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Review: Latin funk music's best and brightest recollector-reissuers Vampi Soul continue to do what they do best with this latest reissue of the debut self-titled album by Zulu. One of the last great albums of the first wave of Peruvian rock,and originally released in 1974, Zulu was infamous for its linking of psych-tinged rock with Afro-Latin American beats and folk pop. The enigmatic Zulu (real name Miguel Angel Ruiz Orbegoso) was best known during his lifetime as a member of the bands Traffic Sound and Los Nuevos Shain, but his only solo album commands a unique aura as a numinous rarity, immediately pre-dating his latter-career immersion in the religious community. Reissued for the first time with the collaboration of Zulu, including extensive liner notes and one extra track, the likes of 'Si en el cielo yo viviera', 'Laberintos' and 'Candela' are pastoral gems of folk-cumbia and salsa, playing back with a level of sensitivity and texture that could only be born of a worthy spirit.

Notes: ***B-STOCK: Box opened, but product is in excellent condition and in perfect working order***


Zoom's top-of-the-range handheld recording option, the H6essential records up to six tracks via built-in stereo mics and four mic/line inputs. Top quality 32-bit/96 kHz recording quality.

Supplier's Notes:
Zoom H6essential Handy Recorder

The Flagship - Zoom's most robust handheld recorder, the H6essential is a recording powerhouse. With 6 tracks of 32-bit float recording, the H6essential provides unprecedented quality and unmatched versatility.

Features

6-track 32-bit float recorder with Dual A/D Converters
Clip-free recording with no need to set gain
Records up to 96kHZ sample rate
Interchangeable Mic Capsule System 3.0 with 32-bit float support
Included X/Y Mic Capsule captures up to 135 dB SPL
4 XLR/TRS combo inputs with locking connector
Colour LCD Screen
Built-in mixer to adjust each track's audio level
Built-in speaker for quick reference playback
3.5mm headphone output plus 3.5mm line output
Voice Guidance accessibility for the visually impaired
32-Bit Float audio interface for PC, Mac, iOS, and Android devices via USB-C port
Use as an interface and record to SD card simultaneously
Using the BTA-1* Bluetooth Adapter, sync with wireless timecode devices via bluetooth
Use the BTA-1* Bluetooth Adapter to pair with the H6essential Control App for iOS
Record to SD cads up to 1TB
10 hours of battery life on AA battery (2x) or USB-C Bus Power
*Please note: BTA-1 Adapter not included

Outputs you need

Use the line output to connect to a camera and the headphone output to monitor your audio.

Quieter controls

Recording and rotary controls have been meticulously designed to allow for silent operation.

Onboard speaker

Use the improved onboard speaker to listen to your recordings for quick reference.

Six perfect tracks

The 4 XLR/TRS combo inputs feature ultra-clean Zoom preamps, and the included X/Y microphones can capture up to a booming 135 dB SPL, equivalent to a jet taking off.

Record and stream

Use the USB-C port to connect to PC, Mac, iOS, and Android device to use the H6essential as a 32-bit float interface while simultaneously recording all 6 tracks to an SD card.

Pair with your iOS device

Use the BTA-1* Bluetooth Adapter to pair with your iOS device to remotely hit record, adjust your mix, view your waveforms, and change settings.

Bluetooth timecode

With the BTA-1* Bluetooth Adapter you can also pair with Bluetooth timecode devices for audio and video sync. *BTA-1 Adapter not included.

Specs

Input & output channels

Inputs
Mic capsule: 1
MIC/LINE (mono): 4

Outputs
LINE OUT: 1
Headphones: 1
Built-in speaker (mono): 1

INPUTS
XY mic: XYH-6e: 90O XY stereo format
Directionality: Unidirectional
Sensitivity: -42dB/1Pa at 1kHz
Maximum sound pressure input: 135 dB SPL

MIC/LINE (mono)
Connectors: 4 XLR/TRS combo jacks (XLR:2 HOT TRS:TIP HOT)
Input gain: Adjustment unnecessary (dual A/D converter circuits used)
Input impedance: MIC: 3.8 kO or more, LINE: 39 kO or more
Maximum input level: MIC: +4 dBu, LINE: +24 dBu
Phantom power: +48 V
Channel total: 32 mA or less
Equivalent input noise MIC: -120 dBu or less(IHF-A) @150 O input, LINE: -95 dBu or less(IHF-A) @600 O input

OUTPUTS

LINE OUT
Connector: Stereo mini jack
Maximum output level: +1 dBu
Output impedance: 110 O or less

Headphones
Connector: Stereo mini jack
Maximum output level: 20 mW + 20 mW(when 32 O load)
Output impedance: 10 O or less

Built-in speaker
Type: 20 mm x 30mm elliptical dynamic speaker
Effective maximum output: 250mW

RECORDER
Maximum simultaneous recording tracks: 8
Maximum simultaneous playback tracks: 6

Recording formats:
WAV
44.1/48/96 kHz,
32-bit float mono/stereo
BWF and iXML formats supported

Recording media: 4-32GB cards compatible with the microSDHC specification, 64GB-1TB cards compatible with the microSDXC specification

Display: 2.0-inch full-colour LCD 360 x 240

USB
Connector: USB Type-C - Use a USB cable that supports data transfer.
Audio Interface : USB 2.0 High Speed
Input and output channels: 6 in / 2 out (Multi), 2 in / 2 out (Stereo)
Sampling frequency: 44.1/48/96 kHz (AIF only), 44.1/48 kHz (AIF + onboard recording)
Bit depth: 24-bit, 32-bit float
File transfer: USB 2.0 High Speed

Remote

Dedicated wireless adapter: ZOOM BTA-1

Power

4 AA batteries: Alkaline, lithium or rechargeable NiMH batteries
AC Adapter: ZOOM AD-17 (DC 5 V/1 A) - USB bus power is supported.

