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Review: NY breakbeat craftsman 88 Katanas gets explorative on Silent Force with four outstanding jungle adventures. The brilliantly titled 'The Standard Of The Archipelago' ignites the EP with a brisk drumfunk type of flavour that's comparable to Seba. From there we move inland to brutalist terrains... 'Radiant Energy' is a halftime march through thick swamps and woodland, and 'Bit Rot' takes us onto elevated fields where the air is fresher but the ground is very slippery underfoot. 'Subconscious Emotions', meanwhile, takes us back to a much calmer shore where a good looking ship awaits for voyage home.

Review: After years of silence following the loss of Sonny Knight in 2017, former Lakers members Blair Krivanek and Cy Pierpont return with their new project, Ace Box Shift. The duo have made plenty of standout contributions to the soul revival scene before now and here they debut on Secret Stash Records with another pair of fiery instrumental cuts that work exceptionally well for DJs and dancefloors alike. They find Krivanek's jazz-infused guitar work meeting Pierpont's pounding rhythms with raw, funk-driven results that make for a bold, high-energy comeback that pays tribute to their roots while also moving things onwards.

Review: The 5th release from this Barcelona-based electronic label delivers a compelling mix of minimal and tech house with futuristic flair. 'Loving Matter' on Side-A starts things off with an electro groove, layered with techno elements and a touch of EBM. Its cool, dark vocal adds a layer of intensity, perfectly capturing the track's atmospheric edge. On Side-B, 'Whisper' has a trance-infused techno vibe, flowing smoothly with its subtle, hypnotic energy. The final track, 'Slowtrance', boasts a deep bassline and a fusion of retro trance and progressive sounds. The bouncy rhythm still carries an ominous tone, keeping the energy dynamic while leaning into darker, more introspective territory. This release is a masterful combination of old-school and modern electronic elements, with enough depth to impress fans of both techno and trance.

Review: Amorphic and Tensal hook back in to the machine to dialyse their crafts once more, with 'Highland Frequencies' offering up four, machine-numbered atoning lambs to our mech overlords, following up the equally arrayed 'Distant Landscapes' EP (2024) on Blueprint. Now bringing their distinctive cataloguing system to the discographic vanitas Mord, four more 'AT' tracks make for an irresistibly well-layered, synthetically one-of-a-kind release. Only 'AT4' gets a subtitle, 'The Sleepwalker', where a sandman's slumbrous, lollygaggling beats somehow, at the same time, betray a subconscious, paradoxical restlessness.

Review: Chicago label Future Rootz is a collective of mix media DJs who all play and rework global roots, tropical bass, world electronic and Latin house. Who better to do that than Detroit's Dez Andres, a deep-diving DJ, house head and producer with Cuban roots. He goes first here with 'El Trombone', which has a signature low-end thump with sunny Latin vocals, joyous horns and florid melodies. He then slows things down with one of his trademark remixes of AfroQbano's 'El Bucanero', which has noodling bass and poolside charm.

Review: This release by two talented French producers delivers a refined blend of deep and soulful house music with two different versions to chose from. 'Ju' on Side-1 is a deep, groove-heavy cut, layering soulful chords with a rolling bassline and a sensual vocal touch. The jazzy inflections and swanky lounge vibe exude sophistication, making it a late-night essential. On Side-2, the Traumer's Sunset version injects more energy into the original, pushing it toward a melodic, instrumental-driven burner. It retains the deep essence but lifts it with fluid rhythms and hypnotic layers. Elegant yet club-ready, both versions show a sleek, polished minimalism rooted in groove.

Review: Antraum's latest record is an exemplary case of whispery vocal fry working hand-in-hand with autotune: 'Fukai' serves fullerine-sharp, atomic sheets of vocal sound, set against harder beats, reducing our eardrums to the consistency of butter. It's no wonder that each and every release so far on the self-run outfit Omakase is so raw, so slicing, so cutting. The label is named after a Japanese culinary expression of indifference, "i'll leave it up to you", which, in the context of sushi dining, refers to chefs selecting and preparing dishes for patrons for them, rather than letting them choose. We're sure Claude Levi-Strauss, author of "The Raw & The Cooked", would've had something to say about this release. Because 'Yume' and 'Kemono' are also served as two further itamae's specials, assimilating ideas of music production and food preparation: beats, stabs and vocals are sliced, diced, sampled, mixed, filleted, and rolled into shiso-leaved bites.

Review: Blue Foundation returns with another lush and immersive album that deepens their signature blend of dream pop, shoegaze and ambient electronics. Crafted over three years by the much loved Danish duo Bo Rande and Tobias Wilner, Close to the Knife explores themes of melancholy and introspection through layered textures and haunting vocals from Wilner and Nina Larsen. Guest appearances from Scarlet Rae, Helena Gao, and Sonya Kitchell enrich its emotional depth, while contributions from Chinese experimental noise band Wang's Xie Yugang and drummer Federico Ughi add complexity to this shapeshifting soundtrack.

Review: After over four decades out of print, Henry Badowski's 1981 debut Life Is A Grand finally comes reissued by Caroline True Records. Despite cult status, this is a can't unhear record whose privies are never lost on those who love it. Badowski built a quiet reverence for himself over the years, eluding mainstream rediscovery while gathering admiration from those drawn to its peculiar charm. Though he eventually slipped away from music and began a succession of other jobs - fans often wondered how such a gifted musician could just disappear - Badowski was known to have been a teenage bassist in Chelsea briefly linked to The Damned, later stepping away from punk's sharp edges to craft something far more whimsical and idiosyncratic. Drawing on his affection for Roxy Music, Ian Dury and Jethro Tull, he wrote, arranged and played nearly everything on the album himself, rom the baroque pop of 'Swimming With The Fish In The Sea' to the instrumental strut of 'Rampant'. Rich in synth flourish, sardonic lyricism and melodic invention, and now pulled up by the pinky and thus saved from the gorge of obscurity, Life Is A Grand returns with its sly wit and strange beauty completely intact.

