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Review: Soul Brother Records' Record Store Day 2020 release offers up re-mastered versions of two hard-to-find early 'disco mixes' of modern soul-era gems. On the A-side you'll find Tom Moulton's scarce, five-minute club version of soul man Bobby Moore's '(Call Me Your) Anything Man', a delightfully orchestrated and super-sweet dancefloor workout built around a Latin-tinged groove reminiscent of Grace Jones' 'La Vie En Rose', which of course Moulton later famously remixed. Over on the flip there's a chance to savour West End Records' boss Mel Cheren's wonderfully over-the-top dancefloor extension of obscure vocal group Sweet Music's soaring cover of K.C & The Sunshine Band favourite 'I Get Lifted'. It's very different to their much-loved take, but every bit as essential.

Review: In the summer of 2017, New Order returned to Granada Studios in Manchester - the site of their first TV appearance - to perform a special concert. With the accompaniment of a "12-piece synthesizer orchestra" and a stunning, ever-changing stage set designed by Liam Gillick, the legendary Manchester band delivered an extended set featuring radically reworked versions of tracks from their back catalogue. This evocative live album presents the recording of the concert in its entirety, with Bernard Sumner and company mixing bona fide hits ("Shellshock", "Bizarre Love Triangle") with album tracks, lesser-celebrated songs and the odd stunning soundscape (a particularly beautiful version of "Elegia"). As you'd expect, it's superb and a cut above most live albums.

Review: The Microcosm: Visionary Music Of Continental Europe, 1970-1986 presents works from 'cosmically-taped' artists; legends like Vangelis, Ash Ra Tempel, and Popol Vuh through to more obscure names in the form of Bernard Xolotl, Robert Julian Horky and Enno Velthuys. According to Washington State label Light In The Attic, the compilation aspires to present these these works of "ambient, new age, neuzeit, prog, krautrock, cosmic, holistic stuff, whatever one calls it - as a pulsating movement unto itself", and they've done a fine job of that when you hear how well curated this album really is. From major label recordings through to limited obscure cassette editions, it unearths some truly captivating and oddly inspiring gems from beatless electronic music's recent past.

Review: You wait three years for a new Arca album and then two come along at once. The Barcelona-based, Venezuelan artist has already dropped 'Kick I' and 'Kick II' on his standard XL stomping ground this month, and has now decided to remind us why we fell in love in the first place. &&&&&& is the producer's seminal debut album, and it still sounds fresh today.

Occupying a space somewhere between techno, the proto-footwork and juke popularised by the likes of Addison Groove at the turn of the last decade, IDM and ambient, it's a difficult thing to get your head around, from the strange piano discordance of 'Mother' to 'Feminine''s suggestion of intense 140s and the submerged liquid downtempo of 'Anaesthetic'. A seminal moment in recent dance history.

Review: Format is the allies of the assured veteran Orlando Voorn and now one of his many classic EPs gets a solid reissue treatment from Back To Life. This is lively club music that comes from the place where house and techno meet. 'Damn Right' will get you up on your toes with its busy drum programming and soulful synths. 'Reckless' is then unhinged soulful techno with mad chords and bleeps, 'Dance' is an old school, euro-tinged house anthem with big chords and bigger vocals and 'Soundclash' brings a more twisted late night rave sound - all of these tracks are true weapons.

Review: London's legendary Mute institution goes back to its roots and digs up some of the best work by one of the UK's finest Cabaret Voltaire. These guys don't really need an introduction give the fact that they're pretty much responsible for the rise of post-punk right through to the birth of techno. It was about time a new compilation of their stuff was released, especially one as brutally on-point as this one! All the classics such as "Nag Nag Nag", "Kneel To The Boss" and "On Every Other Street" are one here but the more obscure rarities that were previously only available on 7" are the real winners. "Just Fascination", for example, is one you'll certainly want on a longer, re-mastered cut! Downright essential!

Review: Fresh from serving up some savage "Rave Reworks" on an ultra-limited 12" single, techno's leading number crunchers return with an EP of fresh studio jams. As usual, what's on offer is intense, full-throttle and mind-altering in the extreme. Check, for example, opener (and title track) "000000005", where increasingly ragged, wayward and psychedelic acid lines surge forwards over a stomping, kick-drum dominated beat, or"000000006", an acid techno onslaught that waves a glow-stick towards the Halcyon days of German techno-trance. The acid-fired '90s techno revivalism continues on the flip with two more chunks of sweaty, mind-altering peak-time insanity. Not one for the faint hearted.

