Strut', while the melodies are full of soul. On the reverse is a much sunnier sound - 'Peace Dust' is driven by a big bassline with some nice organ stabs and a fiery vocal leading the vibes up top.

Review: RFXN kicks off life with a new single from David Agrella which has seen early support from Ricardo Villalobos. First off he offers up his own Acid Mix of 'Perro Balearico' and it's a supple, deep and dubby track with liquid synths and prog chords that sound both retro and future all at once. The original is a more dreamy and spaced-out sound for 5 am sessions. On the flip is a more punch but still silky and warmly melodic remix from Mario Liberti before last of all, Gabriel Rai gets darker. His drums hit harder and the synths are moodier as he takes dancers down a late-night path of mystery and intrigue.

Review: James Mac and Vall have combined on this new deep house cut which leans heavily on a classic sample from some two decades ago. 'Try Again' is tense emotionally and physically with deep cut, well-defined grooves topped with the smooth vocal coos and rising synth tension. A Ben Miller 4am Afro dub then brings more skip and funk to the rhythms while Davi Penn keeps things tight and tech-y with his version. The Holseek remix is wired up with some twisted synth paranoia last of all is 'The Boy Is Mine' (feat Rosalie - Sasson remix) to close down this throwback EP.

Review: American composer and sound engineer Adam Wiltzie, may not yet be a household name in electronic music yet but it's a safe bet you have heard projects that he has been involved in. Adam is one half of the highly regarded ambient and drone project Stars Of The Lid for the past 30 years and also worked with many popular rock and indie bands as an engineer as well as done composing for film and TV. Eleven Fugues For Sodium Pentathol is the name for his first all original material for a full album. Last year in 2023 brought the untimely death of Stars Of The Lid partner Brian Mcbride. However, Adam's relationship with Kranky records is as strong as ever and that's where his first solo album finds a home. The music is inspired by a recurring dream Adam had where the music he composes makes people die. The music blends heavy emotions from ruin to absolute beauty. A powerful album that has extreme depth and cinematic expansiveness. We hope this will be the start to a very productive solo career that will continue his excellent work that was done with Stars Of The Lid.

Review: Acclaimed UK duo Jungle bring to Volcano the same sense of free-spirited energy that made their previous album Loving In Stereo such a hit. Much of this one was written while the duo was on tour, staying in an airbnb in Los Angeles, before they head to record it back in London at their favourite Studio B in Metropolis Studios. There is a wider variety of voices on this record with Erick the Architect as well as a reunion with Bas for 'Pretty Little Thing' who was last heard on the single 'Romeo.' As well as that, Roots Manuva, Channel Tres and Jnr Wiilliams also feature.

Review: St. Vincent, aka Annie Clark's All Born Screaming, marks her first self-produced endeavor, promising a "post-plague" exploration of emotions. The album boasts a star-studded lineup of collaborators, including Dave Grohl, Cate Le Bon, and Josh Freese, among others. Her seventh studio album, Clark describes the album as a deep dive into emotional landscapes, emphasizing authenticity and introspection. The lead single, 'Broken Man,' accompanied by a visually striking music video directed by Alex Da Corte, sets the tone for what Clark has teased as a "darker and harder" sonic journey compared to her previous work. All Born Screaming signals an exciting evolution in St. Vincent's discography, promising an urgent and compelling listening experience.

Review: The '90s Groovez Vol 1: Back The Funk' EP from Planet Rhythm is a nostalgic journey back to the golden era of techno. With its retro-sounding basslines, house elements, and early rave influences, this EP captures the essence of a time when dance music was pushing boundaries. The title track, 'Back The Funk,' is a perfect example of this, with its infectious chord progressions and powerful bassline that demands attention. 'Beginners' transports listeners to the early days of rave culture in Belgium, while 'The Funk' will battle for deck privileges on any main floor. For those who have experienced the 1990s dance music scene, this EP offers a chance to relive those glory days. And for newcomers to the genre, it provides a taste of the era that shaped contemporary electronic music. We can't wait for Volume 2.