Review: The Ballistic Brothers were behind a great many infusion of breakbeat, jazz and Afro house during the 1990s, smashing onto the scene with the Junior Boy's Own twinkler of an EP, 'I'll Fly Away' (the lead track on which works just as easily at drum & bass speeds as it does at tapper-out tempos) as well as the complementary debut album, London Hooligan Soul. The Eccentric Afros were an early, assistive alias, used by an intermixing but not exhaustive list of some of the same producers involved in TBB before they assumed the latter name proper: Ashley Beedle, Rocky & Diesel (X-Press 2), Uschi Classen and Dave Hill. This second edition of "lost tape" reissues rediscovers some of the trio's best and most esoteric breaks-plates, which would've been heard on heavy rotation in the amalgamate days of the 90s London clubbing scene, yet not all of which have been put out properly until now.

Review: The debut album by Big Hands (aka Andrea Ottomani), is a deeply immersive and dream-born odyssey that blurs the boundaries between electronic and acoustic sound. Conceived during a stormy Mediterranean voyage and built from field recordings, tuned percussion and collaborations with a tight circle of musicians, Thauma is an emotional and textural triumph that takes in Palestinian artist Bint Mbareh’s haunting vocals and Buster Woodruff-Bryant’s serpentine sax lines. Each moment brings real spiritual depth while merging modular synths with bells, balafon and bamboo drums to evoke a mythic, place-bound nostalgia that is organic and otherworldly.

Review: Chilean-born, Bristol-based Shanti Celeste has always brought a unique colour and emotion to her often bass-heavy sounds. She's a party-starting DJ, too, but delves into whole new realms with her wonderful sophomore full-length. Romance sees her exploring themes of love and friendship through shimmering pop textures and emotionally resonant songwriting. Her vocals take centre stage for the first time and lead single 'Thinking About You' is a heartfelt tribute to a late friend with a glowing groove and airy falsetto. Crafted between Bristol and London, the album features collaborations with Batu and harpist Miriam Adefris, whose delicate touch enhances its celestial tone and following last summer's acclaimed 'Ice Cream Dream Boy,' Romance is a luminous return and smart evolution.

Review: Swedish EBM icon Celldod returns to Electronic Emergencies with a new album pressed on striking transparent magenta vinyl. Pa Liv Och Dod is a superbly emotionally charged release that channels the raw energy of D.A.F. and Front 242 while blending dark electronic beats with intense lyrical themes. It has collaborations with Leroy Se Meurt and Michael Zodorozny, plus Anders Karlsson's haunting Swedish vocals exploring death and life's meaning also appear across tunes that are both urgent and dance floor directed. Pa Liv Och Dod will force you to confront fear and chaos head-on while offering a soundtrack that offers some catharsis from it all.

Review: Back in business and enlisting the help of two heavyweight Spanish electro artists, Aspecto Humano preserve the human essence of their music despite leaning heavily into mechanoid motifs. The logo always stays the same, though each release's colour and mood is variable. Robert Cosmic and Dark Vektor lay down a duo release, complementing the label's various solo and V/A outer-missions released in 2024 so far: 'No Estamos Solos' and 'Luces de Neon' saddle the mix with languid vox overdubs and flashy murmurs in the bass nether regions. 'No te Enteras de Nada' and 'Simulacion' rend the mix to a comparative dryness, stripping the electro bark back to expose the bare cambium.

Review: Nicola Cruz lands on Cabaret with the 'Cryptic Nature' EP. Beyond consistently high-quality, compelling productions, it's usually hard to predict what the talented Ecuadorian producer will deliver i but he does his energetic Japanese label hosts proud with this stirring selection. The broken rhythms, trippy vocals and paranoid synths of the title track start things off on a strong footing, before the strobe-lit thrust of 'Elementals' powers ahead with swung snares and crisp hats. The four-to-the-floor drive continues into the wigged-out psychedelia of 'Kojix', while the jagged drums of 'Desire Scan' and the otherworldly intensity of 'Photosphere' round off a mighty fine, entirely floor-focused set.

Review: Swiss label Acquit welcomes back D'Funk for more of their no-frills techno. It's seductive stuff from the off with the opener 'In Your Hood' layers up mind-melting synth sequences with sleek beats. "Let's Play' is a more bulky cut with slamming drums and subtle percussive details then 'My Next Turn' pairs things back to rubbery drum loops and dubby chords that sound all gooey and gloopy. 'Glitch My Funk' picks things up with more taught kick drums that compel you to dance as the delicate cosmic vibes permeate the groove. 'Killing Me Deeply' is a nice raw analogue deep house closer that kicks like a mule.

Review: The impeccable Spanish label Non Series revises some D Leria material here with a quartet of brilliant remixes from different artists. Shoal is first to step up and remixes 'Kaleidoskop' into a deep, heavy mind melter with spangled leads taking you down the rabbit hole. 'Voodoo Magic' (Polygonia remix) has an eerie and post-human energy to it with rolling drums and slithering synths all getting you on edge. Anthony Linell remixes 'Apnea' with a superbly meditative take on atmospheric linear techno and last of all, D Leria steps up for a live mix of 'Goccia' that fizzes with static and describes an otherworldly landscape with great detail.

Review: P-Vine Japan does great work once more here by bringing back into print some hugely sought-after sounds from the blues and r&b world. The first release in their new series revives Larry Davis' 1969 Kent Records single, which was originally written by Sherwood Fleming. The A-side, 'For 5 Long Years' delivers a gritty mid-tempo funk-blues groove while the B-side, 'I've Been Hurt So Many Times' (a classic subject for a blues tune) channels Willie Cobbs' signature sound. These will be familiar to anyone who has danced at a Northern Soul event and cannot be slept on.

Review: Binar's fifth outing looks to a selection of talented remixers to add their own spin to some stylish techno originals. First, it is Decka's 'Alignment' that gets reworked by Efdemin, who we haven't heard from for a while but are glad to do so now. He flips it into a straight-up and smooth techno pumper with fuzzy pads softening the edges. Next, Amotik brings some urgent synth pulses and hunched-up drum funk to 'Remains Mystery' and The Lady Machine remix of 'Run' is all fat, drunken synths tumbling about with jacked-up drums and analogue hits. Jeroen Search brings some signature future cosmic energy to his take on Border One's 'Organoid.'

