Search dance music

Review: Berlin based label Solenoid is headed up by Erta Ale, aka Italian producer Fabrizio Nocci. His latest release continues the theme of warm, big room house music he's been pushing for some time now, kicking off with the swirling pads and thumping rhythm section of 'Nirvana'. It's got a distinctly early 90s vibe, with plenty of melodic hand holds to dig your fingers into, while 'Panorama' has a swishy, disco-tinted sassiness to take you away in the heat of the night. 'The Cure' kicks off the B side with a springy, techy approach that doesn't hold back on the big synth lines, and then We Amps steps up for a remix of 'Panorama' which keeps things funky without losing that peak time demeanour which persists throughout the record.

Review: Under the alias 4E, producer Can Oral created his own unique sound of raw, futuristic acid-electro. The A-Side tracks "Ask Isadora" and "Conga Banana" first appeared on the album, Blue Note, released on Home Entertainment in 1996. On the flip are two unreleased tracks picked from his extensive archive and edited by FIT Siegel. These were also recorded during this era, which Can describes below:

"In the 90s I moved to NYC to start a band with Jimi Tenor. I had a small flat in the East Village with the apartment number 4E and that became my artist name for the downtempo and electro material I was working on. The style I called Futuristic Electro because I didn't want to relate to the old school with this. I had my studio on the kitchen floor and pretty much only used EMU SP-1200, TB-303, TR-808 and SH-101 by good ol' Roland. In a way NYC was still developing because it was all about house music. In 1995, I opened Temple Records in Manhattan with Dr Walker from Air Liquide and DJ DB from Smile Communications. The record shop was inside the Liquid Sky clothing store. After a fire in the shop, along with a falling out with the owner I decided to talk to a fortune teller to find out what the future held. Her name was Isadora, and she had a TV show called "Ask Isadora." She told me on live television to move out, have my own shop and be independent, so I did. Thanks Isadora!"

Review: Multi-talented artist Koffee (real name Mikayla Simpson) has been bubbling under for a while now, with plenty of pundits tipping her to become Jamaica's next global musical superstar. She certainly has the skillset to succeed, being a skilled singer, 'deejay' style rapper, songwriter and producer. Gifted, her debut album, is genuinely excellent, with Simpson singing and rapping over backing tracks that blur the boundaries between dancehall, soca, R&B, soul and synth-pop, with weighty bass and patois-heavy lyrics rooting the sound in her island home. Highlights include previous single 'West Indies', the laidback, lovers rock-influenced shuffle of 'Shine', the dreamy dancehall-pop wonder of 'Pull Up' and the self-explanatory 'Lockdown'.

Review: Koffee is the next generation of Jamaican reggae artist who is reinvigorating the reagge-pop world. She is still only 22 but already had a global following and an influence almost as big. Her 2018 tune 'Toast' was a huge smash that found its way onto Barrack Obama's coveted playlist and then the year later she followed it up with a Grammy win for Best Reggae Album. Until recently she has managed all this success with only a relatively small number of tunes available for streaming. This new album is sure to take things to the next level though with its mix of trad reggae and modern pop flourishes.

Review: If these drums could talk, they probably wouldn't talk too much; they'd do more slapping. As much is true for Manchester's mysterious Talking Drums outfit, who hardly talk up their music online more than they simply unleash it to the world and allow the public to take it in on its own merits. Vol. 5 of their self-titled 10"s series hears three tracks of wavy, downtempo proportions, modelled after the sound of a turntable playing at -6 on the pitch dial. 'Speaking Drums', our highlight, remixes an overlooked slice of German glam.

Review: 'Liberated Brother' might just refer to Weldon Irvine's liberation from the trappings of fame. While this debut album of this, originally released in 1972, was made around the same time as his come-up with Nina Simone as her bandleader, Irvine was not as impacted by publicity or subject to the same degree of pop culture notoriety. But just because a spark burns brightly, doesn't make it the most effervescent; this first LP charts the multi-instrumentalist's futuristic frolicks through funk-jazz, fusion and soul, all distilled into a romantic 8-tracker of trilling pianos ('Liberated Brother') and moody noir jams ('Gloria'). Hot off the plate with a reissue by Japanese label P-Vine, this is an exclusive obi-strip version not many will get their mitts on; it could still be you, though.

Review: Weldon Irvine's impact on jazz and hip-hop cannot be overstated; his influence on pianists and beatmakers alike is felt throughout generations, just as strong in the present day as it was back in his time. It makes fitting sense, then, for P-Vine to be reissuing Irvine's 1973 vision 'Time Capsule' in EP form. Originally released as an album, the full LP contained spoken word musings on social issues from Irvine himself. This EP, meanwhile, contains just the music and is rather intended for DJs to work into their sets.

