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Review: This deliberately mysterious outfit hailed from Italy, and this, the first of two previously ultra-rare and highly collectible LPs, is no less than a psychedelic classic, chock full of wild keyboards, fuzz guitar rampage, blissed-out trance states and fearful avant-garde trickery. It's been ascertained that Braen's Machine was the work of heralded soundtrack composer Perio Ulimani, as well as Morricone collaborator Allesandro Allesandroni, and this would make perfect sense, as "Underground" is very much in the metier of Italian soundtrack legends Goblin, and bound to appeal to fans of the widescreen psych sweep of Aphrodite's Child. Bellisima.

Review: Phil Evans' second album follows a series of standout EPs on Blankstate, Sensual, Twig, Vigenere and his own Pager Records; the Frankfurt DJ and producer doubles as the Freizeit Records co-founder of Pager, helping set in e-motion the evolution of his local underground electronic scene. With minimality at its core, we hear on E Motinos a reserved and calculated three tracks per vinyl side, preserving optimal, skipless groove quality: 'Eazin', '<3', 'Hm' and 'Deep' prefer a near nonverbal titular expressivity, resisting any reference to the record's tricky, body-jacking movements in any capacity except through body language.

Review: Torbay's Simon Huxtable delivers another deep experience with this two-track release that shows off his mastery of atmospheric drum and bass. With a career spanning over three decades and more than 100 releases, Huxtable's touch remains as refined and emotionally resonant as ever. 'Waveform 13' opens with a classic amen break, balanced by lush, spacious pads and a liquid sensibility that merges the raw energy of jungle with the calm of ambient textures. On the flip, 'Waveform 14' is a melodic jewel. It glides through dreamy soundscapes, awash in harmonics and detail, with that signature Aural Imbalance smoothness. There's a quiet euphoria embedded in its flow, evoking a sense of peace without losing its dancefloor backbone.

Review: Following his powerful Waveforms 13-14, Aural Imbalance returns to ASC and Presha's 90s jungle inspired imprint with 15-16. As always with the label, the tracks are just numbered and as always with Simon Huxtable's AI alias, there's a full focus on the drums and powerful sense of atmospherics. 15 slaps hard with choppy breaks while an ice cold pad whips up early Tango & Ratty or Krome & Time vibes. 16 is a little more driving and looser, more Justice and Modern Urban Jazz in its flavour. Both hit the spot. Make sure you do, too.

Notes: The Wireless GO (Gen 3) marks a new generation in RODE's Wireless Go family and offers a plethora of features for capturing pristine audio in any situation, including intelligent GainAssist technology and 32-bit float on-board recording with 32 GB of internal memory. RODE's state-of-the-art Series IV 2.4GHz digital transmission delivers best-inclass range, with broadcast-grade in-built microphones for crystal-clear audio capture.

It is universally compatible with cameras, phones and computers, and for even more flexibility features locking lavalier connectors, dedicated buttons for triggering recording, auto-power on/off, and a TRRS jack on the receiver for headphone monitoring or audio input.

Review: "The defining hardcore record of the century so far" said Las Vegas Weekly. While punknews.org commented on the "undeniably earnest lyrics and blistering, relentless pace." Make no mistake, Have Heart made a big impression in 2006 with The Things That Carry, their debut full length. Following on from two very well received EPs, the record cemented the band's status as leading lights in a nascent positive hardcore movement. Screaming out of the starting blocks, the music is angry but the messaging looks to celebrate ideas such as love, inclusivity, tolerance, difference and social consciousness. The group would only put out one more official LP after this one alongside a live album after they broke up, but their energy and ideas remain as relevant and vital today as they were back then.

Review: We'll jump at the chance to talk about anyone affiliated with the mysterious SAULT collective. One of their most prominent voices, Cleo Sol, has here teamed up with her longtime producer friend Inflo for her second album, 'Mother'. This 12-track LP spans neo-soul, jazz and folk, and chronicles Sol's turbulent transition into motherhood. Across solitary ballads like 'Sunshine' and radiant folk dirges like 'Know That You Are Loved' and 'Promises', this album sounds purer in contrast to her debut 'Rose In The Dark'. Watch out for the hidden tracks on this vinyl edition.