Review: French techno innovator Laurent Garnier, Berlin's shape-shifting DJ Gigola and German house mainstay Gerd Janson each put their own spin on 'Miss Suave', a cult favourite from Swiss producer Deetron from the early 2000s. Garnier twists it into a deep, acid-tinged Detroit workout, layering hypnotic synth cycles over rolling percussion. DJ Gigola dials up the tension with a stripped-back rave approach, sharpening the groove into something raw and propulsive. Janson, known for his disco-inflected touch, injects a dose of swing and warmth, transforming the track into a fluid, floor-ready mover. Three distinct takes from three essential names, each pushing the original into new territory.

Review: Degs unleashes his second album If We Left This Earth and once again it's an odyssey of soul, sunshine and precision timed savageness. Featuring link-ups with a huge variety of friends and label pals, over the course of the LP we clock names likes of Kimyan Law, NCT, Hugh Hardie, Hoax and many others as Degs lays down stories, thoughts and self-reflective moments over a range of beats. From the beautiful sonic hug 'Don't Be Gone Too Long' to the heavily introspective 'West & Central' to the steaming warehouse demolisher with bandmates Hologram and OG MC brothers The Ragga Twins 'Hang Up The Mic', it's another stunning long player from one of Hospital's most talented songwriters.

Review: Paper Can't Wrap Fire is the third album from Melbourne/Naarm multi-instrumentalist Don Glori, and it is a rich mix of jazz, soul, funk and R&B, but also marks a bold evolution in the artist's own songwriting. The title is based on a Chinese proverb about truth and underpins reflective tracks like the soulful 'Brown Eyes,' satirical 'Disaster,' and introspective 'Flicker' Recorded in Naarm with friends and past bandmates, these sparkling sounds are brimful of the sort of life-affirming harmonies and dynamic musical interplay that makes you smile broadly, while the heartfelt lyrics make this town mark. Influences from the likes Azymuth, SAULT, and Jordan Rakei are all clear, but Don Glori crafts his own take on those sounds that speaks to both emotion and intellect.

Review: Myor Massiv operates as a furtive extremity of the larger Dutch publishing house MYOR, owned and operated by none other than Coco Bryce. Though Bryce needs no introduction as an unstoppable force in the modern day breaks sequencing game, we nonetheless must restate the special intent of the sublabel: these are relatively experimental "massives", swapping out functional flathead beats for heavier, pozi-driven drillings. That watery, pitch-warped breaksy mid-90s jungle era is given a full audit on this new 13th addition to the label, and things gets increasingly weird, wet and wild: 'Trouble Yu' especially sounds like a bong-hitter from another universe, its impact unsuspectingly poking through a wacky, radiophonic, space dubbed texture.

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


An evolution of the monophonic Typhon synth concept, the Artemis applies similar interface design to a six-voice analogue synth module with Sinevibes digital effects. Lots of power and typically classy Dreadbox sound.

Supplier's Notes:
Artemis is a unique analogue polysynth with a UI inspired by Dreadbox's award-winning Typhon synthesizer. It builds on Typhon's innovative concepts, adding six voices of polyphony, powerful modulation capabilities, stereo FX, voice spreading, and much more!

From classic polysynth tones to aggressive modern sounds and everything in between, Artemis has a wealth of raw synthesis and modulation capabilities to explore.

At its core, Artemis features a fully analogue architecture, based on the smart oscillator implementation found in both the Typhon and the Murmux Adept, allowing effortless transitions between multiple waveforms, mix settings, glide, FM, and more.

These VCOs are paired with Dreadbox's signature filter topology, offering classic 12dB or 24dB per octave low-pass modes, as well as a standalone resonant high-pass filter. The low-pass filter includes dedicated filter frequency FM control for dialling in edgier, modern tones.

Two multi-mode LFOs enhance the modulation possibilities: LFO 1 offers a unique fade-in parameter, while LFO 2 includes XMOD (cross-modulation) control for chaotic, brash textures. Each LFO has multiple waveforms and can modulate pitch, filter cutoff, VCO waveform, pulse width, and more.

This analogue powerhouse is complemented by a suite of world-class FX from Sinevibes, who previously collaborated with Dreadbox on Typhon's FX. With reverb, delay, modulation effects, master distortion, and more, Artemis delivers an extra dimension to your sounds.

Notes: Analogue VCO with range from 16Hz up to 32.000Hz.

Variable Voltage Controlled Wave Shaper.

Advanced pitch control with Voltage Controlled Quantizer, so it is always in tune.

Hard Sync Input.

Separate Pulse Output, for use as a clock or to sync other oscillators
.
Power Consumption: 114mA @ +12V , 46mA @ -12V.

35mm depth.

Review: Amulanga, operating out of Thailand, emphasise beauteous atmospheric progressive house, pairing each compilation with exquisite, extra-worldly sci-fi themes. Their latest, sixth vinyl V/A hears additions from Dulus, Acrobat, Ilias Katalenos & Plecta, Taleman and Shri & Alej, each track a seamless infusion of living, writhing organic sound. More than just music, the aim is to imply a narrative, shuttling and transforming listeners over and beyond centrifugal, interplanetary orbits - not just dancefloors.

Notes: About as good as closed-back studio headphones get. The Lensys Pros feature 40mm aluminium-magnesium 'M' dome drivers for flat frequency response, exceptional sound isolation and ergonomic memory foam earpads for comfort during long sessions.

Supplier's Notes:
Closed-Back Headphones of Excellence

Experience limitless possibilities with Lensys Professional. Whether you're in the studio or on the move, these headphones provide the comfort and durability you need. Their closed design, meticulous ergonomics, and robust materials make them the ideal choice for any environment. With Focal drivers delivering extremely accurate sound, you can trust these headphones for professional use. Plus, the included case and two cables add further convenience and flexibility to your experience.

Comfort & Insulation

Comfort is essential for headphones used during extended work sessions. The Lensys Professional headphones are designed to be lightweight and feature memory foam ear cushions for a comfortable fit and excellent sound insulation. Additionally, the aerated fabric headband provides a consistent curvature, making it perfect for extended wear.

Accuracy. Anywhere.

The Lensys Professional headphones are designed to offer a neutral tonal balance and high accuracy, making them an excellent choice for mixing. Their versatility and reliability make them a valuable tool in any setting, instilling confidence when working with audio. Additionally, they provide an immersive experience for binaural work.

