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Review: Producer Alexander P.J Geiger was very active during the noughties, releasing a string of singles and albums (both as Geiger and Nass) before all but disappearing from view. Fahrland is his latest artistic incarnation and this, the project's debut outing, marks the producer's first release for eight years. The title, Mixtape Volume 1, hints at the album's construction; this is a set of disparate tracks that showcase Geiger's ability to turn his hand to a myriad of genres. So becalmed ambient cuts are followed, in sequence, by tracks that variously doff a cap to Balearic synth-pop, lo-fi electronic soul, ultra-deep house, jammed-out intergalactic techno, krautrock, hip-hop and dream pop.

Notes: This filter's unique feature is that different filter types are realized by injecting the audio signal at different points of the circuit. For this reason, the A-101-1 has three inputs with level control: one lowpass input which is normalized to the bandpass input, which itself is normalized to the highpass input. The level controls make it possible to mix the filters and to generate new filter types. e.g. with all three filter levels turned to maximum level you get a notch filter.

Furthermore, the cutoff frequency influences which filter type is "monitored". This way you can blend from LP over BP to HP with increasing cutoff, known as "frequency scanning". Interesting effects happen when three different audio signals are used because they are both morphed and filtered at the same time.

Notes: This filter's unique feature is that different filter types are realized by injecting the audio signal at different points of the circuit. For this reason, the A-101-1 has three inputs with level control: one lowpass input which is normalized to the bandpass input, which itself is normalized to the highpass input. The level controls make it possible to mix the filters and to generate new filter types. e.g. with all three filter levels turned to maximum level you get a notch filter.

Furthermore, the cutoff frequency influences which filter type is "monitored". This way you can blend from LP over BP to HP with increasing cutoff, known as "frequency scanning". Interesting effects happen when three different audio signals are used because they are both morphed and filtered at the same time.

Vintage edition with black faceplate and custom knobs.

Notes: A Low Pass Gate (LPG) can be a low pass filter, a VCA or a combination of both. This means both the harmonic content and volume can be controlled simultaneously which resembles the behaviour of many instruments: the louder, the more harmonics.

The A-101-2's mode of operation is set with a switch: left position is low pass, right is VCA and the combo mode is in the centre. Alternatively, you can activate the modes with gate signals which is the reason for two gate inputs; this is very interesting in combination with clock dividers or trigger sequencers.

- Gate 1 high & gate 2 low = low pass mode
- Gate 1 low & gate 2 high = VCA mode
- Both Gate 1 & 2 high = combo mode

The A-101-2 has an aggressive sound, compared to other LPGs and its resonance goes up to self-oscillation which not many LPGs offer. The oscillation is rather dirty and far from being a sine wave.

3U Eurorack module, 8HP wide, 50mm deep.

Review: Los Angelenos Subtle Mind have been making not so subtle waves in the US bass scene for quite some time. Needless to say, Austin and Paul's debut release on Subaltern Records brings in a different style to the imprint with a flavorful and melodic yet weighty selection on the Ambitions EP. The title track features the rhyming of Ill Chill and truly rolls deep - this is proper west coast vibes with the sunroof down and spliff in hand! On the flip, be prepared for a massive bassline on "Gelato" complete with wonky synths and trap style hi-hats. Finally, things take a slightly more moody turn on "Standard Strain" (feat Saule) probably due to the addition of that snarling sub bass frequency, but mellowed out by those sampled vocal textures atop - a nice touch.

Notes: A Low Pass Gate (LPG) can be a low pass filter, a VCA or a combination of both. This means both the harmonic content and volume can be controlled simultaneously which resembles the behaviour of many instruments: the louder, the more harmonics.

The A-101-2's mode of operation is set with a switch: left position is low pass, right is VCA and the combo mode is in the centre. Alternatively, you can activate the modes with gate signals which is the reason for two gate inputs; this is very interesting in combination with clock dividers or trigger sequencers.

- Gate 1 high & gate 2 low = low pass mode
- Gate 1 low & gate 2 high = VCA mode
- Both Gate 1 & 2 high = combo mode

The A-101-2 has an aggressive sound, compared to other LPGs and its resonance goes up to self-oscillation which not many LPGs offer. The oscillation is rather dirty and far from being a sine wave.

Vintage edition with black faceplate and custom knobs.