Review: Master drummer and producer Alexander Flood debuts his rhythmic first record on Atjazz, following up the sumptuous first single 'Life Is A Rhythm'. A truly exciting record on foliate green vinyl, this LP packs a production paradox, bringing both boomy bodyweight and a shape-cutting, 2-stepping sense of ease at the same time. With extra layers of perc in the rhythm section, with Brazilian percussionist Aduni on congas and Cuban percussionist Alexander Scull Castillo on bata, it's actually really the dance-flooring production that grabs us here, heard best in the plum chords and erratic pianos of 'Don't Wait For Me', and/or the live bruk ghost dance 'Sidestep'.

Review: In the early 1970s, Dusty Springfield moved to Los Angeles and signed with ABC/Dunhill Records. Her 1973 album Cameo showcased soulful pop but saw limited success and for her 1974 follow-up, For Longing, Dusty collaborated with producer Brooks Arthur in New York and embraced a 1970s singer-songwriter sound. The album featured material from Colin Blunstone, Melissa Manchester, Janis Ian, and Barry Manilow, with contributions from the star-studded songwriters themselves. Emotional exhaustion led Dusty to shelve the album, but it was later released in 2001. Now, all ten tracks make their vinyl debut, including new mixes and the first solo release of 'Corner of the Sky.'

Notes: The third generation of the world's most popular wireless microphone, now with 32-bit float recording, intelligent GainAssist technology, improved built-in mics and a host of professional features and enhancements - the ultimate creative companion.

The World's Most Popular Wireless Microphone

The original Wireless GO was the first of its kind, establishing an entirely new category of compact wireless microphone that soon became the go-to audio tool for content creators around the world. Now, the third-generation Wireless GO builds on this legacy, delivering every feature and convenience a creator could possibly need while maintaining the intuitive grab-and-go operation that the range is known for.

State-of-the-art Wireless Audio

Utilising RODE's state-of-the-art Series IV 2.4GHz digital transmission and proprietary near-zero latency codec with 128-bit encryption, the Wireless GO delivers crystal-clear, incredibly stable audio with a range of up to 260m.

Say Goodbye to Clipping

For the ultimate peace of mind, each of the Wireless GO's transmitters feature over 40 hours of 32-bit float on-board recording. This means that your audio is safely backed up every time you record, with the ability to recover any recording in post-production that was too quiet or too loud - even audio that clipped!

Flawless Sound with Every Take

The Wireless GO offers a wide range of features to help you capture incredibly clean and intelligible audio for your content. Intelligent GainAssist technology automatically balances levels on-the-fly, granular gain adjustment and tailored camera presets allow for more refined control over your signal, and the built-in microphones feature the same upgraded capsules and preamps as found in the Wireless PRO. Capture flawless sound with every take.

The Wireless Mic for Every Setup and Every Setting

With both digital and analogue outputs, the Wireless GO is just at home connected to a DSLR or mirrorless camera as it is plugged into an iPhone or Android smartphone - you can even use it as a USB microphone with your computer.

Gain the Professional Edge

Monitor your audio in the field with the Wireless GO's high-power headphone output, ensure your lavaliers stay connected on set with 3.5mm locking connectors, and extend your system's battery in the field with plug-in power detect. The Wireless GO has a host of professional features designed to make your creative life a whole lot simpler.
Specifications

Acoustic & Electrical

Acoustic Principle: Pre-polarised pressure transducer
Polar Pattern: Omnidirectional
Frequency Range: 20 Hz - 20 kHz
Maximum SPL: 123.5 dBSPL
Equivalent Noise (A-Weighted): 22 dBA
Signal-to-noise Ratio: 72 dB
Analogue Inputs: 3.5mm locking TRS (TX)
Analogue Outputs: 3.5mm TRRS (RX)
Transmission Range: 260m (line of sight)
Digital Connectivity: USB-C
Operating System Requirements: macOS 11 and above, Windows 10 and above, iOS 14 and above, Android 11 and above
Power Requirements: In-built rechargeable lithium-ion battery, charged via USB-C (5V, 0.4A)
Operating Time: Up to 7 hours

Mechanical

Weight (grams)
TX: 35
RX: 36

Dimensions (millimetres)
TX: 46.5 (W) x 44 (L) x 20 (H)
RX: 46.5 (W) x 44 (L) x 20 (H)