Focal Expertise

The 40mm aluminium-magnesium 'M' dome drivers provide linear frequency response, low distortion, and improved sound dispersion, resulting in highly accurate sound. Their slightly angled position in the earcups enhances the stereo image, while their acoustic load has been optimized for operation similar to that of a bass-reflex loudspeaker.

Review: Hackney Electronica is a collective of underground stalwarts who came together during COVID. It comprises the mad prolific Quinn Whalley of Paranoid London, Warmduscher and Decius, as well as Unai Trotti from Cartulis Music and Margo Broom of Hermitage Working Studios. They deal in acid-laced sounds which are a perfect fit for Dark Entires and here explore twisted late-night club sounds that are alluring yet austere. As their name suggests, they capture the vibe of Hackney's backstreets in their music with 'H.E. Nuestro Circuito' and 'Whispers from the Depths' bringing 1980s DIY electronics to a contemporary dancefloor, while 'Efecto Perfecto,' 'The One' and 'Nueva Ola' deliver potent electro powered by big breakbeats. It's a superb EP of tension and transcendence.

Review: The Sonatine (1993) soundtrack is an exceptional work from legendary composer Joe Hisaishi, known above all for his in-house scores for Studio Ghibli. This inviting compendium of neoclassical, synth-driven, turn-of-the-80s electronica highlights the infamous artist's contemplative, intimate side, bringing an equally sparring yet evocative experience. Not a Ghibli contribution, the score instead accompanies a signature addition to the filmography of Takeshi Kitano: Sonatine is a stylish yakuza crime thriller following a weary gangster sent to Okinawa, where violence and existential reflection intertwine. These pensive, purgatory pieces are equally capable capacity to melt and enrapt the listener's heart, with refulgent piano and Roland DJ-800 / D-50s scoring a distinctive J-chillout mood (just listen to those flourishes on 'Play On The Sands').

Review: 70s and early 80s Jamaican producer Keith Hudson's approach to dub was never about smooth edges or easy rhythms. His productions are dense, disorienting, heavy with delay, bass and drums that sound like they're ricocheting down a well. The Soul Syndicate, his long-time studio band, provide the backbone hereideeply locked-in grooves that Hudson warps into something ghostly. 'No Commitment' staggers forward with stabbing guitar chops that seem to dissolve mid-strike, while 'Ire Ire' loops through warped vocal fragments and echo chambers that stretch into infinity. 'Bad Things' and its dub counterpart pull apart the rhythm until it feels skeletal, each hit landing in the empty space between delay trails. Hudson's use of reverb and tape manipulation isn't just about atmosphere, but about control as well. He shifts and reshapes the mix to turn steady rhythms into something unsteady, always shifting just out of reach. 'Desiree' drifts through flickering hi-hats and cavernous low-end, while 'Keeping Us Together' seems to slow down and speed up in the same breath. There's something darker, more claustrophobic in the way he structures space and silence. Even the brighter moments, like 'Mercy' with its open, rolling groove, carry an unease, as if the music itself is bracing for collapse. Hudson was an architect of mood, twisting familiar elements into something deeply immersive and strangely hypnotic.

Review: Rhode Island post-metal avant-garde duo The Body have made a name for themselves due to their caustic maelstrom of harsh, brutalist experimentalism as well as their prolific output and collaborative nature, releasing collab albums with the likes of Full Of Hell, Thou, Uniform, and most recently, Dis Fig. Their latest endeavour sees the pair link up with another duo of musical extremity, Toronto, Canada's recently reformed industrial two-piece Intensive Care. Was I Good Enough? has been on the cards since the artists first began making plans as far back as 2018, trading, warping and ruining mutual sessions with layers of loops, distortion, samples and even dubs, constantly striving to find the ideal haunting balance between both of their sonically hideous, oppressive worlds. For all of our ears' sakes, they just might have succeeded.

Review: Argentinian hotshot, Juaan, lands on Art Of Dark with his debut release on the label, holding to the ominous position, "man has reason to fear". Over five tried and tested dancefloor cuts, this is one of those EPs that marks and projects a foreboding sense-state in the listener. Of course, to dance is to be, in a sense, "unsettled". Inauspicious long-release 909s and indecipherably tubed vocals (heard on 'El Primer Dia Del Resto De Mi Vida') account for a barely held-together but turbulent future, in which music is moribund and bands don't play no more.

Review: Emerging from Glasgow's ever-thriving underground, Lifeforms make a strong debut here and offer up a fierce fusion of gritty acid and synth-fuelled electro. Crafted entirely with raw hardware, these tracks overflow with DIY spirit and machine soul. Each cut channels the intensity of basement sessions and industrial textures, all grounded in pure analogue energy and mastered by Dutch West Coast legend Alden Tyrell. 'Mindtrip is one of our favourites with its gritty low end, distorted bass and rasping synth patterns all so tactile you feel like you could reach out and grab them.

Review: Los Jaivas' Alturas de Macchu Picchu arrives newly remastered and reissued by state51 on heavyweight wax, and it remains a landmark of South American music. Its blurring of psychedelic rock, Andean folk and Pablo Neruda's poetic power makes the album, which was recorded in exile during Chile's Pinochet era, an evocation of both the spirit and struggle of Latin America. Tracks like 'La Poderosa Muerte' and 'Sube a Nacer Conmigo Hermano' swirl with emotion and complexity to deliver a cinematic spiritual experience. Inspired by Incan ruins and resistance, Alturas is more than music-it's a cultural beacon that invites you into a timeless soundscape.

Review: Wow! Of all the melancholic modern disco we've come across this year, this has to be the best so far, though we're surprised its popularity hasn't metastasised in size since its original Rysque Records release back in 2013. Ben Johnson and Tim Tucker make up Love Cryme, and their works combine a localist Sacramento slapper sound and a hissing, reel-to-reel feel. Compared to their Star Creature debut which brought measured but still potent titrations of purple sizzurping G-funk, 'Get It On' goes for a more minimally classic disco-soul cruise, with a sloppily gated snare and two-tone tearjerker preluding a neurotic but decadent vocal line from Tucker, as libidinous synths swell out uncontrollably from below.