3U Eurorack module, 8HP wide, 50mm deep.

Review: Over the last decade, few have amassed as fine a catalogue of revivalist Italo-disco, EBM and synth-wave cuts than The Revolving Eyes. It's because of this that each new release from the Belgain duo is worth a listen. Predictably, there's plenty of dark and clandestine fodder to be found on The Nature And The Metal, their first release of 2018. Highlights include the foreboding horror chords, psychedelic acid lines and metronomic throb of "Beautiful Sadness", the rising orchestration and clicking drum machine hits of "Monotrance" and the ragged and distorted, acid-EBM fusion of the titanium-clad "Ritual Serenade". The title track, which closes the EP, is alo sublime: a clanking industrial workout smothered in far-sighted, futurist techno synths.

Review: Oh gosh. Following last year's self-titled sandy-toed diamond, Phil Mison's Noche Espanola hits the vibe bullseye once again with this stunning 400-only summer anthem in waiting. Fittingly vibrant, feel-good and measured with its big chords, chorus vocal and cheeky horns, this has so much to offer it oozes out over two versions and sun-kissed outro. Instant mood-raiser, this will be hammered all summer we guarantee it.

Review: Stroom present yet more rarities, with the B side to Belgian act Keysha's underground '80s classic "Im A Thumbsucker". A Bernard Wrincq production, this one is a sexy neon-lit late night R&B which fetches exorbitant prices on the secondhand market. On the flip is Fg's Romance with "What Is Love Today". Originally released on Brussel's Nunk Records back in 1984 by a bunch of still unknowns, it is a lo-slung soul jam - Belgian style.

Review: When it comes to new boogie and synth-soul with an authentic flavour, you can't beat Chicagoan institution Star Creature. Predictably, their latest 7" should be another essential purchase for synthesizer lovers everywhere. It comes from Love's High, a collaborative project helmed by storied Israeli beat-maker Soul Supreme and vocalist Marlon Penn. "Love Generation" is a jaunty and colourful affair, with Penn's sumptuous vocal and hooky trombone motifs rising above waves of synth-bass and glistening electronic melodies. Turn to the flipside and you'll find intergalactic instrumental "Moon Bounce", which fittingly reminded us of Moon B and Dam Funk.

Review: Trevor Deep Jnr's HPTY imprint celebrates a landmark 10 releases with this immaculate compendium of native Finnish electronica. 13 tracks across four sides, HPTY's scope, range and aesthetic is flexed and develop through a whole host of styles and sounds; the eerie spaciousness and staggered vocals on Trevor's "Transpose Believer", the breathing cosmic pads and solitary toms of Byman & Stennabb's "Modern Dynamic Lounge Music", the mystic unhurried sinewy leads of DJ Rubio's "The Domicile Of Endless Heartache" and the brushed cymbal jazz and heritage synth tones of Shuffless' "Ratina" are just some of the homegrown delights on offer here. Grab it while you can.

Review: The headspace Area's Kimochi Sound label inhabits is very much compatible with that of Rough House Rosie, and both labels have similar legacies of championing unsung talents. Now Area appears on Rough House Rosie with some of his beguiling abstractions on the deep, smoked out techno blueprint, and it's a match made in heaven. "Sweated" courses through a mysterious landscape of blown out low end riffs and distant textures, while "Still Moving Away" locks into a steadfast techno roll that complements the lingering notes hovering overhead. "Vicious Like A Koala" is a minimal workout based around an unusual drum set and a looming one-note bassline, and "Tessellated Rhubarb" finishes the EP off with some haunting ambient musings.

Review: A little under 18 months ago, London trio Blu Mar Ten celebrated 20 years in the game with their seventh album Empire State. Now comes the all-essential remix collection as an all-star cast of BMTM friends and kindred spirits provide their perspective. From Conduct's outstanding desert storm twist of "Delirium" to Need For Mirrors' finger-clicking sci-fi serenade via Signal's doom-heralding tubular roll-out of "Rollcage", every remix commands attention and deserves its place on this collection. And that's before we even mention Calibre and SpectraSoul. Drum & bass remix packages don't get much bigger than this.

Notes: Crazy8 Beats is a stand-alone desktop sequencer that can also be installed as a 40HP module in a eurorack system.