Review: Due to persistent demand and soaring prices for the original pressing, this reissue of 'Why Don't You Go Home' on striking red transparent vinyl could not be more essential. Featuring the dynamic vocals of Diane Ward, the title track delivers a powerhouse performance echoing the King and Federal r&b sound. On the flip side, 'Cocktail De Medianoche' serves up a delightful blend of Boogaloo and Northern Soul, a cherished favourite among aficionados of Latin grooves and Uptempo Soul. With two phenomenal tracks, this reissue promises a perfect double-sider experience! for lovers of soul.

Review: Wonderful edit king Mr K is back with more of his superb scalpel work on his own Most Excellent Unltd label. This latest 7" tackles some mighty original material in the form of Thelma Houston's gloriously uplifting 70s Motown classic 'I'm Here Again'. It's just as life-affirming and joyous in Mr K's hands with some extra drum weight and drawn-out grooves that will energise any dancefloor. On the flip is 'Time Of The Season' which taps into some golden funk and soul with soaring vocals and big horns over a killer, infectious bassline.

Review: ''Seconds To Forever' is one of the most beloved tracks in the Echospace arsenal. Originally released in 2010, this reissue is being pressed on transparent blue vinyl. Fans of Stephen Hitchell will be excited to see these rumoured reissues finally seeing daylight. 'Beyond the Clouds' is on the B-side as well which makes this perhaps, the most desirable EP in this history of the label. We are just glad to see Stephen Hitchell back releasing physical music - and these are still classics of the dub techno genre.

Review: Tori Kelly's latest Tori, arrives amidst a tumultuous time as she battles a serious health scare. Despite this, she delivers a collection of r&b-tinged pop tracks that showcase her versatility and musical prowess. The infectious single 'Missin U' sets the tone, followed by the flirtatious 'Cit' featuring Timbaland's ad-libs. Tracks like 'Shelter' and 'unbelievable,' featuring Nigerian superstar Ayra Starr, highlight Kelly's ability to explore different genres seamlessly. While the album leans towards pop, songs like 'Alive Til I Die' and 'Young Gun' offer heartfelt lyrics and collaborations with Jon Bellion that delve into themes of love and loss. A promising new chapter for Kelly.

Review: Ambient legends Abul Mogard and Rafael Anton Irisarri team up for new album Impossibly Distant, Impossibly Close. Unfolding naturally after being booked to play at the same show in Madrid in 2023, the two ambient artists' dazzlingly warm, slow-progressing approaches to ambience fuse neatly together here. Just two long pieces, 'Piece Of Forever' and 'Waking Up Dizzy On A Bastion', titularly grasp at the theme of eternity, determinism, historical peaks and troughs: the supporting atmosphere is equally as impressively arresting, seeming to urge the listener to 'give over' and move with the flow of time, less than the flow of will. Such a paradigm shift can indeed serve to make distance and closeness seem irrelevant.

Review: Bassex Records emerged as a niche haven for electronica enthusiasts in the mid-90s, championing and, more importantly, blending genres like trance, breaks, acid and techno, the label's initial influence remained confined to the West Coast. However, as trancey breakbeats gained traction in Europe over the past 15 years, Bassex has ascended to cult status. Rebirth was label owner Mike Knapp and DJ Jason Blakemore (DJ Trance) and this compilation specifically gathers a few very desirable gems from three different releases by them and places them here. Bassex Selections is an important window into the label's enduring legacy and snapshot of the west coast scene circa 1994.

Review: The original Bridgit Mendler soundtrack to the citrine teen drama movie of the same name sees a full version on vinyl LP this spring. Notable not only for its inclusion in the contemporary musical film, but also for its chart-topping success, the ten songs that make up the many acts of this high-school drama were destined to charm the pubescent masses, coinciding with the film's overarching theme of the school's students transcending use of after-school detention to musical effect, in order to overcome their personal struggles. Imagine Glee meets The Breakfast Club; a cabal of songwriters including Ali Dee, Maria Christensen, Bryan Todd and Jeannie Lurie lay down an array of sure-to-be hits for Mendler to perform on behalf of the cast here.

Review: Mad About Records officially reissues super rare private press Quintessence's 1981 LP. Surprisingly for the level of talent and production / recording wit that it flaunts, Quintessence was one of many original jazz LPs to remain in private circulation and thus completely wanting of the public ear. Led by Ron Ancrum, with George Sovak, David Gaedeke, Winston Johnson and Steve Muse, the band nonetheless recorded an exceptional slice of artistic pie here, bringing Rhodesy, tritoning sundowners to the then already well-fleshed milieu of 80s jazz, an unmistakably bulbous and gaudy sound to which Quintessence do much justice; our favourite here by far is 'In My Apartment', a tssking blue-jazz suite for boughed double bass and noir piano.