Review: Aside from the fact that this ultra-limited CD marks the debut of SELCHP Recordings, there's not much information floating around about Higher Reaction Sound. So what can we tell you? For starters, it's really good, with each of the three artists involved delivering two tracks apiece that blue the boundaries between heavy steppers dub, concrete-clad techno and the more immersive end of ambient techno. It's an appealing, sub-heavy sound that's tough enough to satisfy dancefloors, but enveloping enough for sustained headphone listening. Highlights include the heavy-stepping, deep space techno dubbiness of Conrad Pack's 'Volumes', the gently melodic shuffle of DJ Gonz's 'Calling', and the rhythmic dub sample collage that is Leeway's exotic 'Vouge Psy'.

Review: Three years after he concluded a run of fine EPs on Delusions of Grandeur, Ben Sun has brought his musically rich, hard-to-pigeonhole fusion of deep house, jazz-funk and nu-disco to Razor N Tape Reserve for the very first time. He's in fine form, too, skipping between deliciously detailed, musically expansive deep house-disco (the spacey synth solos, rubbery bass, cut-glass strings and nods to Metro Area of 'Transmission'), supremely spacey deep house (Jon Sable hook-up 'Sable Son'), tributes to Chicago house-influenced late 1980s deep synth-pop ('Tremors', which sounds like a cross between Dream 2 Science and the Pet Shop Boys more melancholic moments) and squelchy piano house ('Red Light').

Review: Kimberlite Records serve up this new single from Aladean Kheroufi in the form of a tidy double sided 7". Aladean hails from Algeria but lives in Edmonton in Canada and is a songwriter, arranger, multi-instrumentalists and DJ and producer who also runs his own Keeping On Records label. His lo-fi and worldly funk sounds are idiosyncratic, soulful and devastatingly emotive. He bends genres, turns heartbreak into party starting groves then back into melancholy in an instant. He's in party mode on the a-side here, then more sentimental on the flip.

Review: As their superb name suggests, The Jazzassins make jazz tinged drum & bass. Never was that more apparent than on this silky new split 12" for Jazzsticks Recordings, which features Paul SG on the other side. His opener 'Kings Town' is a bubbly, reagge-laced rhythm with blasts of rapping bass and tumbling drums that demand you dance. He then offers 'Parts Of Me,' a harder edge stepper with big and icy hi hats. The Jazzassins for their part seduce with 'Evolution' and then get more edgy and artsy with the hopping 'Bawrley.'

Notes: The new PULSE Case For The Korg SQ-64 is the ideal solution for protecting your SQ-64. If you're transporting your SQ-64 to a live performance or just performing with friends, you'll feel confident stepping into any environment with the PULSE Case for the SQ-64.

Description

The PULSE Case has been custom-designed to fit form to the exact dimensions of the Korg SQ-64. Made out of a molded EVA material, the PULSE case will protect the knobs, screen, and pads during transport.

The PULSE cases interior is lined with black velvet material to prevent any scratches on the screen of your SQ-64. The PULSE Case also includes a mesh pocket for storing any additional USB or patch cables you might have. If you're throwing your sequencer in your backpack or stepping out into the live environment, the PULSE case is the logical sequence in protecting your SQ-64.

Specifications

Perfect fit for your Korg SQ-64
Made from lightweight and durable EVA material
Internal storage pocket for cables
Custom molded interior
High-quality black velvet lining
Exterior: (15.04 x 5.71 x 1.97) Inches

Review: Following on from last year's crushing debut full-length, 'The Codex Of Flesh', Colorado Springs deathcore new schoolers, Crown Magnetar, return with the visceral 'Alone In Death' EP. Combining all facets of the genre from the brutally heavy to the obscenely technical, their myriad cacophony careens with zero warning into obliterating blast beats, mammoth breakdowns and caustic, malevolent shrieks. For a subgenre once so maligned and snobbed, it's releases like this that serve as testament to the vitality and staying power of such a twisted hybrid.

Review: The Groove Access label kicks on to a third release here and it comes in the form of a split EP between Rob Threezy and Maddjazz. Threezy kicsk off on the a-side with 'Threezy', a panel beating techno workout with leggy drums and elastic bass that will spangled any crowd. His second cut, 'Liquid Metal' is another masterclass in bendy bass and chunky drum funk, this time with vocal stabs layered in for extra spice. Maddjazz then steps up to kick off the flipside in frantic acid laced fashion with all sorts of OG Chicago house ranges over booming techno grooves. 'TR DrumTool' is a final weapon for dance floor destruction.

Review: It is said that obscurity gives things an extra air of reverence amongst record collectors and that is probably true of this one. 'Sunshine Men' by Freestyle Fellowship is a long lost rap classic that has here been edited by the one and only Cut Chemist. He flips it into a vital beat that will warm through any floor with its well swung drums and smooth flows. On the flip, he takes his trusty sonic scalpel to another great join in the form of 'We Will Not Tolerate.' Drop this and watch them go wild.