Eurorack power requirement:
+12V: 45mA
+12V: 0
+5v: 0

8 Hybrid Analog/MIDI Tracks

8 MIDI tracks, 3 MIDI ports (1 In & 2 Out) - MIDI Type A
8 Analog Trigger outputs
Variable Accent/CV output per step

MIDI velocity amount, CC modulation, or both per step.
8BIT 0-5V Analog CV output per step
Trigger input/output to sync Crazy8Beats to other devices
MIDI input to receive MIDI clock and set up parameters (MIDI Type A)
MIDI Clock sent on both ports
16 patterns per track
Up to 16 steps per pattern
Individual patterns change per voice (or all at once)
Up to 16 patterns can be chained to create a song
4 play modes per track (forward, reverse,ping pong, random)
Copy, Paste, Clearing of patterns
8 Levels of Swing per track
Crazy feature enables probability and live remixing of patterns
Rhythmic Drill effect with variable rate
16 Pads can be used to punch record patterns live or program visually.

The pads are backlit to provide visual feedback of the pattern you are programming and the tracks that are active.

64 Step LEDs enable you to see 4 tracks advance at any time.

Review: Recorded in 1976, "You + Me = Love" was a song for Norman Whitfield's Whitfield Records, recorded by The Undisputed Truth. Whitfield, producer and creator of the band, had been at Motown Records for over a decade, and in 1975 left to start up his own record label. They were the first act to follow him from the legendary Detroit label after a lineup change, when Tyrone Douglas and then female lead singer Virginia McDonald left the group. Taka Boom, Chaka Khan's sister, joined longtime member Joe Harris, Calvin Stevenson and Tyrone Barkley. The song reached #48 on the Billboard Hot 100 and #37 on the R&B Charts, and was the group's one-and-only UK hit - appearing on the UK Singles Chart in early 1977.

Review: Appearing on white vinyl in limited quantities, this rather tasty 12" sees a sextet of talented producers remix tracks from Oumou Sangare's acclaimed 2017 album Mogoya. Sampha steps up first with a magical broken beat version of "Minata Waraba", before New York-based Bristol veteran Natureboy lays down a fuzzy and funky Afrobeat revision of "Yere Flaga" that's arguably worth the entrance price on its own. Elsewhere, Pedro provides some deep and breezy tropical flavour, St Germain brilliantly fuses Sangare's original musical elements with his own inspired deep house grooves, and Twotek raises the temperature (and tempo) on a jaunty and sun-kissed version of "Fadjamou".

Review: Since the mid 1980s, there's been much discussion - in beard-stroking circles, at least - of the Balearic credentials of Scottish synth-poppers Tears For Fears. The band seems to have finally cottoned on to this, commissioning White Isle resident and International Feel boss Mark Barrott to provide fresh reworks of "Head Over Heels" in honour of Record Store Day. Happily, he's done a terrific job, particularly on the epic A-side "Sketches From A Sunrise Spiritual Meditation". Built around layered, ultra-positive synthesizer arpeggios and a saucer-eyed ambient sensibility, it brilliantly ebbs and flows throughout. The flipside "Flying Wings of Love Re-Interpretation" is almost as blissful and every bit as loved-up.

Review: Long-serving soulful house and jazz-funk band Reel Peeple has decided to inaugurate a new series of disco and boogie covers. On the A-side of this first EP they serve up vocal and instrumental covers of Evelyn 'Champagne' King electrofunk classic "I'm In Love". Although these are largely reverentially faithful to the King's version (even down to the synthesizer settings), they also feel a little more loose and groovy - thanks in no small part to the band's drummer. On the flipside they opt for a more traditional disco sound on their versions of Geraldine Hunt's "Can't Fake This Feeling". Aside from the additional of some synth strings and warm Rhodes chords, they too are pleasingly faithful to their source material.

Notes: Dead Moon were a DIY band, active for 19 years. Singer and guitarist Fred Cole was playing music since the early 1960's - beginning his career as "Deep Soul Cole - the white Stevie Wonder", then joining the psychedelic garage rock band the Lollipop Shoppe / The Weeds. In the 70's and early 80's Fred and Toody Cole played in various punk, country and hard rock bands. In the late 1980's, they formed Dead Moon with Andrew Loomis. This band went on to become mythic and legendary. They lived by a DIY code built around superstitions and avoidance of conventional music industry pitfalls. Their story is completely unique amongst the pantheon on rock bands - a group who never sold out, never gave in and built a legacy of art and community piece by piece in a sustainable way almost unheard of. The book is a tribute to their unique aesthetic, unbelievable twisted path of a story, and roll as pioneers of the Portland music scene.