Review: Nantes-based producers Luche and Laton Rave, both rooted in the free-party scene and affiliated with Esprits Sauvages and Chat Manik, channel their underground origins into this latest Acid Avengers split EP. Across four tracks, they tap into the raw, hypnotic energy of early acid techno, weaving together influences from tribe, doom, and Belgium's old-school rave scene. 'Pain Bird' and 'Some Days Don't Exist' showcase Luche's knack for atmospheric intensity, while Laton Rave's 'Celestial Bloom' and 'Hornest Revenge' push deeper into shadowy, propulsive territory. A dark, electrifying release built for all-night sessions under open skies.

Review: Japanese DJ, producer and remixer Makoto Nakatani is the man behind the M-Scape alias, and he straddles genre borders with the four cuts he serves up for evergreen UK staple Local Talk. 'Urban Reconstruction' is propulsive deep house with Detroit-style hi-tek synth magic colouring the airwaves. 'I Do' is an ass-wiggling heater with stylised vocals and colourful melodic motifs triggered by the drums. 'Freedom' is all early Chicago jack, cowbells and sugary chord progressions, then 'Let The Drums Play' taps into sun-kissed London broken beat with cosmic melodies adding a futuristic twist. There are a lot of different moods touched up on with this EP and they are all high-class.

Review: Groovin Italy are the foremost label in our ranks to set their sights upon digging up and refining the very best sonic gemstones out there. Said blood diamond seam is the mythical yet plentiful vein known as deep house; here our local artisanal miners revitalise the precious contribs that especially once made splendid the faded gods of Italo house. From Italian DJ and producer Massimino Lippoli, a key figure in Italy's early house and progressive scene, to MCJ & Sima, Italian house duo, and Sima, who doubled up as vocalist and productive powerhouse, every track here is unerathed in mostly pre-polished, with the end jewellers over at Groovin needing very little work to do. David Syon's 'Swinground' closes things on a naive, part misshapen maccle, with what sound like hand-programmed brasses and pogo-synths played in above a twitchy but happy groove.

Review: Jamaican singer Clive Matthews has enjoyed a stop-start career, with relatively brief periods of activity in the 70s, 80s and early 2000s followed by a late blossoming over the last decade - a career bump provided by the backing of Spanish roots reggae outfit A-Lone Productions. They're at the controls again on Matthews' second album, Going Home, which marks the Trenchtown-born artist's first full length for seven years. Rooted in his love of roots reggae albums of the 1970s, but with occasional updated instrumentation, it's a classic-sounding set that provides a perfect platform for Matthews' conscious lyrics and honeyed, effortlessly soulful voice. The results are undeniably impressive, with our current favourites including 'Yes I Do', 'Ancient Lion', dancefloor-ready title track 'Going Home' and the pleasingly jaunty 'Reggae Music'.

Review: Bennie Maupin's contributions to many a groundbreaking jazz record - Miles Davis's Bitches Brew, Herbie Hancock's Mwandishi and Headhunters, and Marion Brown's Afternoon Of A Georgia Faun - all cemented his long-harked reptutation as an inventive jazz dynamo. His own releases as a bandleader were relatively sparse, but his debut album remains a standout; described by Down Beat in 1975 as "selfless", The Jewel In The Lotus heard Maupin instead focus his instructive efforts on his bandmates, whose one rule, issued by Maupin himself, was to "keep it seamless". You'll mostly hear the chops of musicians closely connected to Hancock's circle from late 1970s New York, where talent beamed and popped like cinders on brimstone.

Review: Ninja Records looks to build on the success of its first outing with a new outing from Miroloja who are brothers and key players in the Parisian underground with great credits already to their name on Berg Audio, Tzinah Records and OLO RECORDS. Their stripped-back but tight sound is laid bare on opener 'Linkblow' with its warm house kicks and wet clicks soon to make you move. 'Morgan' is speedier with some space-tech vibes and a snappier low-end. Closer 'Krazyteora' then explores a creepy late-night urban landscape with some cyclical drums and synths moving things onwards.

Notes: In 2025, MOOER has announced that it will be set to release its latest multi-effects pedal, the GS1000 Intelligent Amp Profiling Processor, an augmented intelligent amp profiling processor. Built on MOOER's advanced third-generation digital platform, the GS1000 introduces groundbreaking MNRS 2.0 technology, allowing guitarists around the world to emulate their favorite gear with immense precision -specifically, for distortion pedals, preamps, amplifier heads, and cabinets.

With this innovation, guitarists can fully capture the essence of their favorite guitar gear without owning the physical hardware, enabling them to carry their favorite tones wherever they go. Users are even able to use third-party IRs for cabinets of their choice, further enhancing the flexibility of this feature.

It's unforgettable how much MOOER's multi-effects pedals have impressed audiences so far, primarily thanks to their robust tone libraries. However, even still, the GS1000 continues to build upon this with storage for up to 120 sampling profiles, along with continued integration with the MOOER Cloud app. Essentially, this cloud integration facilitates infinite upload and download possibilities, giving users access to a global community of shared tones, widely expanding the number of accessible tones. More still, the GS1000's previously mentioned third-party IR cabinet simulations support up to 2048 sample points, guaranteeing studio-grade tonal accuracy across the board.

Even more impressive for the price is how the GS1000 inherits the dual-chain effects architecture that made previous MOOER gear so versatile, making it suitable for highly complex usage scenarios. With over 350 factory effects models and a Sub-Patch preset grouping mode, the GS1000 makes it far simpler for users to make seamless transitions between tones, all while maintaining effect tails to guarantee seamless transitions. Additionally, the reintroduction of the innovative AI-driven EQ Master builds upon MOOER devices' previous capabilities, using intelligent adjustments in real-time to match the musical style of players to tones, while still allowing manual tweaks for precise control.

Impressively, the GS1000 also comes packed with a Groove Station module, consisting of a combination of drum machine and looper features - including 56 high-quality drum kits! It offers a 480-second phrase looper with infinite overdubs, automated detection, and synchronization capabilities, resulting in an intuitive platform for solo jamming, composition, and live loop-based performance. Overall, the Groove Station acts as an all-in-one suite for creating full arrangements, without having to depend on additional backing tracks or bandmates.