Estimated continuous operation times using batteries: 2-track recording (XYH-6e)
Alkaline batteries: About 18 hours
NiMH batteries (1900 mAh): About 14.5 hours
Lithium batteries: About 30 hours

48 kHz/32-bit float with phantom power off, no headphones, no LINE OUT, no REMOTE, Power Saving on, Display Brightness Medium
These values are approximate.
Continuous battery operation times were determined using in-house testing methods.They will vary greatly according to use conditions.

Estimated continuous operation times using batteries: 6-track recording (XYH-6e and inputs 1-4)
Alkaline batteries: About 3.5 hours
NiMH batteries (1900 mAh): About 4 hours
Lithium batteries: About 9 hours
48 kHz/32-bit float with phantom power off, headphones used (33O load), no LINE OUT, no REMOTE, Power Saving on, Display Brightness Medium
These values are approximate.
Continuous battery operation times were determined using in-house testing methods.They will vary greatly according to use conditions.

Power consumption: 5 W maximum

Dimensions
Recorder: 78.1 mm (W) × 160.1 mm (D) × 42.8 mm (H)
XYH-6e: 69.1 mm (W) × 50.8 mm (D) × 43.0 mm (H)
Weight Recorder: 381 g (including batteries)
XYH-6e: 42 g
Note: 0 dBu = 0.775 Vrms

Review: Amaro Freitas, hails from Recife, Brazil, and is propelled through life through by searching out different experiences. Venturing to Manaus in the Amazon basin in 2020 before starting work on this album, pianist Freitas immersed himself in a transformative journey that influenced his musical creation profoundly. Collaborating with the Satere Mawe indigenous community, his album Y'Y pays homage to nature and ancestral wisdom. Through tracks like 'Mapinguari (Encantado da Mata)' and 'Uiara (Encantada da Agua) - Life and Cure,' Freitas weaves tales of powerful spirits and mystical encounters. Incorporating elements from Afro-Brazilian and Indigenous cultures, the record is a significant exploration of connection, tradition, and the incandescent power of enchanted spirits.

Review: The 18th album from James, whose career spans over four decades, emerging in the C86 era of indie, coming to prominence as part of the Madchester movement but establishing and holding onto a loyal fan base and critical acclaim with their unique blend of alternative rock and dream pop. The band work in unique ways to keep things fresh and this is no exception, bringing us "the tracks that didn't make it to the next stage" before now. A significant milestone in their musical journey, showcasing the band's continued evolution and creative prowess, it encapsulates a wide range of emotions and themes, exploring personal experiences, societal issues and the human condition. James' distinct songwriting style is evident throughout, with thoughtful lyrics and introspective reflections, while musically, the album features the band's signature atmospheric soundscapes, ethereal melodies and intricate guitar work.

Review: Now enjoying an ever more celebrated status in the hip hop world off the back of his albums with Madlib, Freddie Gibbs is back in solo mode with You Only Live 2wice, his third full-length studio album. It comes after the artist has endured some difficulties in his personal life and the experiences of overcoming those is what influences and inspires the music here. As he rises from the ashes - an idea which is embodied on the album cover - he goes it totally alone on all eight cuts with nary a guest in sight. He bares his soul throughout with the well-received and violin-laced single 'Crushed Glass' sitting next to standout hits such as '20 Karat Jesus' and 'Amnesia.' It's a great return.

Review: Susan Cadogan is an esteemed reggae vocalist who has been since the 1970s. Now she continues her musical journey with this cover single which is taken from her excellent 2020 album Hurt So Good - Storybook Revisited, distributed by Burning Sounds. Side-A features a rendition of the reggae classic by Dawn Penn, while Side-B offers a sweet soul interpretation of Harold Melvin & The Blue Notes' track. Enhanced with Japanese-inspired artwork on the jacket, this release showcases Cadogan's timeless talent and versatility as it bridges the gap between reggae and soul music across generations.

Review: Container is a long-running project from Ren Schofield but he has hasn't released anything since back in 2021 when he delighted techno heads with his Creamer EP. His manic sound has recently taken him to some sold out shows around the world and now comes Tacker, a new album that fuses rock with electronic stylings on Alter. Nirvana's 'Oh, The Guilt', Mindflayer's album 'It's Always 1999', and the Rah Bras song 'Sooop Toe Pump Girls' have all been given as points of inspiration for this most brain-fizzing, hardcore collision of worlds.

Review: Berlin-based Swedish tenor saxophonist Otis Sandsjo is back with another of his brilliant albums. Y-OTIS TRE is his third on We Jazz Records and one that finds him working closely with his old work partner, pal, bassist and producer Petter Eldh, plus the live band keys-man Dan Nicholls. Crafted and produced by Eldh & Sandsjo, the album embraces the band's Swedish roots within the continuum of layered liquid jazz. It has a neon, 3D essence, morphing from laser sharp to gooey like jelly, and each track is ripe with evolutionary ideas though also remains rooted in recognisable forms, cross-referencing its own concepts but never repeating. With a mixtape-like DNA, the music teems with vibrant colours and acoustic depth and blurs boundaries between live performance and studio innovation.