The book tells the entire Dead Moon saga in the words of the band itself. Just the voices of Fred, Toody and Andrew. It includes a complete illustrated discography of everything Fred, Toody and Andrew have released, song lyrics, and TONS of band photos, flyers, and weird ephemeral stuff. Lots of it has never been seen by the greater public. The package also includes 2 LP's of the "best of" Dead Moon - lovingly remastered from the original tapes. Very sturdy construction.

Review: For Waking Up In Another Town: Weather Diaries Remixed, veteran shoegaze combo Ride handed over the parts to their most recent album to an impressive array of underground and experimental electronic music talents. The results are, for the most part, surprisingly impressive. The centre piece is undoubtedly a stunning, 25-minute interpretation of "Home Is A Terror" by noted experimentalist Babe Terror - worth the admission price on its own - but there's plenty to get excited about elsewhere, not least some sublime ambient interpretations from Earthtrax man Bartoz Kruczynski and Jefre Cantu-Ledesma, whose beguiling version of "Weather Diaries" boasts spellbinding new vocals from I Break Horses member Maria Linden.

Review: One way ticket business: cult one-hit-wonders Crashers dropped these cool runnings in 1981 and it's since been known to pass hands for high figures. Famously celebrated and consequently edited by Dimitri From Paris, here we find it in all its original Capo Disco glory. Vibrant, sing-along and just on the right side of sleaze, it still runs as fast as it did almost 40 years later. The same can be said for original b-side "Skank". Pure rare groove boogie with more than your month's quota of slapbass, fuzzy guitar and falsettos, it's another first class trip. Bon voyage.

Review: A serious RSD reissue here as Music On Vinyl reanimate the cult afro-funk's one and only 45" on Pye sub-label Dawn. Emphatic, layered, energetic and dizzying - just like their albums Afreaka and Roots & Offshoots - each cut is bewilderingly funky and soulful experience. The lead track is one of the best Screamin' Jay Hawkins covers ever pressed to wax, "Message To Mankind" tips a nod to the Tamla school of thought with a belting yearn for better times while "Fuzs Oriental Blues" is just a straight up savage blues jam with some firing Afro twists towards the finale. Stone cold; this one won't hang around for long.

Notes: The MIDAS M32 completely redefined what is possible from a digital mixer - and thousands of users are enjoying the results. Now that technology has been incorporated into the small but powerful MR18 rack-mountable mixer, which will forever change the way you record and the way you play live music.

A Mixer Whose Time has Come:

Over the past few years, the world of recording and performance audio has experienced a major paradigm shift, one that requires musicians and performers alike to take advantage of emerging technologies that offer flexibility and ease of use. The MR18 is an 18-input/8-bus portable mixer housed in a sturdy stage box design for use with iPad and Android tablets. It is ideally suited for both live and studio applications thanks to 16 award-winning MIDAS PRO mic preamps, integrated Wifi module for wireless control, MIDI I/O - and a multi-channel, bidirectional USB Audio Interface. Free iOS, Android and PC apps enable you to move about the venue or the tracking room and manipulate all the parameters of your mix, and the performers have the same freedom to dial-in their personal monitor mixes. Advanced engineering and meticulous design combine to deliver professional-grade performance and impressive affordability - the MR18.

16 MIDAS PRO Mic Preamps:

The MIDAS PRO mic amp was developed for the PRO Series mixing consoles and is also found in the M32 - and has been recognised by leading live sound and recording engineers as the very essence of the famous MIDAS sound. It is here in the MR18 that more than 40 years of design excellence has come together with premium grade components to provide unparalleled warmth and depth, subtle ambience, and immaculate spatial positioning - for more precise imaging than competing models. The award-winning MIDAS microphone preamplifier has inspired generations of live sound engineers to their best work, creating sonic landscapes that have captivated audiences worldwide. MR18 comes equipped with 16 MIDAS PRO preamps, all of which are literally ready for your input via the Neutrik combo connectors with locking latches.