Review: After 1972's seminal Ege Bamyasi, the German Krautrock legends released what is one of our personal favourite Can LPs. Aside from being the last work of theirs to feature the vocals of Damo Suzuki, it's a seriously deep and full-bodied piece of work, as you'd expect from the band. The title track itself is a hypnotic, visceral journey through space and time, but all the tracks on this are pure classics. You even get their poppier of moments in the form of "Moonshake". Don't ask any questions, just cop it. Essential gear.

Notes: The legend is back. Updated and re-engineered for the 21st century, the classic Technics DJ turntable remains the industry standard. Top sound, top build quality.

Supplier notes:
The SL-1210MK7 is the newest model of the SL-1210 Series. For the development of this model, all that modern-day DJs need and want was reviewed from the ground up. At the drive section of the MK7 is a coreless direct drive motor. While achieving both stable rotation and powerful torque, this has successfully eliminated a rotation irregularity called cogging, which was the only drawback of the direct drive system. As a result, sound quality was further improved. The pitch control incorporates digital control to achieve improved tracking performance and accuracy. The buttons and tonearm are black to complete the all black design, and the LED light can be set to illuminate in red or blue. A reverse play function has been added to expand the breadth of DJ play style. With those features and functions, the MK7 aims to set a new standard for DJ turntables.

Review: Alleviated's Larry Heard reissue series has previously brought us the rough and tough acid of Gherkin Jerks and, more recently, the intergalactic downtempo grooves of his largely overlooked Alien LP. Here, they revisit one of Heard's later aliases, Loosefingers, dusting down and reissuing tracks from 2003's Glancing at the Moon EP. All three tracks are deep, warm and melodious in typical Heard fashion, with the title track delivering a sultry blend of wide-eyed chords, darting electronics, Latin-influenced percussion and tactile keys. "Deep Inside" delivers a hazy, sun-kissed take on soulful house - all jazz bass, sensual chords and gentle vocals. Best of all, though, is the tougher, synth-heavy "Lamentation", which rolls along at a near techno-tempo and is blessed with thrilling bleep melodies.

Review: There's been much debate over the years about whose version of this seminal track was in fact the best. Laurent Garnier's 1997 classic "Crispy Bacon" gets a vinyl re-issue and it still stands the test of time. You can just imagine how innovative and futuristic this adrenalised peak time weapon sounded like in the mid-nineties. On the flip, the equally legendary Jeff Mills delivers his take on the track, keeping in mind that this is one of only a handful he's ever done. There's relentless and punishing cyclicality on offer here; the sharply resonating loops, that brutally overdriven 808 kick.. it's one of those secret weapons that never leaves the bag of the best techno DJs. Choose your side, but either way it's a definitely a classic!

Review: Remote working is not new - artists have collaborated by exchanging files since Internet connection speeds allowed it - but few have pursued it more enthusiastically than Sons of the Sun, a duo made up of South East London beat-maker/multi-instrumentalist Maverick Quest and Texas-based singer and rapper JTronius. The duo initially met online and decided to spark up a Transatlantic collaboration. The results, as showcased on this fine debut album, are rarely less than inspired. Casually joining the dots between future soul, synth-powered P-funk, Afrobeat, jazz and hip-hop, it's a set that oozes musical quality from start to finish. At times it sounds a little like Plantlife or Thundercat, at other times like a hip-hop head's take on 21st century London jazz; throughout, you'll be royally entertained.

Review: There are seemingly no limits to the music Emotional Rescue will put out. This time they look back to the post punk scene of Bristol in the early 80s. Mouth was a short-lived outfit that put out just a couple of releases, but each one blazed a trail though leftfield percussive sounds, wave, weird jazz and electronics. Andy Guy and Rob Merrill were the main members with the likes of Nellie Hooper also in the band's orbit. This record is packed with tribal drumming and floating horns, broken dubs and avant-jazz but all with a proudly DIY attitude. It's packed with heady moments and wild steppers that havent aged a bit and still sound future.