Visually and functionally, the GS1000 really stands out thanks to its sleek visual design and enhanced user experience. For example, it features a convenient 5-inch high-resolution touch screen, which is also paired with ambient lighting to add a visually stunning element to the pedal. As a result, the GS1000 is not only designed for convenient touch-based control but also as a standout centerpiece in any guitar rig.

In addition to this touchscreen control system, the GS1000 also provides expanded connectivity options, improving upon the already impressive flexibility of past pedals. Most notably, it supports connectivity with the MOOER F4 wireless footswitch, as well as the ability to control presets via external MIDI devices.

As is expected from MOOER these days, the GS1000 also excels when it comes to routing opportunities, going above and beyond the typical stereo 14" inputs and outputs that would be expected from other brands. Yes, it still includes such staples, but it also includes an XLR microphone input, alongside balanced TRS outputs for long-distance signal clarity. The configurable serial/parallel stereo effects loop enables seamless integration of external effects, and the addition of Bluetooth audio input and MIDI compatibility broadens its wide range of use cases for live and practice-based applications.

Furthermore, the pedal also serves as a professional audio solution thanks to its low-latency 2-in/2-out ASIO USB sound card. Supporting up to 192kHz sampling rates, the GS1000 makes recording and live streaming effortless, as it can easily be used with software DAWs, MOOER's editing software, as well as the USB-based MIDI control.

The GS1000 will be available in two versions - the standard white edition, which is powered by mains power, and the GS1000 Li version, which introduces a 7.4V 4750mAh lithium battery, chargeable through its power port. With this upgrade, users can enjoy up to six hours of continuous power-free playtime, making it ideal for practicing, busking, and generally performing on the go.

Overall, for fans of MOOER's previous amp simulation offerings, the GS1000 represents a natural evolution, building on everything that made its predecessors great while introducing cutting-edge features and expanded capabilities. Most importantly, MOOER has promised to continuously update its MOOER 4.0 tonal algorithms on the MOOER Cloud in line with the release, keeping things fresh for the company's dedicated user base.

Notes: In 2025, MOOER has announced that it will be set to release its latest multi-effects pedal, the GS1000 Intelligent Amp Profiling Processor, an augmented intelligent amp profiling processor. Built on MOOER's advanced third-generation digital platform, the GS1000 introduces groundbreaking MNRS 2.0 technology, allowing guitarists around the world to emulate their favorite gear with immense precision -specifically, for distortion pedals, preamps, amplifier heads, and cabinets.

With this innovation, guitarists can fully capture the essence of their favorite guitar gear without owning the physical hardware, enabling them to carry their favorite tones wherever they go. Users are even able to use third-party IRs for cabinets of their choice, further enhancing the flexibility of this feature.

It's unforgettable how much MOOER's multi-effects pedals have impressed audiences so far, primarily thanks to their robust tone libraries. However, even still, the GS1000 continues to build upon this with storage for up to 120 sampling profiles, along with continued integration with the MOOER Cloud app. Essentially, this cloud integration facilitates infinite upload and download possibilities, giving users access to a global community of shared tones, widely expanding the number of accessible tones. More still, the GS1000's previously mentioned third-party IR cabinet simulations support up to 2048 sample points, guaranteeing studio-grade tonal accuracy across the board.

Even more impressive for the price is how the GS1000 inherits the dual-chain effects architecture that made previous MOOER gear so versatile, making it suitable for highly complex usage scenarios. With over 350 factory effects models and a Sub-Patch preset grouping mode, the GS1000 makes it far simpler for users to make seamless transitions between tones, all while maintaining effect tails to guarantee seamless transitions. Additionally, the reintroduction of the innovative AI-driven EQ Master builds upon MOOER devices' previous capabilities, using intelligent adjustments in real-time to match the musical style of players to tones, while still allowing manual tweaks for precise control.

Impressively, the GS1000 also comes packed with a Groove Station module, consisting of a combination of drum machine and looper features - including 56 high-quality drum kits! It offers a 480-second phrase looper with infinite overdubs, automated detection, and synchronization capabilities, resulting in an intuitive platform for solo jamming, composition, and live loop-based performance. Overall, the Groove Station acts as an all-in-one suite for creating full arrangements, without having to depend on additional backing tracks or bandmates.

Visually and functionally, the GS1000 really stands out thanks to its sleek visual design and enhanced user experience. For example, it features a convenient 5-inch high-resolution touch screen, which is also paired with ambient lighting to add a visually stunning element to the pedal. As a result, the GS1000 is not only designed for convenient touch-based control but also as a standout centerpiece in any guitar rig.

In addition to this touchscreen control system, the GS1000 also provides expanded connectivity options, improving upon the already impressive flexibility of past pedals. Most notably, it supports connectivity with the MOOER F4 wireless footswitch, as well as the ability to control presets via external MIDI devices.

As is expected from MOOER these days, the GS1000 also excels when it comes to routing opportunities, going above and beyond the typical stereo 14" inputs and outputs that would be expected from other brands. Yes, it still includes such staples, but it also includes an XLR microphone input, alongside balanced TRS outputs for long-distance signal clarity. The configurable serial/parallel stereo effects loop enables seamless integration of external effects, and the addition of Bluetooth audio input and MIDI compatibility broadens its wide range of use cases for live and practice-based applications.

Furthermore, the pedal also serves as a professional audio solution thanks to its low-latency 2-in/2-out ASIO USB sound card. Supporting up to 192kHz sampling rates, the GS1000 makes recording and live streaming effortless, as it can easily be used with software DAWs, MOOER's editing software, as well as the USB-based MIDI control.

The GS1000 will be available in two versions - the standard white edition, which is powered by mains power, and the GS1000 Li version, which introduces a 7.4V 4750mAh lithium battery, chargeable through its power port. With this upgrade, users can enjoy up to six hours of continuous power-free playtime, making it ideal for practicing, busking, and generally performing on the go.

Overall, for fans of MOOER's previous amp simulation offerings, the GS1000 represents a natural evolution, building on everything that made its predecessors great while introducing cutting-edge features and expanded capabilities. Most importantly, MOOER has promised to continuously update its MOOER 4.0 tonal algorithms on the MOOER Cloud in line with the release, keeping things fresh for the company's dedicated user base.