Built-In Tri-Mode Wifi Router:

Designed for the ultimate in mobility, the MR18 comes with an integrated Wifi module for direct control of your mixer's functions - without the need to setup and configure an external router. The MR18 gives you the freedom to focus on your mix, while allowing you to move about the venue to experience what every part of the audience is hearing. Plus you can adjust live monitor wedges from the artist's perspective - or better yet, let them mix their own IEMs and floor monitors via their own tablets.

1. Access Point is the easiest way to connect up to 4 clients directly and concurrently (i.e., iPad, Android smartphone/tablet or laptop). This mode should have your remote control up and running in less than a minute.
2. Wifi Client allows you to add your mixer to the existing wireless network where the controlling apps and devices are connected.
3. Alternately, wired connections can be made directly to your PC, to a local area network (LAN), or when connecting to a dedicated Wifi router, e.g., for extended range or 5 GHz applications.

Recording Simplified:

The incredibly fast and comprehensive 18 x 18 channel, bi-directional USB interface makes the MR18 an amazingly powerful digital mixing solution for recording directly to your iPad or PC. Dial in the perfect monitoring mix with effects and zero-latency, while sending up to 16 source signals - and the keyboard player's MIDI notes to your DAW for recording and editing.

Whether you are making rock history in the studio, or you want to capture intimate live performances - it has never been easier to record stunning tracks with exceptional clarity.

Review: Release 13. Unlucky for some but not for Kokeshi as they unearth a new name; Lore. Little is known about him besides that he's from Manchester and he's sculpting some seriously singular beats. "Down The Well" calls on us with a familiar vocal, subverted to smithereens over a spaced-out two-step, "Lillies" sweeps us away with strange rubber ball bass jitters and an alien drum arrangement that hypnotises at first click, finally "Many Faces" adds a little glam-swamp to the mix with its swaggering tripletty rhythm and eerie textures. Some Lores are made to be broken.

Review: One of the deepest reaching projects from the multifaceted Vibraphone stable resurfaces for an extended trip through ambient sonics that marks possibly the most daring departure on the esteemed Italian label to date. The harmonious tones undulating throughout Sketches From Space are instant soothers, taking the odd cue from techno but defiantly beatless and meditative. It's a surprising addition to the long and winding Vibraphone story, but also feels like one of the strongest steps forward the resurgent label has taken since returning to the fray. Just try sinking into "Lagrangian Point L4" and you'll see exactly what we mean.

Review: REPRESS ALERT: Mandar are back on Oscillat Music following their stunning five-disc LP from last year, and the deep house super group are sounding as vital as ever. "String Theory" holds court over the A side and promises to be the soundtrack to many a heart-stirring moment under starry skies this summer. The titular strings are a powerful force in this track, bringing a classy brand of emotion to the slinky dancefloor tones Mandar are best known for. "Poisoned Worlds" is a deeper club cut that places the emphasis on crafty drum science for after hours crew, providing a neat balance to the show-stopping tones of the A side.

Review: Given that Music Man regular Petar Dundov and Systematic boss Marc Romboy are both hugely successful producers in their own right, you'd expect this first collaborative release to be rather good. It is, of course, with pleasingly melodic A-side "Garden of Cyrus" leading the way. While the track's muted (but heavy) drums and squeezable acidic bassline provide the energy, it's the duo's layered electronic melody lines that really catch the ear. If you're in the mood for something darker and more suitable for pitch-black Berlin basements, creepy and hypnotic flipside "Caper Tran" should more than fit the bill.

Review: Following up 2016's dynamic Plum LP on his Brunette Editions imprint, New York City based producer John Roberts returns with a release that he best described himself as 'a series of songs written and destroyed. Self-cannibalized productions spit back out in abnormal silhouettes.' Indeed, it's quite the departure from the dusty and evocative deep house he produced on Hamburg imprint Dial a while back - in particular his well received debut Glass Eights in 2010. "Spill" is an unholy mixture of neo-classical, experimental lo-fi techno and guitar drones - that isn't altogether unpleasant. On the flip, be captivated by the bittersweet ambient house of "Wrecked" and the ethereal peace "Fluid" composed of powerful blasts of distortion and sombre trumpets.