Review: Brothers in sounds (and lineage) Mark and Clive Ives deal with two of the biggest issues impacting music right now on one incredible record.WOO have a reputation for taking parts of archived sounds and formulating new things from those segments, and in this case the work is born from excerpts of four-track tape recordings made in the late-1980s. They then began reflecting on the "imminent nature of humanoid robots", and starting to create Xylophonics/Robot X. From artificial intelligence to reuse and sample politics and economics, these themes seem to guide the sounds themselves, which feel strangely nostalgic and futuristic, a vision of tomorrow that is inseprtable from the humans that made it - their understanding of the unfolding machine age through weird distorted jazz tech, deconstructed dub and psychedelic electronica. So, remembering all this is a reconfigured version of stuff made almost 35 years ago is truly mind-blowing.

Review: Those who know, know how strong the Dutch electro scene has been since the early 90s and Netherlands label BAKK has a special compilation here with many excellent electro tracks to enjoy - no less than 11 tunes in total, spread across three pieces of wax. The list of artists is impressive, from Legowelt, Antenna, SFV Acid and more. This pack starts off with a stunner called 'Bos Ochtendmist' by Legowelt, a phased out and radiant futuristic theme song that's just downright beautiful! Rather than imitating any other city's history of the style's, these artists have their own style - see Aurora Halal's 'Spiral' as a great example, or Sfv Acid 's 'Urbanfury' which adds some nice IDM influences. The slow and deep bass on Tala Drum Corps's 'Gargoyle' is killer too. An early candidate for best electro comp of the year 2024.

Review: Just when you thought you'd heard Robert Smith and The Cure every which way but bad, we discover more from their huge back catalogue. This time in the form of World War, a compilation of rare demos that takes its name for the band's seminal early single, which appears in a particular raw and unfettered, grinding version on this collection. A sound that defines the overall aesthetic. Rough and ready but packed full of energy, the huge landmark 'Boys Don't Cry' feels more intimate as a result, 'Fire In Cairo' arguably more punk, 'M' more New Romantic, and 'Heroin Face' less compromising than ever before. If all that sounds like bullshit talking, we implore you to take a listen and see what you think - the smart money is on us agreeing in the end.

Review: Club U Nite Records has been making some great house records since making their welcomed comeback in 2018. Manhattan Project aka Mellow Man (Andreas Marek) is the label owner is here with his latest EP of new music. Work It offers four classy house tracks for the late-night dancefloor fanbase. No surprise by the title of the track 'Work It!', that it has all the makings of a classic Chicago-inspired track. For those who like Jasper Street Co. sound then you are sure to like 'This Luv You're Giving Me'. There are moments when these give us a gospel house vibe. The B-side has some deep groover in 'Bring It Back' while 'What Does That Make You Feel' verges on a more serene, ambient house vibe. If you are looking for smooth house music with some Chicago influence then look no further than Work It!

Review: In 1994, legendary hip-hop stoners Cypress Hill took the stage at Woodstock '94 and left an indelible mark on the iconic festival. With their groundbreaking fusion of hip-hop and rock, the 'Hill captivated the Woodstock crowd with their electrifying performances and brought all of the raw energy and innovative sounds they are so well loved for. The group's set at Woodstock '94 showcased their ability to command any stage, drawing fans from diverse musical backgrounds as they worked through many of their most well loved hit and in doing so solidified their status as pioneers of the rap-rock genre.

Review: On-Ly is the creative persona of Joshua Smeltink, a pianist-producer who merges diverse influences and mixes sup aspects of sounds like house, hip-hop, and the hard-hitting post-bop jazz-rock of the 60s and 70s. He also takes inspiration from greats of the jazz world such as cats like Weather Report and Miles Davis Group. Wonderlust is his debut album and one that finds him introduce a fresh sound with a band alongside him. Aspects of great works like Santana's Moonflower, bands like The Mars Volta, and piano master Herbie Hancock all can be heard across a kaleidoscopic journey reminiscent of classic psychedelic records. With through-composed passages, heartfelt melodies, and vibrant arrangements, Wonderlust is a fine debut.

Review: Woman by Monica Lassen & The Sounds is a rare and beautiful album that has finally been reissued on vinyl in 2024. Originally released in 1970, the album is a mix of easy listening and jazz-funk with a distinctly cinematic feel. The lack of vocals gives the music a dreamy and evocative quality, perfect for soundtracking your own mental movies. If you're a fan of either easy listening or jazz-funk, or if you're just looking for something new and different, we highly recommend checking out this rare piece of Japanese music. It's a truly unique and special album that deserves a place in any music lover's collection.

Notes: Another update for WMD's clever dual VCA, this time a little bigger to give more control. Digital control of CV and attenuation gives lots of creative options. Third time's a charm.

Supplier's Notes:
WMD have done several designs of this circuit over the years, the first one had no knobs, the second was too small, the MKIII is finally how this circuit should be packaged. This module does some really cool stuff and is super useful in any system.

The Digital VCA lets signal through like a normal VCA, but the CV and attenuation level is controlled digitally. This lets us do things like wait until there is a zero crossing to change the amplitude, resulting in clickless amplitude changes.

The Trigger mode causes the VCA to only update when a trigger is received. The addition of a noise circuit for each side let us do a very quick and easy sample and hold that never droops. With no input, 5V is normaled to the attenuator, so you get a 0-5V sample and hold. In Bipolar mode, you can get -5 to +5V.