Review: Detroit legend Eddie 'Flashin' Fowlkes has had a truly massive month with a couple of releases on his esteemed Detroit Wax imprint (which he runs with Niko Marks) and this week he kickstarts his City Boy imprint back into action. This is its first release in 11 years, presenting part one of the Knucklehead Series featuring a fine selection of moods and grooves. First up is the deep down and dirty tech-funk of '1-2-3', followed by the dusty twilight mood music of 'Hold Me Down' and over on the flip is the double 12's most energetic cut in the form of 'Test Unknown' - a sincere expression in proper Motor city style 'hi-tech soul'.

Review: This week on Peoples Potential Unlimited we have '1 2 3 Stella' which is the debut release by Alex Fernet - an artist from Bassano del Grappa, near Venice, Italy. A breezy and neon-lit boogie down affair from the late night that gives a brazen nod to the '80s, it is complemented on the B side by the romantic late '70s easy rock vibe of 'Tornerai' which is an Italian cover version of 'In your Eyes' by Badbadnotgood featuring Charlotte Day Wilson. Fernet impressively walks the fine line between undeniably kitsch and impressively cool.

Review: Tsuba's ten year anniversary - that's right, it has been that long already - has been marked with hit after hit from a wide selection of artists from across the house kingdom. In fact, for this 2nd instalment of the festivities, we have White Material frontman Galcher Lustwerk remixed by the inimitable Jimpster, with the latter putting a more starry-eyed mechanic onto the original; For Romeau complete the A-side with a vintage-sounding remix of "Pinball" by Williams. On the flip, Roy Comanchero drops the Chicago bass over a minimal sort of percussion groove on "Hypba". Kevin Griffiths adds a little acid to the jingly 707 beat of "Satori", and completes a stellar EP from the magnetic Tsuba.

Review: Serendeepity is delighted to announce a celebrative compilation for the tenth anniversary of the Milan-based record store. This collection is entirely composed of previously unreleased music, exclusively produced for the occasion by many artists of great relevance in the worldwide music scene, who supported the store over the last ten years. The artists who produced the music for this compilation are Egyptian Lover, Ellen Allien, Thomas Brinkmann, Neil Landstrumm, JD Twitch, Matias Aguayo, San Proper, Tolouse Low Trax, Jay Glass Dubs, Dj Marcelle, Jorge Velez, Tamburi Neri, Fabrizio Mammarella, Heith, Itinerant Dubs, Timeslip89, Kreggo and Intersezioni Ensemble. The entire work is composed of 4 x 12", which will be released monthly.

Review: Third part of the compilation celebrating the tenth anniversary of the Milanese record shop. This collection is entirely composed of previously unreleased music, exclusively produced for the occasion by many artists of great relevance in the worldwide music scene, who supported the store over the last ten years. The artists who produced the music for this compilation are Egyptian Lover, Ellen Allien, Thomas Brinkmann, Neil Landstrumm, JD Twitch, Matias Aguayo, San Proper, Tolouse Low Trax, Jay Glass Dubs, Dj Marcelle, Jorge Velez, Tamburi Neri, Fabrizio Mammarella, Heith, Itinerant Dubs, Timeslip89, Kreggo and Intersezioni Ensemble. The entire work is composed of 4 x 12", plus a bonus EP.

Review: Fourth part of the compilation celebrating the tenth anniversary of the Milanese record shop. This collection is entirely composed of previously unreleased music, exclusively produced for the occasion by many artists of great relevance in the worldwide music scene, who supported the store over the last ten years.
This EP features Ellen Allien, Kreggo, Timeslip89, Itinerant Dubs and Heith.

Review: A welcome return to action for Nashville scene stalwart DeRobert Adams and his faithful backing band the Half Truths, who between them have released countless revivalist soul gems over the last decade. '100 Yard Dash' is a fiercely up-tempo affair, with Adams' powerful vocals (he's somewhere between James Brown and Teddy Pendergrass) and the band's 1960s style soul instrumentation riding a breakbeat so fast that you could probably play it in a drum & bass set. It is a genuinely ace track all told, as is the more punchy, semi-stomping flipside funk workout 'It's All The Time'.