Notes: The Polivoks Filter module, from Elta Music, utilizes the classic Soviet filter chip for a unique and iconic filter tone, and brings it to the Eurorack modular format. It provides two CV inputs with individual depth pots for ultimate control over cut-off frequency. One input with sensitivity control and four outputs available simultaneously, lowpass, bandpass, high-pass, and notch filter types.

Notes: This is a double CV-source, from 0 to 10 V, controlled by stereo fader. The controller makes it possible to perform sweeps, widely used in modern electronic music. The effect is similar to "wobble" or scratching. CV1 and CV2 generate 0 volts in the middle position of the fader, 10 volts at the top and bottom position. DEPTH1 and DEPTH2 control the depth of CV1 and CV2.

Notes: The PLL, from Elta Music, is an analogue harmonic synthesiser. It turns your input signal into a square wave, and then multiplies or divides the frequency of that square wave, providing overtones and undertones from the original pitch, with extreme timbral intensity. The signal can be multiplied and divided simultaneously, providing an effect like chords. The tracking of the pedal can be adjusted according to the loop track control.

Notes: The String Ringer, from Elta Music, is a classic LT 44 transformer ring modulator. It is a modern replica of the Lovetone Ring Stinger. It has 1/4" connections for almost every parameter, making it essentially a module that can be interfaced with any 1/4" gear (or 3.5mm with converters). It has a built-in modulator LFO, as well as a VCO to be used as either the Carrier or Modulator. There are three-foot switches for LFO on, Bypass/Active, and Oct/ring.

Review: Next up on Pablo Tarno and Onirik's Finest Hour is Berlin based, Half Baked main man Robin Ordell - with more trippy and quirked out minimal house. This follows up some great releases on top labels Discobar and Hello?Repeat. Ordell is no stranger to the afterhours, and this A.M. expert displays just what it takes to get weird during the morning set on the reduced boompty action of "Grey Blue Blue Grey Yeah" on the A side. The flipside features the spooky and glitchy mini-funk of "Purple Shaped/Where's Your Sister?" plus the hypnotic bump and shuffle of "Eggs In Moonshine" closing out this fine EP in style. This follows up Ordell's last appearance for the label back on FH:04, back in 2015. Tip!

Notes: The story of how a group of ravers single-handedly changed the entire music business and broke new ground in the electronic music genre would be a fascinating read, but unfortunately, The Prodigy STILL haven't written a book. Instead, you will have to put up with this VIP remix of How To Squander Your Potential, an enhanced version of the rise and fall of the Smart E's - one of the most scorned rave groups of all time. They topped the charts with their hit record Sesame's Treet in 1992, and everything went downhill from there. This is the story of one member of the group's epic and idiotic journey as he worked his way from international chart-topping superstar to multiple record label owner to obscurity in nineteen long tedious years.

Only now it's been 25 years, so the story has been updated. It is longer, and includes new, equally tedious material such as bonus chapters, a new introduction, and an exclusive 12 Vinyl featuring unreleased music from long lost DAT tapes.

This is a book about the rave scene, how it has changed, and how not to behave. This is a book about life, the music business and everything. This is a book.

Review: Originally released on Record Store Day in limited quantities, An Aggressive Chain Smoking Alcolohic is the debut solo album (under his given name, at least) from Xiu Xiu member Jamie Stewart. It was apparently written almost entirely using modular synthesizers and produced by Room 40 founder Lawrence English, an artist who knows much about making dark, twisted and otherworldly electronic pieces. The results are, for the most part, attractively out-there in the best possible way, with the duo sashaying between discordant soundscapes, clandestine ambient moodiness, panic-in-space weirdness, droning intensity and bizarre dystopian noise.

Review: For the first time in over four years, London bass general V.I.V.E.K delivers his first release on a label other than his own highly collectable System Music dispatches. Landing on the ever innovative Blacklist, the results speak for themselves; "Where Were You" is a sombre, poignant affair. A cosy, barbed soul end-of-night moment seemingly tailored for his own System dances, it's a touching affair to the end. "Step FWD" plays the perfect counterpoint as it rewinds us deeper into the thick of the dance with its pneumatic drums, wobbled-out bass twangs and oceanic dub effects. Classic V.I.V.E.K.

