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Review: London's seasoned producer ADMNTi with four tracks that distil years of immersion in tech-house, jungle and grime into sharp, percussive club tools with distinct UK flair. 'Second Hand Sushi' drives the point home with its snapping drums, snarling basslines and wiry synth stabsibig-room energy and definitely no excess fat. 'Lost Fruits' stays steppy, leaning into sub pressure and pirate radio textures, soundbites crackling like a tape pack rewind. On the flip, 'Diptych' shifts tone without dropping paceichopped strings and warped vocals glide over crunchy drum work, locking into a more introspective groove. Closer 'Shrublands' dips further into dubwise atmospherics, pairing wobbly low-end with hazy flute lines and ghosted sax, while snippets of graffiti lore from both London and New York float through the mist. Early support from Ben UFO, Enzo Siragusa and Tristan da Cunha points to the range and functionality of these cutsiwhether heads-down or heads-up, they pull threads from the capital's soundsystem heritage into something that works across times and tempos. A strong first outing for Forms World and a clear step forward from ADMNTi.

Review: Born in Kent and central to the UK's 70s jazz modernism, Neil Ardley composed with the precision of a scientist and the vision of a cosmic philosopher. This long-overdue reissue from Analogue October captures a project that translates planetary orbits into a nine-note harmonic systemitoo vast for acoustic instruments, brought to life instead through early synthesisers. 'Arcturus' and 'Spiral Nebula' interlace fluid sax work from Barbara Thompson with John Martyn's signature reverb-drenched guitar, while Geoff Castle's synths evoke deep-space drift. 'Rainbow Four' channels modal funk, and 'Neptune' floats into ambient abstraction. Produced at Morgan Studios with a full ensemble of jazz heavyweightsiTony Coe, Ian Carr, Billy Kristian, Richard Burgess, and Trevor Tomkinsithis is a record that swings between science fiction and symphonic elegance. For all its high concept, it remains rooted in groove and human touch. A meticulous AAA cut from the Decca master tapes seals the experience: a bold and beautiful reminder of how far British jazz once dared to travel.

Review: Kurt Cobain favourites and Texan punk outliers Butthole Surfers don't know when or where exactly this live recording was made. But who cares!? The most important thing to know is the recording is gnarly and the band sound out of this world with their blend of noise, punk and psychedelic rock a truly idiosyncratic affair. Highlights on here include 'The Annoying Song' with singer Gibby Haynes' belligerent use of a toy megaphone. The guitar solos are top notch here, too. While 'Human Cannonball' is a thrilling number that you imagine created raucous circle pits at the actual show. It's great to see technology put to good use and cleaning up old live punk shows and getting them sounding this powerful.

Review: Seven strong San Francisco rock band Counting Crows have always walked a fine line between intimate storytelling and grandiose soundscapes. This time - taking the four tracks from their Butter Suite pt 1 Ep and adding five more new tracks - they sound like a band utterly in control of their own narrative. Adam Duritz's lyrics reflect a certain self-assurance as they weave through themes of reinvention and regret. Musically, the band brings a tighter, more focused intensity, merging rock, folk and even hints of alt-country with the ease of a band at their peak. 'Spaceman In Tulsa' takes its time, unfolding languidly, savouring every detail before pushing forward. And in moments like 'Boxcars,' it's clear this is the most cohesive they've sounded in years, with every instrument serving the story rather than competing for attention. They've done the work, and now, it's all paying off.

Review: Quem E Quem is widely regarded as Joao Donato's finest work and a standout in the canon of Brazilian popular music, aka MPB. Blending American soul and jazz-funk influences with the gentle sway of samba and bossa nova, the album radiates warmth and subtle sophistication and Donato's tender vocals are framed by breezy flute passages, laid-back piano lines and guitar solos reminiscent of Pat Metheny. The result is a beautifully balanced collection of upbeat tracks and introspective moments with each evoking the tranquil pleasure of a sunset in a tropical paradise. Timeless and effortlessly charming, it remains a high point in Donato's enduring career.