Review: The IgG Band was a student medical group from the 80s. They served up superb prescriptions of funk, soul and disco put out a highly sought after record Ultra/Sound that has become a real holy grail for lovers of this sound. It has more than stood the test of time since it was put out privately on band member Clifford Becker's Infusion Records imprint. Their original MO was only to play music to please themselves but by now it has pleased thousands of us. Standouts include the sombre lament of 'Another Love Gone' and upbeat dance floor sounds of 'Funky Music.'

Review: Surprisingly, Arthur Russell's first posthumous collection of music, 1993's Another Thought, has never before been released on vinyl. With this gatefold double-album, Be With Records has finally set the record straight. It's well worth picking up, not least because the set, which was initially put together after raiding the legendary cellist-turned-producer's archive of unreleased recordings, is little less than superb. Full of hard-to-pigeonhole songs in Russell's unique style - effects-laden blends of cello, acoustic guitar, emotive vocals, twangy double bass and so on - Another Thought contains some of Russell's most refined and emotional recordings, including such classics as 'How We Walk on the Moon' and 'In The Light of a Miracle'.

Review: Kompakt staple Reinhard Voigt returns to the label for the for first time since 2019's 'Was Wir Spuren' (KOM 402) as well as some collaborations with his brother (label co-head Wolfgang as Voigt & Voigt) and of course the minimalist concept series as RV on the KX sublabel. This one is titled 'Cha Cha Club' and it is a dark and foggy club-ready cut that straddles the line between techno and electro. Over on the flip, Voigt hypnotises you into submission once again on the mysterious and understated afterhours cut 'Die Frau, Die Nach Deutz Ging'.

Notes: This is the third issue of the new We Jazz Magazine, 128 pages 174 x 250 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented IN ENGLISH. Stories include Joe Henderson by Daniel Spicer, International Anthem by Tina Edwards, Tokyo Jazz Joints by Philip Arneill, Ben Lamar Gay by Stewart Smith, Smooth Jazz by Francis Gooding, ESP-Disk by Matti Nives, Scottish Folk & Jazz by Gareth Allen, The Lisbon Scene by Rui Miguel Abreu, plus many more.

Notes: Module A-160-2V is an enhanced version of the standard clock divider A-160. The module is a frequency divider for clock/trigger/gate signals, designed to be a source of lower frequencies, particularly for rhythm uses.

The Clock input will take any digital signal from, eg., an LFO, MIDI sync, or the gate from a MIDI-CV interface. At the outputs, you have access to three sets of seven different sub-divided clock signals, from half the clock frequency down to 1/128. The low/high levels of the output signals are 0V and about +10V.

The A-160-2V also has a reset input. Whenever a reset signal is sensed, all outputs are set to certain levels which depend upon the selected mode.

HP : 4

Notes: An absolute powerhouse of a synth with 16-voice polyphony, stereo architecture and a four-part multitimbral digital sound engine. Built-in sequencers, sample playback and effects make it a true all-rounder.

Supplier's Notes:
MD900 is a polyphonic desktop synthesizer, multitimbral with 4 parts. A polyphony of up to 16 voices are shared by the 4 multi-timbral parts. All of these 4 parts have their own effect stack [Mod-Delay (flanger, chorus, vibrato), Reverb, Tube-AMP, EQ, LP-Filter, DYNAMIC (Limiter) , Stereo Delay ...].

The overall audio path is stereo. Rationally, the oscillator, mixer filter, amps and effects are all in stereo.

Four independent arpeggiator und step sequenzer assigned to each of the four synth parts. The trigger sequencer may trigger the built in transient sample player (Drum Kit .wav) or send triggers to MIDI-Out (USB-DIN or USB-MIDI)

The housing is made of aluminum with real walnut wood on the front and back.

All components are industrial grade. On the operator panel we use precision potentiometer with aluminum covered knobs.

For some parameter entries we use endless encoder without rest.

This kind of encoders feels like a potentiometer.

All of this feels very valuable and it feels great to work with.

The MD900 XVA engine is patch compatible with the M800-R2 synthesizer.

Overview Firmware OS:

The XVA-Sound Engine of the MD900 runs on top of a Linux OS with real time extensions. The overall boot time is < 30 sec.

All contents like Wavetable-, Sample-files, preset and sub-preset files are stored on the internal filesystem.

The filesystem is accessible over ethernet (USB-Lan Adapter).

Managing presets, samples, wavetables configurations & updates are possible and easy to handle.

Operation Panel:

The operation panel gives you real time control to the major voice parameters with a dedicated knob. All parameters are accessible via touch-display and the endless rotary encoders. The part (timbre) has to be selected to alter the parameter on the dependent timbre.

The module specific info display gives the necessary detailed feedback on the parameter changes.