Review: New York's JKRIV is shaping up to be something of a nu-disco revelation, particularly for his love for all things 'outernational'. In fact, then DJ-producer has released nothing but hip-swinging Latin funk over the last few years, and this RSD 2018 release for Brooklyn's Razor-N-Tape, Ferias 77' Reworks, is testament to that. In here, you'll find nothing but sick reinterpretations of classic Brazilian funk and disco, re-moulded to fit the modern ear and, of course, the modern sound-systems. Subtle swings of boogie-filtered disco, deep and sensual house, and a whole load of trippy-hop make this a blazing summer belter, and there's even a slow, Balearic rework of Edu Lobo's infamous "Ponteio".

Review: Few words required: Prince's legacy is like no other and will live on as long as there is music. His self-titled sophomore release, of his 39 studio album repertoire this one is especially significant. You can hear him revelling in experimentalism, playing with ideas that would become the lead on future works (such as the big glam guitars on "Bambi" and lewd, brazen slap bass on "Sexy Dancer"), it also contains his original version of "I Feel For You" (famously covered by Chaka Khan) and his first hit single "I Wanna Be You Lover". Laced with some really heart-rending ballads (made all the more poignant since he passed away), it's one of many testaments that we'll never forget him. Rest in peace.

Review: Here, re-born Italo-disco stable Full Time Records digs deep into its archives for sought-after gems from 1982. On the A-side you'll find the original version of Rainbow Team's sugary-sweet, string-drenched disco shuffler "Bite The Apple" (first featured on their A Song For You album) accompanied by a brand new deep boogie "Dub Edit" by storied Italian DJ/producer Massimo Berardi. On the B-side you'll find two versions of Selection's brilliant "I'm So Glad": a loopy, gently beefed-up contemporary edit from LTJ and the '82 original, which could well be one of the greatest Italian boogie tracks ever made. Essential stuff, all told.

Review: German jungle subversion: Martin Heinze delivers his debut album Kerner and it's every bit as beguiling, unique and forward-thinking as his back catalogue on the likes of Med School, Commercial Suicide and Warm Comms foretold. Back on Hidden Hawaii for the first time in years, Kerner is his most explorative and wide-ranging piece of work to date: the minimal techno ricochet of "Kickoff", the industrial whirlwind breaks of "Krine", the ever-distorting elastic bassline venom of "Gryphe", the echo chamber cosmosis and reverse-warping of "Human Error", the playful steps and trippy dribbles of "Shades", the suspense and release of the tribal pounder "Impending" and the cathedral-like chimes and reverbs of the far-out finale "Maxicle"... Seven examples of genuine 170 innovation.

Review: Electro pushers Koova, Yes Effect and Pip Williams are back with their London Modular Alliance project, a consortium of sounds that clearly don't need much of an explanation. Their one rule is that this is all improv business, no mucking about with needless arrangements on tacky DAWs. This is the first Dimensions Recordings EP that's not a VA, so it's a tiny landmark for both them and the artists; the title tune "Hands & Brains" kicks off with a squelching acid stomper with an abrasive stomp of melodies, and "False Prophecy" is the point at which things take a turn for the electro nuttiness, all sombre and grey-scaled. On the flip, "Forbidden" takes the path down more tranquil waters with a peaceful balearic sway, and "I Settled For Her Leftovers" bumps out the bass good and proper, bruising us with its heavy-loaded sub-bass. Heavy gear!

Review: Ledyard Hopkins, lead-singer and surviving member of the Love Company presents a special edition reissue of 'Love Tempo' remastered from the archives of his LCM imprint for an exclusive vinyl-45 featuring an exclusive extended edit from London's Red Greg.
Originally issued as a b-side in 1980, questionable ex-label 'administrative' delays caused the song to fade into obscurity. Now, four-decades later this modern soul-disco classic is available again.

Review: Here is the official re-issue of Earth Boys' "Destination Heaven", the highly sought after musical collaboration of Chicago legends Roy Davis Jr & Jay Juniel - which comes courtesy of Fruit Merchant, the label by Hidden Spheres. Originally released in 1997 on Davis Jr and Juniel's Undaground Therapy Muzik, this is classic and timeless house music the way it was intended - this release goes for exorbitant prices on the second hand market. From the soulful and evocative deepness of A side cut "Destination Heaven", to the almost Mr. Fingers sounding, life-affirming groove of "Star Struck", with its sharp Juno bassline and evocative strings - it's awe-inspiring. Retouched with love and extreme care with the help of Manchester's don Andi Hanley and London's TenEightSeven Mastering.