Review: Neapolis is a brand new label that kick off with some brilliantly seductive Balearic sounds for the warmer days and nights that are fast approaching. The accompanying notes tell us that 'the intoxicating songs of the Sirens found in the bay of Napoli are irresistible to all' and these tunes are no different. 'Boulevard' kicks off with icy drums but balmy synths all rolling smoothly onward to some distant imagined horizon. Delicate vocals add the key hooks while a dubbed out version on the flip is more fleshy and heady.

Notes: Big brother to the excellent MicroFreak, the MiniFreak is a hugely impressive hybrid synth, teaming dual digital sound engines with analogue filters for creative approaches to polyphonic sound.

Supplier notes:
MiniFreak is a 6-voice polyphonic hybrid keyboard that fuses two digital sound engines with analog filters, outside-the-box sequencing, and instant-access modulation in a playful, curious, and sometimes unpredictable way. MiniFreak encourages users to escape the ordinary and explore the unconventional with a 37-note velocity-sensitive keybed with aftertouch, weave intricate evolving performances with multiple modulation lanes, and discover endless sweet spots with a built-in digital FX engine - a wildly creative experience.

Unprecedented hybrid polyphony

With over 20 modes to choose from including Virtual Analog, FM, and Additive, the interplay between MiniFreak's two oscillators can result in truly unique compound sonic behavior. With 6-voice polyphony, analog filters, and the ability to process engine 1 through engine 2, MiniFreak puts premium polyphonic synthesis exploration into a compact & tactile instrument that's as addictive as it is powerful.

Customizable & experimental sound design

Embellishing the popular Freak modulation matrix, MiniFreak gives users even more control over shaping, transforming, and evolving their sound, with features like polyphonic ADSR envelopes, customizable multi-segment LFO shapes, FM & Ring Modulation, and the familiar Spice & Dice randomization.

Mix-ready stereo sound

MiniFreak comes with stereo outputs and 3 digital FX slots with 10 FX types to choose from. From stereo-enhancing chorus, to surgical 3-band EQ, to gritty 6-mode distortion, users will have everything they need to push their sound over the edge while keeping it mix-ready.

Expression, meet chaos

Despite its penchant for wild & exploratory sound design, MiniFreak is also built as a responsive instrument of expression. Its velocity-sensitive 37-note keybed with aftertouch and spontaneous Seq/Arp functionality makes it a dream to perform with, while its randomization features and modulation lanes put playfulness and sonic momentum immediately at users' fingertips.MiniFreak VMiniFreak comes with a dedicated VST counterpart, letting users totally integrate its unique hybrid sound into their DAW productions and vice versa. Using identical sound engines and architecture, it offers a like-for-like virtual experience of the synth itself, at no extra cost.

What's in the box:

Box content
MiniFreak Unit
Universal PSU - 12V 1A
USB A to USB 2.0
Registration card

Instrument dimensions
Size : 22.75 x 9.09 x 1.57 inches (578 x 231 x 55mm)
Weight : 6.48 lbs. (2.94 Kg)

Review: Fledgling boutique vinyl label Creative Soul continues to endear itself to soul lovers with this third lovely 7". It might be the best yet. It looks to 1979 album Lawdy, Lawdy, Lawd by a band from Alabama called Centaura. They were Budweiser Comp winners in 1983 and featured on the beer brand's Showdown singles as a result of winning. But before that came the album from which these tunes are taken. They were produced by Bob S Riley with the involvement of a then-prison co-inmate Johnny Bragg. The whole album got reissued in 2013 but Numero Group but this is the first time these two singles have been on one 7" and superb they are too.

Review: A saxophonist at the pinnacle of his game, Shabaka Hutchings presents 'Afrikan Culture, on which he explores the rich musical traditions of the African continent and combines them with contemporary, self-affirming themes. Remarkably for how well-touted his name is, this is Hutchings' first ever solo LP, bringing it to the masses under the name Shabaka (following on the smash success of Sons Of Kemet and The Comet Is Coming). It's a stunning, existential album which not only pays tribute to the Afrofuturist greats who precede him, but which, of course, looks squarely into the eyes of Afroftuture that will come after him.