Specifications

Dimensions: 460mm x 295mm x 65mm
Power: External 15V DC power brick 50W
Audio In : 6.3mm stereo jack
Audio Out: Left 6.3mm mono jack, right/left 6.3mm stereo jack
Headphone: 6.3mm stereo jack
MIDI DIN: 1x Midi Input, 1x Midi Output, 1x Midi through
USB 2.0: 2x Hot connect for USB/Ethernet, USB-Midi Host
Pedal SW: 1x Pedal switch input 6.3mm jack
Volume pedal: 1x Standard expression pedal
TFT Display: 5" 800x 480 Colour (24bit) capacitive touch display.
Frontpanel: 37x Potentiometer, 12x linear slider, 12x endless encoder, 30x switches, 42x Leds

Review: The Bush Chemists rebased they know long out of print fifth studio album 'Dub Fire Blazing' in 2001. Head up by Dougie Wardrop, it is a chunky and rugged fusion of macho traditional reggae with plenty of sleek, fresh and future facing digital dub tones that still sound avant guard today. The heavy bass of these tunes will of course always connect and this ten track affair might well be the best work the crew ever put out. 'Long Time I No Smoke' is the headline making tune here that will appear to those who like the sounds of Iration Steppas.

Review: Shabaka Hutchings' new label Native Rebel Recordings welcomes understated innovator and educator Chelsea Carmichael for a superb debut album. The River Doesn't Like Strangers is a fresh serving of innovative jazz that finally makes its way to vinyl and features plenty of her hypnotic and warm playing, smart improvisation and subtle sound work. Cultural powerhouse Shabaka Hutchings himself wrote a set of songs for the record which were then perfumed with Chelsea playing alongside Eddie Hick from Sons of Kemet, Dave Okumu from The Invisible and Tom Herbert from The Invisible and Polar Bear.

Review: Sax and clarinet man Daniel Carter, pianist Matthew Shipp, bassist William Parker and drummer Gerald Cleaver are long time friends and long time collaborators. They dropped their first album Welcome Adventure, Vol. 1 a while ago and it became this label's best ever selling release. Now their back again to welcome musical adventure with a second volume taken from the same now legendary recording session. Here we find just as many richly layered tunes - five in all - with plenty of improvised magic, freeform playing styles and expressive grooves taking us on a real new school jazz trip.

Notes: Osc 1 and 3 - Bytebeat oscillators

Generates sound based on equations converted to analog signals , there are sixteen equations selected by Up and Down switches. Four LEDs indicate equation number in binary mode. Three Pots modify numbers used by the equation, A0 , A1 and A2 , fourth pot Sample Rate controls pitch and speed of the oscillation. There's an Output Level pot for the oscillator and a dedicated jack for patching the Oscillator sound to external modules .

Hold toggle switches select between fast decay, long decay and hold mode, for the touch trigger input. There are CV inputs for pitch on these two oscillators

Osc 2 and 4 -Wavetable oscillators

Digital oscillators, touch controlled or gate controlled by gate jacks, pitch is controlled by pitch pot, modulation by LFO A or LFO B and cv inputs.

A0 pot selects waveform, A1 pot morphs between two waveforms.

There are individual output jacks.

LFO 1 and 2

Low frequency oscillator routed to MOD inputs for oscillators 2 and 4, also to modulation input for delay section, selectable by toggle switch , RATE and WAVEFORM shape
pots.

Dimensions
36 HP

Current Draw
200 mA +12V

Review: Berlin party crew Aller Ende Anfang presents their debut release, featuring five diverse and energetic tracks. The first side begins with the bass-heavy computer funk of 'Hyperdrive' by Icelandic producer Jadzia, followed by Bielefeld Murder Boys' peak time techno remix of Lord Pusswhip's 'Sveigth' and Unwucht's 'Back Da Fuck Up' - and catchy mixture of donk and ghetto house tropes. Over on the flip, Crouds goes for a bass-heavy and off-kilter UK sound on 'Splinters' and one more sci-fi beat programme courtesy of Hungary's LAU om 'Hangover'.

Review: The Shot of T label serves up a versatile new split EP with CV Smiles kicking things off. A long, drawn-out and emotive synth opens up on 'Home-schooled' and comes layered with bubbly pads and serve effects that soothe the mind. Then comes a rap mix that is detailed with louche bars and more 909 production to make it pop. On the flip side, the masterful Porn Sword Tobacco flips the script with a gurgling, pulsing, deep and linear techno roller in the form of 'Techno Story' which is perfect for late-night sessions.

Notes: The UDG Ultimate Height Adjustable Laptop Stand features a height adjustable telescopic laptop shelf that rotates 360- well suited for mobile DJs and electronic musicians. The stand can accommodate laptops up to 19 inch as well as iPads, tablets or a variety of equipment such as controllers, mixers or production gear.