Notes: This is a 5 pack of 60cm/23.5" TRS cables with male 3.5mm minijacks on either end, and the 1010music logo printed on the jacks.

Use these cables to connect your 1010music Eurorack modules to other modules that also use stereo minijack connections. The cables can be used for connections between any two 1010music modules, and to any other modules that use a compatible mapping of MIDI signals to stereo minijack connectors.

Notes: This is a 60cm/23.5" TRS cable with male 3.5mm minijacks on either end, and the 1010music logo printed on the jacks.

Use this cable to connect your 1010music Eurorack modules to other modules that also use stereo minijack connections. The cable can be used for connections between any two 1010music modules, and to any other modules that use a compatible mapping of MIDI signals to stereo minijack connectors.

Notes: Compact take on the Bitbox sampler, also offered as the larger Mk2 version. Touchscreen-based design allowing up to eight stereo samples, recording directly or loaded from SD card.

Supplier notes:
Bitbox micro provides Eurorack sampling for smaller racks and smaller budgets. In only 18 HP of rack space you can get a touch screen based sampler with support for 8 stereo sample pads. Now you can record samples directly into the module or load them from the microSD card. Trigger your samples via CV or MIDI, then apply effects and mix the outputs. Save your configurations to multiple presets for later reuse.

Sample Playback

Play up to 24 stereo polyphonic notes when your samples fit in the 64 MB of internal memory or up to 8 larger stereo samples streaming directly from the microSD card
Configure 8 stereo sample pads per preset as single or multi-samples, clips, slicers, granular or new recordings
Stream long samples from the microSD card with a max sample size of 4 GB, which can be many hours of audio
Trigger samples with the touch screen, CV gate inputs, or MIDI input
Control how samples start and stop by choosing from one-shot, toggle, and gate launch modes
Tweak playback through a variety of sample parameters, including start position, length, pitch, gain, filter, loop mode, launch quantization, ADSR, Exclusive Grouping, clip synchronization, slice placement and sequencing, grain size, grain spread, grain count, and MIDI note and channel mapping

Sample Recording

Record Eurorack level audio straight into the module:

Record samples from a stereo audio input pair
Configure each pad for stereo or mono recording with the option to synchronize the start and stop times to clock inputs
Trigger recording via audio level threshold
Create perfectly sized loops by setting the recording length
Enable immediate playback after recording for live looping capabilities
Make recordings up to 4 hours in length
Resample the master output without patching
Automate recording of a multi-sample bank via MIDI and CV
Store recorded samples as WAV files on the micro SD card then remove the card to transfer them to your computer

Sample Modes
Find creative ways of using your samples with our 5 sample playback modes:

Trigger one shots or launch loops using sample mode
Load a folder of samples into a sample mode pad to improve the quality of the pitch shifting when playing a sample chromatically or to trigger different samples with each note
Play time-synchronized loops with constant pitch time shifting in clip mode
Skip between slices of a WAV using slicer mode
Create rich textures and other worldly sounds with granular mode

Inputs and Outputs
Use the 8 inputs the way you want: assignments include a stereo audio input, up to 8 gate inputs, up to 8 CV inputs and 1 clock input.
Route the audio from each pad out to one of 3 stereo audio outputs or one of 6 mono audio outputs
Listen to all of the pad outputs combined on the master stereo output

External Control and Synchronization
Playback can be immediate or synchronized to internal clock, TRS clock in, or MIDI clock in and out
Confidently connect with both TRS MIDI Type A and Type B, no adapter needed
Play a single or multi-sample pad pitch shifted using MIDI notes or CV
Trigger different sample slices using MIDI notes or CV
Modulate a wide variety of sample parameters through the MIDI input and up to 8 CV signals
Quickly set up MIDI modulation using Learn mode - no need to look up CC numbers
Module Features
Use the 2? diagonal touch screen to intuitively explore the features of the module
Get more creative with double the processing power of the original bitbox
Refine your sound with reverb and delay
Import or export WAV files with your Mac or PC using a microSD card
Save and recall multiple presets
Increase your capacity with larger microSD cards
Inputs and outputs are DC coupled so you can record and play out CV signals

Notes: Innovative little sampler groovebox. Works as a standalone unit or as a sequencer for other gear. A nice left-field alternative to the usual MPCs and Electribes.