Review: This is an indie exclusive version of Heroes & Villains, the long-awaited new album from Metro Boomin that comes with a special insert. It is a widescreen and cinematic long player that will not leave fans wanting as big names like Chris Brown, Travis Scott, The Wknd, 21 Savage, John Legend and Don Tolliver feature. The 15 tunes flow well despite the many different names on it and intricate yet accessible beats define much of the rhythms. There are dramatic and dark moments next to moments of real hope with plenty of humility from Metro along the way.

Review: SZA's last album Ctrl in 2017 took the American vocalist into the stratosphere and so a follow up was always going to be a big challenge. But she rises to it and then some as the GRAMMY award-winning Top Dawg artist calls upon a top draw list of collaborators including Jeff Bhasker, Rodney Jerkins, DJ Dahi, Ant Clemons and Lizzo. The album went straight in at number one on the Billboard chart and was widely acclaimed by critics for its vocal performances and mix of r&b, pop and hip-hop styles. Plenty fo SZA's own innermost feelings are fully translated into this record, making it another absurdist, ambitious work.

Review: Adeen Records is on a roll right now and this time out they welcome the Detroit hero that is Marcellus Pittman for a new and beguiling four-track 12". Known for his work with The 3 Chairs collective as well as his solo jams, this Motor City mainstay opens up with 'You Always Hank Bank One Time' which is a real mental maze of rickety loops and blurts of degraded synth. 'Another Spring Lover' is another rusty and lo-fi piece of archetypal Detroit house that is very clearly machine music but with a unique sense of human soul. 'I'm Gonna Be The Everything' is a raw drum track with sparse, heartwarming chords and 'Slick Nickle Pladium Investment' is a knackered downbeat hip-hop closer. Magnificent.

Review: One of many of IRMA Records' jazz-funk compilations, Acid Jazz Funk is a sixteen-track compilation full of delights; but should not be confused with many of their prior, albeit similarly titled titles, including Acid Jazz & Funky Grooves and Acid Jazz Classics. Clearly, we're in the presence of connoisseurs; cuts from Black & Brown, Funky Destination, The Smoke Orchestra and Jestofunk appear as standouts on this as-ever supremely selected V/A on 2xLP, once more centring on the tasteful proclivities of the c.1990 Bolognan dance music fan; their preference for hard breaks and quiet-stormed funk calms overlaid.

Review: First released back in 2007, UR's 'Hi Tech Dreams' is widely regarded as one of 'Mad' Mike Banks' most perfectly formed EPs - in part because its blend of optimistic techno futurism with dancefloor darkness offers a neat summary of the 'dreaming of utopia, living in a dystopia' message at the heart of Underground Resistance's militant ethos. But analysis aside, it's simply a terrific record - as this timely reissue proves. A-side 'Hi Tech Dreams' lives up to its promise, with far-sighted melodies, tactile riffs and soulful vocal samples rising above a loose-limbed Motor City techno beat. In contrast, 'Lo Tech Reality' is a moodier and more melancholic chunk of breakbeat-driven techno, while 'Hold My Own' is a murky, hip-hop influenced downtempo head-nodder.

Review: One of the most crucial art-pop records of all time, 'Hounds of Love' was British legend Kate Bush's fifth studio album, her most commercial and most daring. "It was just a lot of work" Bush laughed on an interview with Richard Skinner in 1992, explaining the sudden resistance she felt following her polarising 'The Dreaming', the first album she also produced. Despite the fear, the pressure and the workload, 'Hounds of Love' is, without question, her most beloved, opening with one of the most treasured songs of the 20th century, 'Running Up That Hill (A Deal with God)' that has been revived time and time again in the soundtracks of TV shows like 'Pose' and 'Stranger Things'. Steadily approaching its 40th anniversary, there's still so much to this record beyond its singles. The latter half of the album contains a concept mini-album, the 'Ninth Wave', a narrative suite of songs based on the Ivan Alvazovsky painting of the same name. It follows the psyche of a woman who is stranded in the ocean, confronted by the ghosts of her past, present and future. I could go on about this album forever, truly, and its constant relevance in the zeitgeist is a testament to the lasting power of these songs. This is the first time this record has been released in over 10 years, featuring the Fish People remastering on a purple 180gm vinyl, an obi strip tied over a spot finish sleeve.