Its 4-prong rotating tray features an anti-slip surface to hold the laptop securely in demanding environments. The stand features a telescopic height adjustment of 23 to 35 cm (9.1 - 13.8 inch) and can be folded flat with no loose parts, offering convenience and portability.lbs

Specifications
Colour: White
Weight: 1,85 kg / 4.07 lbs

Outer Dimensions (W x H x D)
Folded: 28.0 x 27.3 x 3.5 cm | 11.0 x 10.7 x 1.4 inch - Unfolded: 28.0 x 27.3 x 26.5 - 38.0 cm | 11.0 x 10.7 x 10.4 - 14.9 inch
Inner Dimensions (W x H x D): Not Applicable
Material: Metal
Protection: Z-style set-up position to accommodate heavier production gear
Airflow constructed tray prevents equipment from overheating
Rugged, durable metal construction, anti-scratch resistant powder coating

Extras

Telescopic height adjustable (23 - 35 cm | 9.1 - 13.8 inch)
360 degree rotatable laptop tray
2-clicks quick-release mechanism for easy assembly and breakdown
No loose parts
Protective transportation sleeve included

Fits:

Accommodates laptops up to 19 inch, iPad, controller, mixer or production gear. Maximum load: 15.0 kg / 33.06 lbs

Review: Taking off where her debut album Spurn Point left us in 2014, musical innovator and serial boundary blurrer Shelley Parker returns with another long playing adventure. Her debut on Hypercolour, it's another immersive and very fluid experience that rattles through a whole range of flavours and forms. From the slower hardcore breakbeat style cuts like 'Glisten' and 'Cage' to more up tempo fires like the dubbed out 'Scrubs Lane' and the rampant sci-fi sizzler 'Coldstream' by way of raw, uncompromised experimentalism like 'Deluge' and 'The Faun', Wisteria is another exciting reflection of Shelley's wider work as an installation artist and sound performer. Highly recommended

Review: It was way back in 1977 when disco collective Seaquence made their debut on Aidqueen Records, a tiny, independent label based in their home city of San Diego, California. That debut, a delightful but extremely hard to find "45", has long been in demand amongst deep disco collectors, hence this timely reissue on Athens of the North. The real killer is A-side 'Disco Thing', a tight-but-freewheeling chunk of disco-funk piled high with alternate male/female vocals, loose-limbed drum-breaks, punchy horns, swooping strings and squelchy synth sounds. Original B-side 'Your Love' is a deeper and far sweeter affair - a traditional flipside slow jam that's as tear-jerking as it is effortlessly soulful.

Review: Studio Ghibli's superb back catalogue of anime films gets pulled apart and reworked in fresh jazz style for this second volume of Ghibli Jazz. Japanese trio All That Jazz are the band performing the fantastic new versions with the gorgeous vocals of Yukiko Kuwahara front and genre of each of the lively tunes. Underneath is a sparse but atmospheric mix of piano, bass and drums that gets you on your toes and dancing no matter where you are. Anime lovers may well recognise some of these tunes as being from much loved films such as 'Spirited Away', 'Nausicaa Of The Valley Of The Wind' and 'Princess Mononoke'.

Review: For their latest new album on Gondwana, and seventh full length overall, Portico Quartet draw on American minimalism and ambient music genres as well the work of the cult Japanese composer Midori Takada. They composed and recorded most of it last year and it features three movements of their typically elegant and graceful sounds. The tracks are all built around central, repeating tenets which weave in and out of one another to hypnotic and beautiful effect. Often reaching for the cosmos, the delicate drumming and serene pads all instantly grab your attention and then take you on beautifully immersive rides.

Review: There was much online chatter when Kavinsky - real name Vincent Belorgey - recently announced the release of Reborn, his first album in nine years. He did that by sharing the video to one of the set's highlights, 'Zenith', a 'prequel' to his 2009 breakthrough single 'Nightfall' featuring vocals from the Do's Prudence and Justice collaborator Morgan Phalen. Glossy, synth-heavy, stylish and full of eyes-closes soft rock synth solos, it's representative of the Italians Do It Better style revivalist '80s synth-pop sound that marks out 'Reborn'. It's a glroiusly shiny and colourful sound, with some of the other highlights - such as the album's other single, 'Renegade' - also making use of killer electrofunk basslines and squelchy lead lines.

Review: DJ soFa continues his Elsewhere compilation series on Kalahari Oyster Cult with a superb sixth instalment that showcases a load of exciting and hybrid electronic styles. These are tunes that are ripe for club play but are rooted in odd-pop, synth-punk, DIY and post-kraut styles. The artists hail from all over the globe and include the twisted funk of Seytan Tuyu's 'Anita,' hall of melodic mirrors that is Cilin's 'An Abhainn Mhor' and Mytron & A Von F's soot-black and gritty motorik thriller 'Confiture.' This series has been going since 2017 and this proves, it is still as strong as ever.