Notes: Over the last few years, MOOER has released several Prime multi-effects devices, including the Prime P1, P2, S1, and most recently in 2024, the Prime Minimax M1. Excitingly, the company is kicking off 2025 with a brand new addition to the Prime family-the Prime Minimax M2 Intelligent Pedal.

Within this small multi-effects device, a whole lot of functionality is packed in, including an impressive 194 effects models, including overdrive, preamp simulators, cabinet models, delays, reverbs, modulation effects etc., and more. In typical MOOER style, though, the company took things a step further by offering limitless flexibility through the support of its in-house MNRS sample files, as well as third-party IR sample files. Essentially, this means that users can download additional tonal emulations and effects from the MOOER Cloud and third-party sources to the device, which they can then save across 80 preset slots.

As with some past models in the Prime series, the M2 sports a convenient touchscreen design, facilitating easy browsing through the device's banks of presets. However, guitarists are not limited to interfacing with the pedal in this way, as it also features two footswitches, both of which can be used to switch between presets in each bank. There is even a MIDI jack built into the device, enabling users to connect their MIDI controllers to extend the control functions, and the MOOER F4 wireless footswitch support is also supported. Essentially, these augmentation options facilitate additional footswitches to ensure switching preset tones is always as quick and seamless as possible within any workflow.

While the Prime M2 Intelligent Pedal is primarily designed for effects and tonal simulations, it also comes packed with an array of other useful features. For example, it contains a looping module with a hefty 80-minute capacity, in addition to 10 recording save slots to ensure that any looping creations can be kept for future use in performances. Similar to past looper modules in MOOER's products, users are also free to overdub their recordings and even undo or redo their overdubs, offering a lot of real-time flexibility for creating loop-based musical structures.

As if the addition of a looper wasn't enough, this feature is also synchronizable with an internal drum machine and metronome, a combination that includes 56 drum grooves and 4 metronome varieties. Ultimately, it's a reminder that MOOER clearly recognizes and wishes to solve the struggles that musicians have when attempting to produce precise loops while staying in time. Upon commencing recording, the drum machine can produce four initial beats to serve as a count-in cue, and of course, this can be combined with the device's tap-tempo control for dynamic use. Best of all, this feature can also be applied to modulation and delay effects, ensuring that they work perfectly in time with any performance.

Extra features are included to complete this all-in-one pedal, including a high-precision tuner with fully customizable frequency ranges. Guitarists can even leverage the M2's built-in Bluetooth input support, allowing them to practice, jam, and even produce looped musical structures over their favorite backing tracks, band prototypes, and musical pieces.

Perhaps unsurprisingly for existing MOOER product users, the Prime M2 also boasts an impressive variety of audio routing systems. As was previously mentioned, that includes Bluetooth input, as well as industry standards such as dual-channel stereo output, perfect for stereo delay and modulation effects. It also supports headphone output for those who wish to practice in silence, and even OTG recording, which means that guitarists can record their creations directly to their smartphone whilst on the go.

Speaking of on-the-go, MOOER is continuing its recent portable-play focus with the Prime M2 Intelligent Pedal, as it is fitted with a built-in rechargeable lithium battery with a battery life of up to 6 hours. Ultimately, this means that even a lack of local power sources won't get in the way of rehearsals and live performances. Combined with the pedal's lightweight and small build, it truly is an ideal addition to the pedalboard of any traveling musician.

Overall, the Prime M2 Intelligent Pedal is set to be an impressive new addition to the Prime series. It features augmented functionality when compared to past models, yet still in a minimalist and easy-to-use package, keeping the size small and light yet still packing in footswitches, a touch screen, and other flexible control systems.

Review: Neil E and Big City Bill's latest doubles as the second offering from Spincycle, yet another a split 7" single on 180g vinyl. The twins' journey began two decades ago high up in an unnamed mountain range, where they met, after which they descended onto the city in search of purpose. Thus spake Zarathustra: down below, they toiled away in dimly lit garages, decoding mysterious symbols cast on walls by home-gaffed fluorescent lights. At first, their work seemed like madness, but there comes a time in every madman's life when toil leads to breakthrough. Thus were sowed the two fine harvests you hear here: 'Dry Rub', with its tugging taut sound design, and 'The BBV', a mistier firmament of altitudinal unknowns. No need to map out the terrain first - just give in to your ears.

Review: Nicole and Troy's latest collaboration sharpens their vision for Cath Records, the Berlin-based label they launched as a home for boundary-pushing techno. Their stripped-back but potent style thrives on precision, drawing from deep club lineage while keeping an eye on the future. 'Out Of Control' is a lean, tunnelling workout, its tension amplified by Z@p, the Uruguayan producer whose percussive, swing-heavy take on techno has earned him a cult following. His remix reshapes the track with a ghostly, skipping momentum. 'Woo Woo' flexes a rubbery, low-end groove, built for peak-time propulsion, while 'Fractals' twists through warped, off-kilter sequencing. A sharp, high-pressure release that reinforces the duo's deft touch.

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


Ideal for house parties, the tiny Party Mix II is the second generation of Numark's compact DJ controller. It's a tiny little device with a built-in LED light show to set the mood. Check out the Party Mix Live for a similar unit with built-in speakers.

Supplier's Notes:
The Party Continues

The original Party Mix quickly became one of the best-selling DJ controllers of all time. The Party Mix II takes the legacy to the next level with even more pro-level features added to the mix! The Party Mix II is always ready for a good time. Simply plug in your laptop or mobile device and start mixing your ultimate party playlist. With the flick of a switch, the built-in light show takes things to the next level with a colorful light show that dances to the beat.

Numark Party Mix DJ controller with light show

The Latest Music is Always on Deck

You no longer need a huge music library to start DJing. The Party Mix II DJ controller works with Serato Lite DJ software, giving you access to streaming services like TIDAL, Beatport LINK, Beatsource LINK, and SoundCloud GO. A streaming DJ controller means that the hottest tracks are available at your fingertips for you to create your custom party playlist.