Both sides have bipolar VCA mode (polarizer), which lets them invert the signal when negative CV comes in. Also known as ring modulation. With the zero crossing detector, this can produce some super wild wave shapes.

Features

Dual VCA Design
Unipolar or Bipolar Operation
DC Coupled Analogue Signal Path
Low Distortion / Low Noise
VCA Closes Completely
Zero Crossing Detector Mode
Trigger Mode
Two Independent Noise Sources
8 bit CV resolution
Great for Fast Envelopes and Sine Bass Sounds

Specifications

Power: +65mA, -45mA
Width: 8HP
Depth: 35mm with cables
Height: Eurorack 3U (128.5mm)
Board Height Behind Panel: 112mm
CV/Signal Input Impedance: 100k
Output Impedance: 1k
UPD in 3.3V Threshold Schmitt Trigger
ZCD produces 15us 5V pulse
5V CV to fully open VCA
Linear VCA response
20Vpp signal handling

Notes: Inside our brand new issue:

Still House Plants: London's post-post-punk trio use deconstructed songform to tap emotions others cannot reach. By Frances Morgan

FUJI|||||||||||TA: Pulling out the stops with homemade pipe organs. By Antonio Poscic

Cheer-Accident: Thymme Jones's motley crew of Chicago outsiders flip the conventions of the rock band. By Peter Margasak

Lolina: One half of influential duo Hype Williams explores a comic book dystopia in new project Unrecognisable. By Claire Biddles

NikNak: The British musician turns the tables on sound art. By Tayyab Amin

Invisible Jukebox: Kristin Hersh: Will the songwriter and author find her muse in The Wire's mystery record selection? Tested by Emily Pothast

Unlimited Editions: Tripalium Corp

Unofficial Channels: Billdifferen

Ana Lua Caiano: Portuguese tradition made anew by the musician and audiovisual artist. By Shane Woolman

BBBBBBB: The Japanese trio present their scum manifesto. By James Hadfield

Fatboi Sharif: The Garden State Gargoyle raps a dance of the macabre. By Joseph Stannard

Angelica Sanchez: A set of monster jams from the East Coast pianist. By Stewart Smith

The Inner Sleeve: Lee Gamble on Various Artists' Decay Product

Epiphanies: Jlin maximises her creative potential with Philip Glass

Soundcheck: [Ahmed], Ancine, Andrea & Mud, Maria Bertel Et Nina Garcia, Alan Braufman, Anthony Braxton, Kyle Bruckman, Natalia Cappa, John Carpenter/Cody Carpenter/Daniel Davies, Cheer-Accident, Clarissa Connelly, Anastasia Coope, Viv Corringham, Alison Cotton, Couch Slut, Richie Culver, Elkhorn & Mike Gangloff, Phil Geraldi, Carlos Giffoni, Allen Ginsberg, Allen Ginsberg & Youth, Grackles, groundsound, Liz Helman, Julia Holter, Jack O'The Clock, Goran Kajfes Tropiques, Kowloon Spider Temples, Sean Ono Lennon, Magic Tuber String Band, DJ Marcelle, Melvins, Monopoly Child Nightlife, Monopoly Child, Star Searchers, NOUT, Bill Orcutt Guitar Quartet, Organum Electronics, OU, Pye Corner Audio, Quiet Husband, Mikel Rouse, Bianca Scout, sinono, Sleepytime Gorilla Museum, Ches Smith, Kavain Wayne Space & XT, Guido Spannochi, Malini Sridharan, Luke Stewart Silt Trio, Sunburned Hand Of The Man, Thollem, Thollem & Ka, Thollem/Terry Riley/Nels Cline, tilt, Toadliquor, Alan Tomlinson & Lawrence Casserley, Alan Tomlinson Trio, Kamasi Washington, Larry Wish, Cody Yantis, Zombi, Various Resist Colonial Power By Any Means Necessary

The Boomerang: Amon Duul, As One, Cranes, Curve, Brian Eno, Brian Eno/Holger Czukay/J Peter Schwalm, NRG Ensemble, Pharoah Sanders, Linda Smith, Twelve Cubic Feet, Vile Cherubs, Mars Williams & Hamid Drake, Mars Williams/Darin Gray/Chris Corsano, Bernie Worrell, Bernie Worrell/Cindy Blackman Santana/John King, Various Aceh Punx Compilation, Various Groucho Marxist Record Co.Operative, Various Noise Of Cologne 3, Various Punk KS, Various Trouble Brews: A Belfast Punk Compilation

Print Run: Basta Now: Women, Trans & Non-binary In Experimental Music by Fanny Chiarello; Dream Machines: Electronic Music In Britain From Doctor Who To Acid House by Matthew Collin; Ears To The Ground: Adventures In Field Recording And Electronic Music by Ben Murphy; Ain't It Fun: Peter Laughner & Proto-Punk In The Secret City by Aaron Lange; 20 000 Words: Interviews With Antoine Le Bousse by Sylvain Darrifourcq; Switched On: The Dawn Of Electronic Sound By Latin American Women edited by Luis Alvarado & Alejandra Cardenas; The Future Of Songwriting by Kristin Hersh; Elizabethan Tape Loops by Drew Mulholland; The Notebooks Of Sonny Rollins by Sonny Rollins with Sam VH Reese (Editor)