Review: A decade on from its original release, this compilation remains a spellbinding window into the musical mind of one of modern music's most innovative figures. As comfortable behind a grand piano as a homemade synth, Frahm brings his taste for boundary-blurring to this curated journey. Consider this a love letter to his inspirations and a reflection of his multifaceted artistry. The compilation weaves classical greats, jazz legends, ambient pioneers and experimental mavericks into a singular, late-night odyssey. Vladimir Horowitz's crackling rendition of 'The Flight of the Bumblebee' connects Frahm's own virtuosic piano play to the classical canon, while Miles Davis' smoky 'Generique' and 'Concierto de Aranjuez (Adagio)' speak to the atmospheric jazz undercurrents that color much of his work. Nina Simone's aching rendition of 'Who Knows Where the Time Goes' carries the same stripped emotional core that Frahm achieves in his more minimalist moments. Elsewhere, the warmth of Dub Tractor's 'Cirkel' and the ghostly dub of Rhythm & Sound's 'Mango Drive' nod to his love of minimalism beyond genre. Boards of Canada's slow-burning 'In a Beautiful Place Out in the Country' is also featured, showing the esteem Frahm holds these newer tracks in, nestling among legendary musical acts of the past. From Colin Stetson's avant-garde saxophone to Bibio's lush textures, the compilation spans eras and aesthetics with cohesion and care. It's not just a mixtape - it's a tribute, a seriously rich tapestry of influences that shaped a singular voice.

Review: Goyard Ibn Said marks Ghais' debut album arrived following two self-released mixtapes. Released under Fat Possum, this concept album introduces Goyard as a fictional anti-hero, guiding listeners through a narrative split into two acts. Act 1 celebrates the glamour and wealth of mainstream hip-hop stardom so is filled with ambition and triumph. However, Act 2 takes a somber turn as it delves into the personal struggles and tragedies faced in the pursuit of success. The album's compelling storytelling is heightened by Ghais' intricate production so offers a rich and evocative exploration of fame's darker side and marks a strong debut in the hip-hop scene.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


The 1998 debut record from Michael Head & The Strands was six years in the making. Having taken up refuge in a Liverpool recording studio in 1992, Head had set his Pale Fountains and Shack days aside, and was now dead-set on a new project, The Strands. Iain Templeton, Michelle Brown and Les Roberts joined in, resulting in a two-year set of recording sessions in which Head would be offered a new major label deal, muddying the proceedings at the midpoint. The record therefore only made it to the mixing studio in 1995, but perhaps the long break was needed, as the result is redolent: its pearly guitar arpeggiations and patchwork verse make for a glistening listen, one that all too readily translates to this reissue via Megaphone.

Review: In celebration of its 40th anniversary, this Italo-disco classic now returns in a deluxe limited edition pressed on 180g vinyl so it can be played nice and out on wonder sound systems. And it will sound superb as it has been remastered from the original master tapes so offers hi-fidelity from its deep bass to its crisp highs. Originally released in 1985, the album broke away from mainstream disco of the day with its innovative, alternative edge and has since gained cult status among audiophiles and Italo fans alike. All the tunes still do a job and are likely gunna get some heavy plays across the summer season and at open-air festivals.

Review: Pellegrino & Zodyaco's skillfully intertwine Neapolitan disco, funk, jazz and world music while channelling a spirit of creative escape of this new album, which is inspired by Henri Laborit's 'Eloge de la fuite'. It explores conscious escapism as a return to authenticity and seeks a "common language" through sound by merging Mediterranean melodies with global rhythms, vintage instruments and ethnic percussion that all bridge past and present. Four years after his last outing, Morphe, Pellegrino is still in top form here with a soulful, genre-blurring portrait of modern Naples that reflects the fact that, in the city, musical traditions meet modern experimentation.

Notes: ***B-STOCK: Box opened, product in perfect working order***


This trendy Technics Recordbag can be carried in 3 different ways: on the back, around the neck or like a suitcase. It effortlessly holds 45 records and offers additional space for mobile phone, headphones and other accessories.

The robust material is not only water-repellent but also very robust and tear-resistant, so that your record collection and accessories are always safely protected. The stylish DJ bag is available in many different colours and designs. Either classically discreet or special and striking - you decide.

A must for every Technics fan.

Features Technics BackBag
Capacity: 45 LPs
Embroidered Technics Logo
Robust and high quality material
Front pocket for mobile phone with zipper
Front pocket with zip for various accessories
Removable carrying strap
Removable, padded compartment with Velcro closure
3 different wearing options
On the back like a backpack
Around the neck thanks to the practical shoulder strap
Like a suitcase with a carrying handle
Technical Specifications
Width: 170 mm
Length: 320 mm
Height: 330 mm
weight: 1.05 kg

Review: With standout tracks from proper legends like Barrington Levy, Delroy Wilson, Dillinger, The Mighty Diamonds, Yellowman and more, Reggae Anthology: The Channel One Story is an essential compilation chronicling one of Jamaica's most influential studios during its most famous golden era. Plenty of historic moments are included such as the country's first 12-inch maxi-single release (The Jays & Ranking Trevor's 'Truly Deejay Mix') and 'Queen Majesty,' a soul-drenched reggae rework of a Curtis Mayfield classic. Also included are extended cuts and rich production which means this anthology celebrates Channel One's lasting impact on reggae history with a little extra insight than you might have already heard.