If you'd rather bring a phone or tablet to the party, the Party Mix II is also compatible with popular DJ mobile apps like djay PRO AI by Algorriddim. Just connect your mobile device to the Party Mix II by using a USB camera connection kit (sold separately) to get the party started.

Party Mix streaming DJ controller partners

Instant Light Show

Set the party atmosphere with a DJ controller with lights! The Party Mix II features three multi-colored LEDs with special wide-coverage lenses for a room-filling, beat-synchronized light show. The switch on the side of the controller allows you to turn the light show on and off whenever you like.

Numark Party Mix DJ controller with built-in light show

Pro DJ Features

The Party Mix II has enough pro-grade features to handle virtually any party. The 1/8-inch main audio output allows you to hook up external speakers to bring your music to life while still monitoring the mix with the 1/8-inch headphone output connection.

DJ performance pads on Party Mix controller

Four performance pads on each deck allow quick access to cue points, loops, effects or samples. In addition to Play and Cue buttons on each deck, Sync buttons allow for the automatic tempo matching of two tracks for perfectly aligned mixes. Dedicated Filter knobs on each deck help add a pro-grade sound to your mixes, and the software-adjustable crossfader allows for sharp cuts for scratches or long, smooth fades for mixes.

DJ scratching on Party Mix controller

The Party Mix II also features two large, high-quality jog wheels that respond to your touch and allow you to manipulate your music with style. Backspin, pause, and even scratch your tracks as you work your way through your party playlist. The outer rings of the wheels function as a pitch-bend so that you can nudge tracks into alignment for the perfect mix.

With the Numark Party Mix II DJ controller, the party never stops!

Outputs:
1 1/8" (3.5 mm) TRS Main output
1 1/8" (3.5 mm) TRS Headphone output

Power: via USB
Dimensions (width x depth x height): 12.8" x 7.8" x 2" 325.5 x 199 x 51 mm
Weight: 2.1 lb 0.95 kg

Minimum system requirements:

Computers/Laptops:

Operating System
macOS Catalina 10.15
macOS Mojave 10.14
macOS High Sierra 10.13
Windows 10

Processor Minimum Requirement: i3: 1.07GHz i5: 1.07GHz i7: 1.07GHz i9: 1.07GHz
Screen Resolution: 1280 x 720
Memory: 4 GB

Mobile Devices:

iPhone: Requires iOS 12.2 or later.
iPad: Requires iPadOS 12.2 or later.
iPod touch: Requires iOS 12.2 or later.

Notes: Excellent value as usual from Omnitronic, the PM-202F is a simple, affordable mixer ideal for basic DJing and live sound control. Two channels, microphone input and Bluetooth streaming add up to a versatile setup at a great price.

Supplier's Notes:
Two channel mixer ideal for mobile DJ setups and home use.

Technical specifications

Power supply: 100-240 V AC, 50/60 Hz
Power consumption: Max. 8 W
Protection class: Protection class II
Power connection: Mains input via C8 (M) "figure 8" mounting version power supply cord with Euro plug (provided)
Frequency range: 20 - 20000 Hz
S/N ratio: >80 dB
THD: <0,1 % at 1 kHz
DJ filter: Per channal: LPF/HPF bipolar,
Control: Bluetooth
Bluetooth device name: PM-202F
Range: Bluetooth: range up to 15m
Crosstalk: >60 dB
Control elements: Crossfader, Crossfade curve control, crossfade reverse switch, FX Parameter control, power switch
Status LED: Power, master level meter
Connections: Input: line/phono via 2 x stereo RCA
Input: line via 2 x stereo RCA
Input: microphone via 1 x 3-pin XLR (F) mounting version
Input: antenna via 1 x SMA (F) mounting version
Input: Earthing connection via 2 x screw terminal
Output: master via 2 x 3-pin XLR (M) mounting version
Output: master via 1 x stereo RCA
Output: rec. via 1 x stereo RCA
Output: headphones via 1 x 6.3 mm jack socket (stereo) mounting version
Output: headphones via 1 x 3.5 mm jack (stereo) mounting version
Channels: Input channel: 2 x stereo with Line-Line/Phono-Bluetooth switch via RCA, channel control via 60mm fader, 2-band tone control EQ, gain control, CUE switch
Microphone channel: 1 x mono via XLR, channel control via rotary dial, 2-band tone control EQ
Master output: 1 x stereo via XLR or RCA, channel control via rotary dial, balancecontrol
Headphones output: stereo via jack, channel control via rotary dial, cue mix function
Rec. output: stereo via RCA
Material: Metal
Colour: Black
Housing design: Desktop console housing

Dimensions:

Length: 30,5 cm
Width: 19,0 cm
Height: 11,0 cm
Weight: 2,18 kg

Power cord
Cable length: 2,10 m detachable

Review: Groovin Italy break from their responsibilities in issuing contemporary neon-trailed Italo for a reissue of The Ones' 'Flawless', the standout 1999 debut by the electronica trio. "Just like perfection, flawless, needs no correction, flawless" is its instantly recognisable choral hookline, and the sinker is its sharpened post-Talo synthwork, heard further honed by remixers Phunk Investigation and Low Steppa. Though the original track gained broader traction when George Michael sampled it for his 2004 single 'Flawless (Go to the City)', the pop phylogeny of the song is lent little credence here, as both remixers emphasise the glitzy modern potential of in the track: Phunk's is neo-futural-funk incarnate, while Steppa's is a real treat for DJs: sinister, seedy-casino underworld speed garage, portraying the rather flawed underbelly of apparent flawlessness.

Review: Just in time for a hot disco summer, Fatty Fatty kicks out this essential 12" packed with glittering and golden grooves. The irresistible EP has three tracks that have never before been available and showcases Pablo & Shoey's range. Side A opens with 'Raw Human Emotion Part 2,' which is one of those end-of-the-night anthems that will lodge long in the memory and no doubt bring tears in the right setting. It's soulful disco perfection. On the flip, two rediscovered bangers from their Do It Backwards EP emerge: 'Shoey's Acid Trip' is a euphoric acid-disco slammer, and Pablo's warped, rave-ready 'Air Raid Dub' does exactly what it says on the tin. With support from tastemakers like Severino from Horse Meat Disco already in the bag, this one is perfect for late-night mayhem and festival sunsets alike.