On Screen: Neo Sora Ryuichi Sakamoto: Opus

On Location: Andre 3000, San Francisco, US; Fred Frith & Susana Santos Silva, London, UK; FLEA Presents Random Gear Festival + Rashad Becker + Joanne Robertson + Callahan & Witscher + Nick Malkin, London, UK; Cassie Kinoshi with seed. + NikNak + London Contemporary Orchestra, London, UK; Fortuna 2024, Tokyo, Japan; Charlemagne Palestine, Amsterdam, Netherlands; On An Endless Road: It? Noe And The Women Composers Of Her Time, London, UK; Ustad Noor Bakhsh, London, UK; Glamorous Pharmacy, Shenzhen, China; ML Buch + Astrid Sonne, London, UK; Life After Death, London, UK; Brighde Chaimbeul, London, UK

On Site: Pan Daijing Mute, Munich, Germany; Ginsberg In London, London, UK

Review: British band Archive unveils their soundtrack for the new French film Voleuses (Thieves) on NetFlix under the English title of Wingwomen, in the UK. The soundtrack offers a unique blend of electronic, avant-garde, post-rock and progressive rock and draws from diverse musical influences throughout, with the the London-based ensemble delivering an immersive landscape that mirrors the story of Carole and Alex, two adept thieves battling for liberation in the film. This one comes on audiophile vinyl and is a great accompaniment to the move itself.

Review: London-based artist and Semi Delicious label head Demi Riquisimo brings some peak time future tech inspiration to his new Windows 95 Anthem EP on Higher Ground. He has already dropped signature sounds on Ninja Tune, DJ Tennis' Life & Death and collaborated with Carlita, UNKLE and TSHA, so is very much a man of the moment. In this EP he leans on Italo and acid for his melodic licks which are high speed and glossy as they surge over crispy beats and retro-future keys. Chloe Caillet and Spray also add their own remixes to this tidy new 12".

Review: The Summits are a beloved fixture on the Soul Direction label and have plenty of fans in the wider soul collecting community. As a result they are now familiar to many and their track 'Window Shopping' emerged from an almost-lost master tape. It has previously been available only in digital format. on the flip, meanwhile, Phillips traverses diverse musical territories spanning from feel-good disco to funky fusion and modern soul. Among the six tracks recovered from numerous tapes, this one, 'People Clap Your Hands' stands out. It has never before been on vinyl and is a lo-fi, funk fuelled gem with soul infused vocals.

Review: An iconic soundtrack to a classic blaxploitation flick, JJ Johnson and Martha Reeves & The Sweet Things turned a collective head when they simultaneously composed their core themes for Willie Dynamite, directed by obscure director Gilbert Moses. This ineluctable screen treat stars Roscoe Orman and Diana Sands in a quintessential portrayal of early '70s New York pimping, with the central character's foibles giving rise to a latent conscience when he comes into contact with a young social worker. As is often the case with the blaxploitation genre, Willie Dynamite begins with the lead character cruising down the streets of New York in some kind of fancy car, and 'tracked by the central theme: the theme of Reeves' 'Willie D' is clear as day, lyrically portraying D's hustle as 'magic', "never treating two girls the same", "it's no different from any other industry". 'Keep On Movin' On' contrasts this with a note of modesty, signaling the movie's inevitable tonal shift; nor should you miss the B-side instrumentals 'Willie Chase' and 'Parade Strut'.

Review: "The album was inspired by my many happy DJ nights promoting my club night 'Club Pod' down in Brighton in the 1990s and my love of all things Sixties Freakbeat. I wanted to put as many great tracks as I could on one compilation to hopefully bring across the feeling of sheer joy from spinning these awesome tracks in a club and seeing the place go off," says Mark McQuillan, the man responsible for this expansive compendium to a driving 1960s sub genre of UK and US guitar undergrounds. The Haunted, The Birds, The Wimple Winch, The Remains, The Kinks, The Eyes, The Shadows of Knight, and The Action, all make appearances. As do other bands that don't start with 'the'. For example, Davie Allan & The Arrows, Count Five, and Spencer Matthews Band (just kidding). If you know, you know.

Review: Mikal Asher, a scion of Jamaica's Morgan family dynasty, reunites with Chocolate Star Records here and does so with a collaboration with disco legend Gary Davis. Asher, akin to his brother Denroy Morgan, upholds the family's legacy of righteousness through music. Known as the Binghiman, he crafts captivating tunes with profound lyrics and has recorded in Ghana's Hustle Hard Studios and collaborated with industry pioneers in Kingston and Brooklyn, setting new standards in musical excellence along the way. Here, 'Wicked Ah Fi' transforms into a modern dub stepper, while 'Black Woman' offers a soulful, laid-back dedication to Davis' wife, Sonjia. This 7" also comes with innovative remixes from California-based DJ and producer Knoe1.

Review: Due to persistent demand and soaring prices for the original pressing, this reissue of 'Why Don't You Go Home' on striking red transparent vinyl could not be more essential. Featuring the dynamic vocals of Diane Ward, the title track delivers a powerhouse performance echoing the King and Federal r&b sound. On the flip side, 'Cocktail De Medianoche' serves up a delightful blend of Boogaloo and Northern Soul, a cherished favourite among aficionados of Latin grooves and Uptempo Soul. With two phenomenal tracks, this reissue promises a perfect double-sider experience! for lovers of soul.