Supplier's notes:
Blackbox is a portable sampler and groovebox that lets you record, save/load, apply effects and edit one-shot samples and beat-sliced loops. Create sequences with samples by tapping on pads, playing a virtual keyboard, using external MIDI controllers or by drawing-in notes using a standard Piano Roll editor on a fast touchscreen interface. Sequences can be played back to create song sections and entire compositions. Finish your song by mixing it, adding stereo effects and by saving it as a Preset for fast and easy recall.

Perform songs live and trigger samples on the fly. Blackbox makes it easy to create and perform music anywhere thanks to its compact and rock-solid hardware design. Just throw it in a backpack and hit the club.

Record hours of song ideas, jam sessions, and performances thanks to a microSD slot that enables you to expand internal memory.

Blackbox comes with gigabytes of premium samples and loops by SoundTrack Loops and Loopmasters to let you start making beats right out of the box.

Blackbox - your own personal sampler.

What Is Included:

- Blackbox compact sampling studio
- MicroSD card with blackbox firmware, about 60 presets and approximately 900 WAV files
- USB power cable and USB wall wart with 3 international adapters
- 2 MIDI Adapters - Male 3.5mm TRS to Female 5 pin DIN, MIDI Class B standard
- Quick Start guide to get you playing right away

Notes: A digital mixer at heart but so much more. 1010's unique take on mixing and recording includes built-in effects and EQ, compression, headphone/monitor mixes and output routing. Clever stuff.

Supplier's Notes:
Bluebox is the portable digital audio mixer that lets you get the most out of your electronic music gear. Connect your eurorack, sampler, drum machine and synthesizer outputs to 6 stereo, 3.5 mm TRS inputs and map them to 12 mono tracks or 6 stereo tracks, all with independent control for recording and playback. It's that keyboard mixer with live performance features that you always hoped someone would make.

Connect the output of your electronic music gear to Bluebox, and then route each track independently to the three outputs and effects sends. Each track offers control of volume, gain, 4 band parametric EQ, pan, mute and solo functions. Apply high-quality global reverb and delay effects along with 4 band EQ per track to add new depth to your sound with total control to quickly tweak incoming audio or track playback as needed.

With Bluebox you can record independent tracks or the Main mix using a standard microSD card. Capture your jam session for later review, or record the ultimate mix of the tracks for your song.

Bluebox's compact 5.5h x 5h x 2h case lets you tuck it into a crowded tabletop studio or throw it in your pack for the next gig.

Interact with the dynamic visual interface on the 3.5h touchscreen along with physical knobs, navigation buttons and transport buttons to quickly access the most important functions. MIDI input and output allow you to sync the clock with external gear for synchronized effects and metronome.

Add Some Colour to Your Mix:
Mix 12 mono/6 stereo tracks of live or prerecorded sound.
Independently route each track to any combination of three stereo TRS outputs:

Stereo Output 1 - Main mix
Stereo Output 2 - Assignable, with dedicated sub-mixer (pre or post fader)
Stereo Output 3 - Headphone output, with dedicated sub-mixer (pre or post fader)
Control one parameter for multiple tracks at once in Mixer mode.
Focus on one track at a time in Track mode.
Adjust the level or mute state of each output independently.
Use touch gestures or knobs to tweak your sound with four band EQ per track with support for Low Cut/Low Shelf, Parametric, and High Shelf/High Cut settings for each band.
Apply high-quality Reverb and Delay effects with independent effects sends for each track.
Override the headphone output with the Main mix on demand.
Maximize the loudness and unify your mix with the built-in global compressor
Sync to external clocks through the MIDI Input and Output.
Record hours of music as 48k, 24 bit WAVs directly to the microSD card as multi-track or as the main stereo mix.
Playback a previously recorded track while recording new ones.
Load firmware updates through the microSD card.
Mix electronic music gear such as the 1010music blackbox, eurorack modules, drum machines, samplers and synthesizers.
Save and recall Project settings including all parameters for tracks, outputs, EQ and effects.
Copyright 1010music LLC 2020 --- CONFIDENTIAL ---
Copyright 1010music LLC 2020 --- CONFIDENTIAL UNTIL 10/10/2020 ---
Fit it into a small spot on your desk and then tuck it in your pack for the next gig.