Review: Belgium based composer, poet and multi-instrumentalist Denis Mpunga formed Eko Kuango in the early '80s. A unique fusion of African rhythms, jazz, subtle synth arrangements with an eastern flavour; they managed to introduce a strong sense of poetry - both musically and lyrically. The band garnered a reasonable following from numerous concerts played during their career, but remained little known except by a few music aficionados around the globe. Now with a newfound interest in their work, Libreville Records is proud to offer the remastered four tracks from the original EP, plus some bonus additions from their 'lost' recording sessions with renowned arranger Arnould Massart.

Review: It's indicative of the dizzying rise of Ross From Friends in recent times that Flying Lotus wants to put out the producer's freshest material. His Brainfeeder debut is not an epic departure from his previous outings, with the action once again focusing on his unique fusion of cut-and-paste, hip-hop style production, sample-heavy deep house and thrusting Euro-disco influences. The result is an EP that ticks an awful lot of boxes, placing the glistening new age-influenced Balearic bliss of "John Cage" - one of the producer's most luscious and sun-kissed efforts to date - next to more bustling dancefloor workouts. The number of vinyl copies available is apparently very limited, so don't hang around if you want to grab one.

Review: Joe Coghill presents his debut release on Transit Valley. A multi-disciplinary artist, musician and experimental publisher based in Edinburgh, he works in an improvised and often haphazard way. It incorporates disparate field recordings, modular synthesis and other sonic ambiences to create unpredictable and ephemeral multi-layer performances. Alongside this, he has been producing music recreationally in his various bedroom studios over the past 14 years. There are some intriguing perspectives on modern dance music here that Coghill provides his perspective on: from entrancing/slow-motion tribal techno workouts, textured and semi-abrasive ambient/noise and even a bit of lo-fi electro - such as on the EP's standout "Exit Lane".

Notes: This case (the same dimensions as a standard CD album case - 9mm spine) will hold 2 discs. The double tray flips out to the right and paperwork can be held both at the front of the case and at the back.

Review: Dennis Sulta's Selects series, in which he shares some of the secret, home-made weapons that have been lighting up his sets for years, has previously provided DJs with some seriously hot peak-time tools. Predictably, there's more to be found on Volume 3. Check, for example, "D_K_Y (But I Do)", a disco-fired slammer that starts out as a dusty but life-affirming re-edit before turning into a heavyweight, groove-based loop-jam midway through. Over on the flipside, Sulta serves up a distortion-soaked, extreme filter-disco thumper rich in rewind sounds and cut-up samples ("L_M_Y_S_A (Love is Subjective Remix)") before working his magic on a stone cold disco classic on "L_Y_A_R_S (Forever Mix)". As you'd expect, all three tracks have been thoroughly road tested and are capable of soliciting a rapturous response if dropped at the right time.

Review: Long-serving British producer Toby Tobias returns to ESP Institute for a second time. Intriguingly, A-side "Second Stimulus" - arguably one of his finest cuts to date - is a little more robust and bass-heavy that his usual offerings, with floatation tank motifs and cascading chords rising above a bold, chunky, sub-bass-rich groove. It's undeniably floor-friendly, but also deliciously spacey and quietly melodious. Turn to the flipside for "Synchro Surfer", where expertly dubbed-out synth refrains rise above a deep, purist tech-house groove. It's the sort of record we'd have expected to hear at a Wiggle party in the late '90s, which is no bad thing.

Review: The big, bad Shed is back with the eighth outing of his Equalized imprint, and we are well up for this! The label has been dormant for a few years now, but as soon as we saw that blue sticker land on our charts it took us back to simpler times, when phat-ass techno was being pumped out on white labels week in, week out. Unsurprisingly, both of these cuts are absolute bombs, with "Track 1" taking us right to the heart of the Berghain dance floor thanks to some absolutely booming kicks and, of course, the man's signature dub wise moves lingering overhead; "Track 2" is a much more cavernous affair, unloading a dark, endless wormhole of woozy bleeps and background noise, pushed forwards by sweltering break beats and that inimitable Shed touch.