Review: Temple Musiq kicks off with a new EP from label head Temple. The opener 'Who You Are' has already achieved anthem status thanks to getting plenty of plays during Temple's own sets while he has opened for the likes of Rick Wilhite, Osunlande and Trus'me. It's got a nice drum machine drive, subtle acid lines and hooky choruses. The Prins Thomas remix is as you would expect a little more suspensory and cosmic, while Temple's 'Wait For Love' brings you back down to the dancefloor with a taught, twisted, tech house rawness that is offset by a sultry sax line. 'The Tetrah' then winds down with more elastic and dubbed-out, slow-motion house sounds.

Review: Arutani's third album Who We Used To Be is a meditation on times passed and alternate lives lost, filtered through the decorative lenses of deep, minimal, tech and dub. As if to paint a character portrait of the artist himself, this is a measured, calm, light, mindful and modest album, replete with bulging concave chord undulations and synaptic percussive snaps for balance. Everything from electro's usual dotted rhythmic pattern to progressive house's woodblocky felicities are checked off here, plus the glissando'ing lead on 'In Case You Wondered What I've Been Doing' is a special highlight.

Review: 'Who Killed Marilyn?' is an early track written by Glenn Danzig when he was with the Misfits. Originally recorded in 1979 with the Misfits but due to financial issues with pressing vinyl copies at the time, was then re-recorded again in 1991 and released under Glenn Danzig's name. An important song in the history of the legendary figure, this is the first time this single has been issued on the CD format. Also included is an additional version of each track remixed and remastered by Danzig himself.

Review: ***B-STOCK: Slight surface marks ***


This album is one of the greatest r&b records ever. That's just a fact. Jill Scott herself has never even managed to surpass what she lay down on this stone-cold classic all the way back in 2002. The production is stylish and warm, seductive and sensual throughout, with jazz, neo soul, funk, r&b and hip hop all carefully infusing each track. The lyrics are empowering as they celebrate blackness and female strength, but also at times witty and playful. It's a go-to date night album for people all over the world and how it missed out on a Grammy for Best Album or Best Vocal Performance when it was first nominated we will never know.

Review: Way back in 1993, when his career was still in its infancy, Chicago great Roy Davis Jr donned an alternative alias, The Believers, and delivered a 12" on Strictly Rhythm: 'Who Dares To Believe In Me?' It was something of a club smash, with Ministry of Sound issuing it in the UK a year later with a swathe of new mixes. This Groovin' Records reissue boasts a trio of mixes from the original U.S 12". On the A-side you'll find the original mix, a warm, spine-tingling slab of piano-rich New York style house topped off by snaking, delay-laden saxophone lines and an inspirational spoken word vocal courtesy of Davis. Over on the reverse, Davis' own 'Just Living High Mix' - a breezier, jazzier and more colourful affair - is followed by Mind Readers' tougher, chunkier and heavier revision, which is in effect a proper dancefloor dub.

Review: Australia's Choi Records drop their second release in the shape of two powerful cover versions either side of a devilish little 7" by The Traffic. The A-side, "White Lines", is a funky, horn-led reinterpretation of Grandmaster Flash's original tune : an instrumental brass ode to the original beast. On the flip, there's "Smack My Pitch Up", another mighty instrumental rework of The Prodigy classic, complete with a string of trumpets that imitate the original's inimitable vocal loop.

Review: White Fetish X, the latest release by enigmatic collaboration between Dataintrang and Luke Eargoggle on the Italian label Pareidolia Recordings, is a hypnotic and eerie exploration of the dark side of electronica. The album's six tracks veritably pulsate with a sinister energy, blending elements of EBM, electro clash, and sci-fi to create a truly unique and unsettling soundscape. 'Starting Shift' sets the tone with its menacing EBM stomp and early techno sound, while 'Mann Gegen Mann' ups the ante with its sinister electroclash beats. The title track is a hypnotic and eerie soundscape, with its sci-fi synths and demented, horror-like atmosphere. 'Radiowelt' is a heavy electro track with a pulsing body funk rhythm, while 'Audio Warrior' closes the album out with its dark and evil-sounding but funky bassline. Overall, White Fetish X is a challenging and rewarding listen for fans of dark electronica. Its sinister soundscapes and hypnotic rhythms create a truly unique and unsettling experience that will stay with you long after the final track has faded out.

Review: Italian label Roof Club aims to raise both ceilings and roofs, and continue to do so with their latest EP from Guile. Mixing a contemporary minimal approach with classic 90s sounds, this one's a neat fusion of progressive house and trance, with sprinklings of cheesy freestyle and acid thrown in for good measure. The jokingly titled '90's Generator' is the real highlight, with its orchestral hits and licky leads.

Review: A great choice by Music On Vinyl - whom at this point have proven their mettle at sating the desires of almost any type of past music enjoyer - Chapterhouse's 'Whirlpool' is the debut studio album by the English shoegaze band, and thoroughly deserves this case of retrospection. In just nine tracks, the quartet of Andrew Sheriff, Stephen Patman, Simon Rowe and Ashley Bates established a hugely maximal sound, stylistically nailing the form by pairing its vacuuming vocal washes with more propulsive, hard-limited mixes and masters, informed by industrial and dance music most notably. Contemporaries of similarly tersely-named bands like Lush, Moose, Ride and Curve, Chapterhouse were indeed the most multi-syllabic, not to mention least restrained band out at the time; standouts 'Pearl', 'Autosleeper' and 'Falling Down' nailed the explosion of '90s indie ferment and the overflow of emotions that came with the decade.