Review: Before 'In The Nightside Eclipse' cemented their place amongst the decrepit, controversial hierarchy of black metal, Emperor's self-titled debut EP bore the first semblance of the bleak greatness to which they would eventually aspire. Featuring earlier versions of fan essentials such as 'Wrath of the Tyrant', and, 'I Am The Black Wizards', the caustic conjured sonics of the Norwegian landscape evoke a macabre essence far beyond the members' ludicrously young age. Before controversy, murder and church burnings would become the primary point of contention within the scene, Insahn and his cohorts were teaming with frosted vision from the outset. This debut simply serves as mere proof.

Review: If you call yourselves Stoner you better be able to lay claim to being the definitive stoner rock band, but what do you know? Led by Brant Bjork of Kyuss, Fu Manchu and The Desert Sessions legend, with the equally legendary Nick Oliveri (Queens of the Stone Age) on bass, this is a supergroup without a doubt. Following hot on the heels of their debut album Stoners Rule, the group return with totally..., featuring more of those fuzz-caked guitars, languorous bass licks and such coolly detached songs as 'A Million Beers', 'Spacedude & The Burn' and 'Driving Miss Lazy'. This is the sound of musical heroes kicking back and playing for fun, and they can't help but make it the dopest rock music you've heard since their last album.

Review: The Goa Express are bright young hopefuls in the arena of bombastic British indie pop. Following in the footsteps of Coldplay, Keane et al, these lads from Manchester have a sound which is made for radio play and massive stages - they're destined to be huge. Following up their Second Time single for Ra-Ra-Rok Records, they're back with this new song which plays out like a rallying call for unity in a distinctly un-united world. 'Everybody In The UK' has soaring choruses and a bright, hopeful sound which will surely send the band further down the road to stardom.

Notes: Very nice old-school vocoder for Eurorack, featuring a built-in mic pre-amp and full 10-band patch bay. Internal VCO and straightforward control setup help simplify operation.

Supplier's Notes:
The VXC-2220 is an 10-band analogue vocoder with patch-bay for each individual filter section. VXC-2220 vocoder is based on the iconic classics 222 vocoder. For stand alone usage the VXC-2220 is equipped with an internal oscillator generating saw and pulse waves form C1 to C6. A simple and efficient vocoder.

Specifications

Microphone input for speech signal
Line input for speech signal
Line input for carrier signal
Input level control for speech and carrier signal
Output level control
Line output
10-Band analyzer outputs
10-Band synthesizer input
Internal VCO (1 semi-nut step size);
* Saw wave (C1 - C6)
* 3x 10% Pulse wave (C1+C2+C3 - C4+C5+C6 )
* White noise
- Synthesis for 's' and 't' sounds
- Feed-trough level control for speech and carrier channel
- Bypass switch
- 10pin power connector (+/-12V)

Dimensions:
(36HP) 128,5×182.5mm (depth: ca. 35mm incl. power connector)

Power Consumption:
+12V = 125mA
-12V = -125mA

Notes: Inspired by the early 80s Synton Syrinx, the SER-2020 is a semi-modular monster, featuring an excellent formant filter section, unique Touch 'N Bend Control and MPE-compatible MIDI interface.

Supplier's Notes:
The SER-2020 is a monophonic semi-modular analog synthesizer with an formant filter section, designed to use as standalone synthesizer or in combination with Eurorack modules. Inspired by the Synton Syrinx *(1) added the flexibility of an MS-20. Its filter design features a combination of a 24dB/octave VC Low Pass Filter, and two independent Resonant VC Peak Filters for precise and dynamic sound shaping. The sound is ranging from solid bass sounds to articulated formant effects. Other features on the SER-2020 are the Touch 'N Bend Control together with the MPE (MIDI Polyphonic Expression) capabilities makes the SER-2020 a special instrument which response to its player. The flexible routing makes the SER-2020 a versatile machine for sound effects.

Key Specifications:
2 VCO's (CEM3340 based)
1 Sub-Oscillator
Ring Modulator
Noise Generator
Audio Mixer
Multi-Mode Sync & Sync D-Tune
3 VCF's (CEM3350 based)
2 ADSR's
2 LFO's with Reset & Shaper Modes
Auto-Glide
Multiple Triggering
Touch 'N Bend Pad
Bend Assign
Sample and Hold
Semi Modular Setup - CV inputs and outputs
Signal and Headphone output.
MIDI interface
USB MIDI interface
MPE compatible - Sensitive for; Strike (note-on velocity), Press (aftertouch), Glide (pitch bend), Slide (brightness) and Lift (note-of velocity).