What's in the box

2 x Transmitter
1 x Receiver
1 x SC2
1 x SC21
1 x SC22
1 x SC33
1 x Carry Pouch
3 x Furry

Review: New York glam-metal outfit White Lion carved out a distinct place in late 80s rock with melodic precision, glossy riffs and stadium-sized sentiment. This collection captures their most anthemic highs, with cuts from Pride, Big Game and Mane Attraction laid out in full power-ballad and riff-led glory. The one-two of 'Wait' and 'Radar Love' opens with slick drama, while 'Hungry' and 'Broken Heart' showcase their knack for writing choruses with teeth. Ballads like 'When the Children Cry' and 'Love Don't Come Easy' dial into emotional overdrive, but there's bite too: 'Little Fighter' and 'Lights & Thunder' burn with righteous intent. Two live recordings-'Lady of the Valley' and 'All You Need Is Rock N Roll'-round it off with arena energy. A slick document of their platinum-era peak.

Review: Throbbing Gristle co-founder and all round British experimental electronic institution, Cosey Fanni Tutti returns with 2t2, a new full-length set for release through her own Conspiracy International label. The new nine-tracker extends the tracked terrains of 2019's Tutti, blurring personal reflections on years of loss and upheaval into prosthetic electronic soundscapes. The record unfolds over two contrasting halves, one beat-driven, the other more introspective, yet it also keeps anchored to a certain ground point emphasising resilience and focus. Lead cut 'Stound' features overtone chanting, which Cosey describes as a way to channel inner strength: "allowing the sounds to permeate and soothe as well as create a sense of power."

Review: Welsh indie Sub Pop-signees The Bug Club return with their fourth album. Similar to their 2024 LP, On the Intricate Inner Workings of the System, they had the fortune of fellow Welsh indie star Tom Rees of Buzzard Buzzard Buzzard produce the album in Rat Trap Studios in Cardiff, Wales and birthed an incredible new record in the process. The Bug Club's appeal comes in their natural affinity with melody and born sense of humour and the single 'How To Be A Confidante' has an air of The Bonzo Dog Doo-Dah Band. Meanwhile, certain vocal parts in 'Jealous Boy' soar like Brett Anderson of Suede if he had grown up listening to Daniel Johnston. Sounding on the form of their lives, there's no chance of swatting The Bug Club's success.

Notes: Standalone version of Enjoy's DeFeel module. Inspired by 'fill' effects found on old-school drum machines, the DeFeel is a unique approach to manipulating sequences, designed to 'degenerate the monotony' of rhythmic patterns, creating variations in real time.

Supplier's Notes:
With DeFeel Enjoy Electronics have redesigned and applied the Fill concept to make it usable in the world of modular synthesizers.

This device is designed to break the chain between the sequencer and everything that comes after it, allowing you to intervene at the right time and create unique variations.

A modular device that's not going to generate anything, but is created to degenerate the monotony.

DeFeel isn't about complex button presses or cryptic menus. Here, creativity reigns supreme. Design your rhythmic patterns with an intuitive touch. Simple lines and vectors come to life on the multitouch display, allowing you to experiment and craft unique sequences with remarkable ease.

With DeFeel, Enjoy Electronics offer musicians and performers a powerful and versatile tool to enrich their performances and compositions. With its intuitive programming, sleek design, and innovative translucent panel, DeFeel stands out as a unique device poised to revolutionize the way modular synthesizers are used and perceived.

Review: We've all been party to solo material by seminal UK shoegaze sorts Ride's guitarist Andy Bell, but what about their bassist? Not so much. Well, that's about to change. Enter the brooding debut solo album from Ride's low-end maestro Steve Queralt. A largely instrumental affair, there's elements of shoegaze and darkly textured soundscapes. Plus there's guest appearances from more 90s legends: Emma Anderson (formerly of Lush and Sing-Sing) and Verity Susman (Electrlane, MEMORIALS) grace the album. Anderson sings on the pummeling lead single 'Lonely Town', which was launched with an aptly monochrome meditative montage of a music video. Given the power of this debut, we suspect this nine-song collection is the first of many solo albums to come, from a musician who has nothing to prove, but plenty to express.