Review: Big Boys are punk visionaries from Austin in Texas and they sure made a big bang with what they described as their "debut, sophomore, and final album." This bunch of renegades came up in the late 1970's Austin scene. The band was led by the dynamic Randy "Biscuit" Turner, alongside Tim Kerr, Chris Gates, and various drummers like Rey Washam. They infused their music with skate funk, which means they somewhat deviated from hardcore norms at the time. Their diverse sound touched on post-punk akin to The Minutemen and inclusion in Thrasher magazine's cult "skate comps" catapulted them to fame among 80s skate punk enthusiasts. Renowned for engaging their live audiences like few others, they fearlessly explored new musical realms, even tackling Kool and the Gang covers at one point.

Review: Renowned bassist Ron Carter's inaugural album, 'Where?' introduced a stellar lineup of talent alongside the main man including Eric Dolphy on clarinet, saxophone, and flute, and pianist Mal Waldron. Originally recorded at Rudy Van Gelder Studios in New Jersey in 1961, the record showcases the early brilliance of Carter's musical vision. Now reissued as part of the Original Jazz Classics Series, this edition is pressed on high-quality 180-gram vinyl by RTI. Mastered with meticulous care by Kevin Gray at Cohearent Audio, using analogue techniques from the original tapes, this release offers a pristine listening experience and is a great chance to rediscover the timeless allure of Carter's debut masterpiece.

Review: Not be confused with UK rock act Quill featuring the legendary Jeff Lynne (ELO, Black Sabbath, The Move), Swedish stoner rock heroes The Quill have been an active entity within the realms of Scandinavian hard rock and metal since the early 90s. Returning with their highly anticipated 11th full-length and follow up to 2021's Earthrise, the current locked in line up of original vocalist Magnus Ekwall, who would depart the band in 2007 before rejoining in 2016, along with Christian Carlsson (Cirkus Prutz) on guitar, Roger Nilsson (Spiritual Beggars, Arch Enemy, Firebird) on bass, and drummer Jolle Atlagic (Hanoi Rocks, Electric Boys, Firebird), are at a stage where crafting the most sprawling variety of metallic magic is their primary concern, with Wheel Of Time conjuring elements of stoner rock, doom metal, psych, prog and even saccharine dollops of melodious AOR for all you Dad-Rockers out there.

Review: TV Hill Records starts things off rough and curiosity-rousing, with a technical itch from OG AG (Andrew Grant) in collaboration with fellow producer Dimneonsum. A mid-paced deep techno calculator, 'What's Up Everybody' pares back any semblance of emotion for pure robotic urgency, with every sound moving in juddering clockwork lockstep in an abstracted world of pure, preservative mathematic topology. Opener 'San Fran' pits nervous FM loops against an equally anxious Shepard-tonal riser, while calmer moments such as the beatless 'Drakey' still disquiet with their eerie glassiness. One for the bleepy heads, the only humanistic element is the revelatory vocal sample on 'Found Out'.

Review: ***B-STOCK: Slight surface marks on the record sleeve***


A half century may have passed since the release of Marvin Gaye's conscious soul masterpiece, What's Going On, but the album still sounds as fresh, otherworldly and intoxicating as ever. That much is proved by this half-speed remastered 50th anniversary edition. It backs the original album - a detailed, deep, emotive and melancholic masterpiece packed with much-loved classics (the title track, 'Inner City Blues', 'Mercy Mercy Me' and so on - with a second album of outtakes, demos and alternate versions. These include mixes that track the development of the incredible title track and various hard-to-find mono mixes initially released by Motown as singles.

Review: Los Angeles-based ASHRR are back with a new cut which comes from their forthcoming Sunshine Low album which they have re-interpreted as their ASHRR Soundsystem alter ego, while System Olympia also steps up with a remix on this fine new package from 20/20 Vision. In the hands of the latter, 'What's Been Turning You' is a remix with plenty of hi-fidelity cosmic details over mid-tempo deep nu-disco drums. The version from ASHRR is a chugging and Italo-tinged classic with loose-limbed and jumbled drum funk and plenty of bright, shiny arps. A great collection then.

Review: The highly respected and busy ARTS label has released their latest What Will Remain When We're Gone by Paul Roux. The title track is a melodic burner that succeeds triumphantly with heavy percussion, anthemic crescendos and at a blistering pace. Amazing! 'Burning' is a fantastic as well. Dramatic and engaging, we love the way it favors melody over the supporting rhythm giving it a more atmospheric sound. On the B-side, 'Maybe It's Love' adds some soft-spoken female singing to it giving us strong 2000s era flashbacks. This is a really strong and perhaps underrated 12". Give this the opportunity to play through and you will want to revisit these often. ARTS continues to come through with excellent techno.

Review: Tarja's What Lies Beneath, originally released in 2010 showcases her versatility as an artist. The album seamlessly blends genres, from symphonic rock to Europop, creating a dynamic and engaging listening experience. Tarja's powerful vocals take center stage, soaring effortlessly over the dramatic orchestration and infectious beats. The lyrics delve into themes of love, loss, and personal growth, resonating with listeners on an emotional level. Standout tracks include the anthemic 'Until My Last Breath' and the haunting 'Falling Awake.' The album's reissue in 2024 is a testament to Tarja's artistry and her ability to connect with audiences through her music.