The SER-2020 consist of two VCO's and one sub-oscillator, driven by VCO 1. Both VCO's deliver a triangle, sawtooth, square wave and pulse signal, which can be selected. A rich spectrum can be obtained with Pulse Width Modulation of VCO 1 and VCO 2. The LFO 1 and 2 signals can be feed to the pulse width modulation section introducing phase shift effects and Doppler frequency shifts. Since the both VCO's have a separate LFO for PWM, chorus-like effects can be obtained by controlling both pulses with different LFO speeds. VCO 2 can be synchronized to VCO 1 in different modes. Synchronization is applied when two or more VCO's have to produce exactly the same pitches, without phase shift or beat effects. When VCO 2 is detuned from VCO 1 another effect occurs, which will result in quite dramatic tone colors.
Each VCO has an individual output, also the noise generator and sub-oscillator has individual outputs.

The most important sections of this synthesizer is the filter. The SER-2020 features a very extensive filtering system, which consists of the standard 24 dB/octave low pass filter and two independent band pass filters, which together form the Voltage Controlled Formant filter.
Both band pass filters have a frequency control and a resonance control for setting the selective amplification in the pass band. The bandpass filters are equipped with a control voltage mixer for LFO, ADSR and key range voltages. The LFO control can be used for the external modulation input.
The low pass filter is an standard 24 dB/octave roll-off. It has a frequency control and a modulated CV mixer from several sources like LFO, ADSR and the key range. The LFO control can be used for the external modulation input. Also the resonance of the low pass filter can be controlled.

The SER-2020 has two ADSR generators, of which one is used to control the internal VCA, and the other one to control the filter section. The control signal can be inverted by means of the ADSR controls in the filter section, so that the filters can be swept in opposite directions.
ADSR 1 and 2 have a positive and negative (inverted) direct output available on the patch panel.

The SER-2020 has two independent Low Frequency Oscillators (LFO's) of which the rate can be controlled, and for LFO 2 also the wave shape.

LFO 1 generates a triangle wave which exclusively is routed to the pulse width modulation control input of VCO2. LFO 1 also generates a square wave and a pulse wave. The square wave is available as direct output on the patch panel. The pulse wave of LFO 1 is internally routed to the sample and hold generator as clock source.

LFO 2 is more versatile and can be used for the modulation of the VCO's and the filters. Moreover LFO 2 can be used as a one shot generator which means that a signal is generated much alike an Attack/Release generated function. Except for the LFO 2 rate control with the preset knob, it also can be controlled dynamically with the pad.

Several sections in the synthesizer can be controlled with the bend pad, by pressing it with the left hand index and middle finger. The pressure sensitivity for the VCO, VCF and VCA can be adjusted. The touch 'N bend pad also reacts on the MIDI modulation control and the MIDI brightness (CC#74) control for MPE compatibility.
Also the speed of the rise/decay mode of the LFO 2 is possible. Pressing the UP pad will result in a shorter cycle, and pressing the DN pad in a longer cycle.

Review: This second Yellow Jackets double A sider feautures Chicago's royalty Ron Trent and the extra talented multi instrumentalist Other Lands. Again one track per side and full powerful cutting to maximize the sound impact in pure YJ philosophy. Ron Trent 'The Medi' was actully constructed while riding trains and in hotel rooms through Italy, used as a secret weapon in special occasions...and we can hear why: a mind expanding suite that keeps evolving and going in places and spaces while constantly beating you hard! On the Flipside Other Lands brings things down to more abstract realms with the floating almost Kraut inspired jam 'Matter'.A very special release and a hint of what Yellow Jackets has in store for us in the near future...

Review: Greek bass player Petros Klampanis has his 'Chroma' tune reworked by tow contemporary talents here on the Visions Inc label. Jon Dixon gets fist with a nice rough edged but punchy rework built on bulky and rickety beats. The lush chords are draped over the top to bring melancholic feels and are sure to work the floor into a lather. The Alex Attias edit is more manic, with wild jazz keys, tumbling drums that feel like they may collapse at any moment and a symphony of chords that rise out through them to take you into the next dimension.

Review: The year is 1999 and while the sounds of Ibiza lounge house and blistering trance dominate much of the radio waves, elsewhere in Europe something very special is taking form. At this point in time, Sigur Ros had only put out one album, Vonn, in 1997, and followers who joined more recently, when the Icelandic oddities broke into major TV advertising campaigns and movie scores, but haven't looked back at their origins, might be surprised at what that one sounded like. Altogether darker, much more cacophonous.


Aegis Byrjun would follow the groundbreaking but largely unsung debut (Vonn only sold 300 copies in their own country) with a groundbreaking moment that set a precedent for everything they have done since. This is where big brands like Nissan pricked up ears, mesmerised by a sound that's at once alien, yet also deeply human, huge but intimate, classical yet contemporary, and fundamentally focused on triggering emotions.