Review: In keeping with other reissues from the Echospace archives, CV313 have revisited and remastered their 2010 classic 'Infinit-1'. The single leads with some quintessential immersion from Rod Modell and Stephen Hitchell, all metallic chord pulses billowing through steely ambience guided by deep-ploughing rhythms. The 'Remodel' takes a more subliminal approach as the chord becomes a low frequency sonic just below the surface. The B-side is given over to STL, whose singular approach to stripped and sublime dub techno is never better than on this beautifully hazy early morning twist on 'Infinit-1'.

Review: The Guesthouse label comes through with more irresistible house goodness from Joey Youngman who has been a master of this form for many years. His sound blends the best of funky, soulful grooves with raw house drums to light up any party. He kicks off in wild fashion with the big energy and chunky funk of 'Another Night' before 'Oakland' then layers up slinky drums and emotive vocal hooks into a bristling arrangement. 'Thankful' (JY remix) explores a deeper late-night sound with a more seductive vocal and low-slung drums then things close down with 'Elevate Me' (JY remix), a steamy sound with contemporary r&b vocals and melodies that bring the fun.

Review: Was anyone ready for one of the most talked-about albums of the year to be Andre 3000 going ham on the flute? Probably not, but in a post-reality world New Blue Sun just slots right in. Of course the legions of Outkast fans are going to be split when an artist of such prominence takes a wild swerve into experimental musical pastures, but for those with an open mind or a pre-existing appreciation of ambient and leftfield music, this album is an easy sell. Teasing the tension between acoustic and electronic, ancient and hypermodern, grounded and ethereal, Andre has been bold and honest in presenting this album to the world and his gamble has paid off.

Review: Ghost are sadly an easily confused band - doubly so, for the fact that there is now a wildly popular masked metal troupe of the same name, *and* because there is, uncannily, a 1984 film named Ghost, also rather well known. This confounding is apparently so prevalent that the obligatory Wikipedia entry on *this* Ghost is titled
'Ghost (1984 band)'. We wouldn't usually mention it, save for the fact that this perhaps not so wilful obscurantism actually works in their favour. With Drag City's reissue of Ghost's first album on griseous vinyl here, it's safe to say that this Japanese experimental psych/acid record's aura as a hidden gem feels rare to come by. It's almost as if Ghost (1984) is 'haunting' the other aforementioned cultural touchstones of the same name. Don't get it twisted, though: Ghost formed in the early 80s, but this debut recording didn't make it to the pressing plant until 1990. What explains the gap in their CV, you ask? Legend has it that the band led a truly nomadic existence - as a "band" should, in all senses of the word - roving, drifting from ruined ancient temples to disused subway stations near Tokyo. With that all checked, the album itself is truly free-spirited and eerie, and not what you'd expect from contemporary notions of space rock, with prepared tinkerings and strange readymade detritus seeming to fill each piece at every twist and turn.

Notes: The top cover story this issue: the Futuristic Sounds of the Yardbirds; writer Peter Stanfield explores their change of direction in 1965, their rivalry with The Who and lots more. Also featured: Detroit rock pioneers the Chosen Few, the band that spawned future members of SRC and the Stooges, the compelling story of UK '70s punk outsiders the Subway Sect as told by guitarist Rob Symmons; '70s power pop princes the Paley Brothers; Viennese proto-punk anarchists Novaks Kapelle; the sixties adventures of Matthew and Daniel Moore (the Moon, Colours, Matthew Moore Plus Four); and a fascinating study of the beat music industry behind the Iron Curtain during the Cold War. Plus: Moby Grape, the Ascots, Cyril Jordan on Little Richard, and our meticulous review sections, covering all the latest vinyl and CD reissues, and rock 'n' roll-related books. (152 pages)

Review: Sacred Medicine, the carefully-honed joint project and label of Joaquin "Joe" Claussell and Ron Trent, deliver the second instalment in the label's soon-to-be bulging discography. The much-anticipated 'Magic Carnival', a song heavily programmed and tested by repetitious inclusion in their many DJ sets over the years, has finally been completed here and comes finalized in the form of this single-sided record; the format suggests we marvel at its singular majesty, which should not profess to be comparable to any alleged counterpart or B-side. 'Magic Carnival' builds and builds in a musical crescendo with signature musical elements pulsating all over the song to full impact. A relentless spiritual groove, and a special single-sided 12"