Review: Good Cop Bad Cop's sophomore release, crafted by frontman Joe Carnall and producer Gold Teeth, marks a departure from traditional indie rock. Recorded closer to home, the album embraces synth and hip-hop influences, pushing boundaries while retaining elements of nostalgia. The decision to leave guitars largely untouched results in a sound that feels both timeless and contemporary. Carnall's forward-thinking approach shines through, showcasing his willingness to evolve creatively. While rooted in the present, traces of the band's indie rock origins linger, creating a dynamic listening experience that bridges past and future. The album has innovative soundscapes that journey through Carnall's sonic evolution, offering a refreshing take on modern music.

Review: The wonderful Mr K is back with more edit magic on his own Most Excellent label, this time adding his own spin to 'Wela Wela', a hard edge and raw funk cut from Black Blood, a band of musicians from central Africa but who were based in Belgium. This one was never a hit back in the day for some reason but is built on a killer groove that Mr K reworks and tweaks for more suitable dance floor deployment. It was formerly on his Grass Roots record but now makes its way to a handy 7". On the flip is 'Komi Ke Kenam (Fish & Funjee)' which has tough breaks and funk bass that will ensure 'floors get down and dirty.

Review: Offenbach upstart Tom Ries has been impressing with his playful take on minimal since debuting in 2017, and he's on especially fun and funky form for this first release on Inadequate Audio. Every track is a winner, but 'MM Swimsuit' is a particularly deadly cut thanks to the combination of swinging, sizzling drums, pinging sound design and warm, smudgy chords cast in a jazzy tone that only adds to the grooviness. Every track has its own distinct character, making this a must-check for anyone who likes their shuffling minimal to play out with flair.

Review: Sansibar aka Sunny Seppa is fast becoming a large name in underground techno and house. Now, he has opened up his new label called Sin Sistema with the first release titled 'We Rise'. The title track is a pure crusher! This fast-paced corker features a wicked acid line and a beautiful lingering melody that creates an almost acid trance stormer. Things change up quickly with the slow acid wiggle of 'Elastic' that has us comparing it to legendary slow acid tracks like from Jammin Unit. For the second side, 'Sonic Minds' might just be the floor filler of the lot while '2K' is the dancefloor workout monster for the house heads. If 'We Rise' is any indication, Sin Sistema will be a label to buy on the spot.

Review: Well Curated is a series of releases and parties that - in its own words - "reflects the ethnomusicology of the last 50 years of music" - and aims to reach into all genres, merging classic styles and breaking down barriers. Steve Spacek occupies the A-side with the breezy broken beat and soul-in-space of 'Alone In Da Sun', while Lukid's 'Hair Of The Dog' is a more intense counterpart, with wobbling sub-bass and swirling, surging atmospherics hovering above.

Review: Yuki Kanesaka returns with a delicious uptempo remix-cover of Herbie Hancock's thoroughgoing jazz patent, 'Watermelon Man'. In respectful contrast to Hancock's original piece, Kanesaka deploys a to-the-letter rendition of the original's opening Hindewhu whistle hoot - also heard on the mashup B-side - and keeps up Hancock's intended 'mathematical balance' with a nonetheless meatier, dance-ready EQ balance. Legend has it that this was Hancock's first ever song to be composed with commercial success in mind; we're not surprised at its continued proliferation, appreciation and reproduction across the globe - and now in Japan, no less.

Review: ABBA's 'Waterloo' single - now an incredible half a century old - presents a dynamic blend of pop brilliance, a Eurovision-winning anthem characterised by its catchy hooks and uplifting melodies. On the B-side, 'Honey, Honey' exudes a playful and romantic vibe, with its irresistible blend of harmonious vocals and upbeat instrumentation. The song captures the excitement and anticipation of new love, resonating with listeners through its relatable lyrics and infectious charm. Together, these tracks exemplify ABBA's unparalleled talent for creating timeless masterpieces.

Review: Waterloo, by ABBA, is an iconic song that catapulted the Swedish pop group to international fame after winning the Eurovision Song Contest in 1974. With its catchy melody, energetic rhythms, and infectious hooks, Waterloo became an instant classic and remains one of ABBA's most recognizable hits. Musically, Waterloo is a masterclass in pop craftsmanship. From its memorable guitar riff to its soaring vocal harmonies, every element of the song is meticulously crafted to create a euphoric listening experience. The driving beat and jubilant chorus make it impossible not to dance along, while the lush production adds a touch of glamour and sophistication. Overall, Waterloo is a timeless pop gem that encapsulates everything that made ABBA one of the greatest pop groups of all time. With its irresistible hooks and infectious energy, it's no wonder that Waterloo remains a beloved classic decades after its release. This tribute on picture disk, makes it extra special.

Review: Originally released in 1994 and now reissued in 2024, confirming the resurgence of interest in the classic jungle sound, 'Watch Out' is a hard-hitting jungle track with a relentless 'Amen' break, while 'Media' offers a more complex and atmospheric soundscape with a deep, broken bassline.. 'Watch Out' immediately grabs attention with its pounding bassline and heavy drums, the tribal percussion adding an exotic flavor, while the heavy Amen break provides the relentless drive that characterises jungle at its best. The track is relentless and hypnotic, perfectly capturing the energy of the early scene. 'Media,' in contrast, is a more experimental tune. The jungle breakbeats are present, but they are more subdued, providing a backdrop for the track's deep bass notes. Together, 'Watch Out' and 'Media' offer a snapshot of the golden era of jungle music. They are essential listening for anyone interested in the genre's roots and its continuing evolution.