Review: Green-House is the handiwork of Olive Ardizoni, who finds a sympathetic ear in Leaving Records for her delicate, pastoral strains of ambient reflection. Rather than being static, these are charmingly alive pieces that quiver with sensitivity and plaintive melodies that suggest some inspiration from the iconic Mort Garson record composed for houseplants. If you enjoyed that wobbly ride through sweet-natured synth refrains, you'll love this album too as it interweaves warm tones around bucolic field recordings. This comes highly recommended - a record that leaves you feeling nourished after listening.

Notes: Welcome to the DROID X7 expander. The X7 gives you USB and MIDI connectivity for your master and also four gate outputs with modular levels.

You can process incoming and generate outgoing MIDI streams, both via classical DIN cables and via USB. Both the in and the out direction support polyphony with eight or even more voices in parallel.

For size reasons the X7 uses 3.5 mm TRS jacks for MIDI instead of the classical DIN jacks. But it comes with two DIN to TRS adapters, so you are free to use either form factor.

As a bonus feature, the X7 provides super fast loading of DROID patches via USB - without any need for putting the SD card in and out anymore.

Here are some examples of what you can do with the X7:

Attach an external keyboard to your modular.
Use an external hardware sequencer for playing melodies and beats in your modular.
Use an external MIDI controller to influence your DROID patch.
Do the same with a MIDI controller app on your tablet or phone (via USB).
Use your modular for playing polyphonic music and beats on your hardware synths or software synth plugins in your DAW, tablet or phone.
Connect two DROIDs (both with X7) and exchange real time CVs and triggers.
Use the four additional gate outputs on the X7 for sending clocks, gates and triggers and free your valuable CV outputs for other things.
Access the SD card in your master just like a USB stick for direct access to it via your PC, Mac, phone or tablet.
Alternatively load new patches to your master via MIDI sysex from your PC - and get your new patch ideas up and running in less than a second.

Dimensions
4 HP
23 mm deep

Current Draw
94 mA +12V
0 mA -12V
0 mA 5V

Review: There is an inviting darkness to the grooves crafted here by Raveld on the Synapse EP. It is a fine bit of contemporary and tasteful tech house that opens with the long form title tune. Snappy beats and sci-fi motifs define it as you head out on your cosmic trip. 'Panache' is full of smart studio FX and retro touches to make it a more peak time offering then 'The Night Before' will get you in a trance with its airy, playful sense of wispy melody. The deepest of the all is last tune 'Tidals' with its spinning hi-hats circling snares trapping you in sublime loops.

Review: The relentless Athens Of The North is having a busy month even by its own high standards. February alone has at least three new 45rpms dropping and this might be the best: Homegrown Syndrome were a band that ended up in LA but giggled all round Memphis. Some members had played with an earlier band but they all came good on these previously unleashed tunes that have been found in the attic of Jerry Jones. 'Got The Love' is a chunky funky stepper with swirling synths and disco energy. 'Party Vibes' then takes off once more on hip swig claps, big arching chords and strident drums.

Review: LNDFK makes a hugely impressive debut on Bastard Jazz here. It isn't just her label debut, but her first ever solo release after previously providing vocals to the likes of Pellegrino & Zodyaco , Ze In The Clouds and Doniel. Her spoken-whispered-sung vocals are soft around the edges, fuzzy and warm as they convey real emotion. It is neo-soul for 2022 and beyond, with jazzy instrumentals and broken beat drums proving nice vehicles for the vocals. Guests Chester Watson, Asa-Chang another's add further colour to this most timeless of albums.

Review: killer new heat from Omar S on his FXHE label featuring Desire on vocals + backed with an instrumental mix.

Review: ***B-STOCK: Torn seam on the outer sleeve, otherwise in perfect working condition***


Since he made his debut on Golf Channel in 2015, Nadav Spiegel AKA Autarkic has undoubtedly carved his own musical niche. He's released on some impressively off-kilter outlets, Disco Halal, Turbo and Bahnsteig 23 included, in the process establishing himself as an artist with a head full of ideas and an impressive variety of influences. "Terms and Conditions", his third album, is joyfully hard to describe, mixing and matching as it does elements of leftfield electronica, Middle Eastern electronics, throbbing Italo-disco, crusty psychedelic rock, neo-trance, oddball synth-pop, lo-fi art-rock, post-punk, dub, and acid-laden UK bass. By rights it should be a sonic mess, but it isn't, with each successive track bringing new sonic surprises.

Review:  Don Cherry's vast discography has got myriad highlights. Some are mad and hard to explain, some are trippy and immersive, and some are mystical. On The Eternal Now - one of two albums cut for Sonet - he was joined by Swedish players like Bernt Rosengren, Agneta Arnstrom, and Bengt Berger. The vibe is very much worldly jazz and it is layered with strange percussion, gongs, pianos, and other percussive instruments. Vocals from Cherry himself can also be found along the way and as such this is one of his most expansive works.