What is Included:
Bluebox digital recording mixer
A microSD card with bluebox firmware and pre-loaded project files
A USB power cable and AC adapter with 3 international adapters
2 MIDI Adapters . Male 3.5 mm TRS to Female 5 pin DIN, MIDI Class B standard
A Quick Start guide to show you the basics (full user manual available online)

Specs:
6 stereo 3.5 mm TRS inputs
12 mono tracks, 6 stereo tracks or something in between
3 independently controlled stereo 3.5 mm TRS outputs
3.5h touch screen, 4 knobs, 8 navigation buttons and 3 transport buttons
3 effects: reverb, delay and compressor
Records and plays back 48k, 24-bit audio WAV files
4 band EQ per track
MIDI In and Out for beat syncing effects
Dimensions: 5.5 x 5 x 2 (14 cm x 13 cm x 5 cm), 1 lb (450 grams)
Durable aluminum case

Notes: This MIDI Adapter enables you to connect MIDI devices that use standard MIDI cables to the stereo minijacks used by 1010music products. The adapter has a male stereo minijack at one end, and a female 5 pin DIN MIDI connector on the other, and is 22 cm/8.5" long. It is also useful as a converter for connecting to other MIDI devices that use a different mapping of MIDI signals to the stereo minijacks.

Review: Astonishing, 22 years have passed since the release of Stefan Betke's debut album as Pole. Along with the "2" and "3" albums that followed in 1999 and 2000 respectively, it helped establish him as a producer with a defiantly distinctive, dub-fired sound: a brand of electronic minimalism that drew just as much on ambient and micro-house as it did techno and of course reggae soundsystem culture. Crackly, spaced-out, hypnotic and mind-soothing, all three albums sound as fresh now as they did when they were first released. Helpfully, Mute has decided to reissue all three at once via this box set. There are no bells and whistles, just three essential albums in a plain black box. If you don't own them already, you know what to do.

Review: Lowfreq77 is taking no prisoners as he steps up to deliver the second release on Summa Cum Laude. The Italian producer has only emerged in the past few years, despite having dedicated a great deal of his life to producing music. It was clearly worth the wait - "1804" is the kind of fist thumping techno that leaves no body motionless as it rips its way through the dance in a hail of relentless claps and nagging synth hooks. "Rails" meanwhile amps up the Robert Hood style twitchy loops, making this a techno record for those who like their beats pure and unrelenting.

Review: Already the winner of a Brit Award (Adele was voted the 'Critics Choice' - the most exciting new British artist expected to 'make it big' in 2008),
'19' is Adele's debut album. Citing influences as diverse as Etta James, Jill Scott, Bjork, Dusty Springfield, Billy Bragg, Billie Holiday, Jeff Buckley,
The Cure and Peggy Lee, Adele also recently completed her first solo UK tour, having toured previously with the likes of Jack Penate, Jamie T,
Raul Midon, Amos Lee and Devendra Banhart. '19' contains both her debut track 'Hometown Glory' and her smash single 'Chasing Pavements'.
Blues tinged and melancholic, Adele describes 'Chasing Pavements' as 'It's me being hopeful for a relationship that's very much over. The sort
of relationship you hate when you're in it, but miss when you're not'. A hymn to lost love and regret, 'Chasing Pavements' follows Adele's first
limited edition single 'Hometown Glory', which introduced her to the world to much critical acclaim, with NME calling it 'totally, absolutely beautiful',
Q Magazine calling her 'The voice of next year' and The Sunday Times saying 'A Star Is Born'

Review: In what could be the biggest techno release of 2013 so far, Geophone delivers a rarely seen VA package, with Mike Parker only appearing in remixed form. Donato Dozzy and Neel's revered Voices From The Lake collaboration supply their first release outside of Prologue with some throbbing brain pulses in "Reptilicus" - much harder sounding than their album material. Shifted's remix to Parker's "Mnajdra" is outrageously Berghain-centric, as mechanically mutated insect buzzes hammer away to scraping and suctioned percussion. Ukrainian artist Stanislav Tolkachev, who is making a name for himself since his track "Building Peaks" on Developer's Modularz settles into Geophone's 19th release with his usual frenetic pace, this time employing thudding drums and melancholic atmospheres likened to Aphex Twin's more emotional material.

Review: Over the last 30 years, American Mike Dillon has played more than 200 live shows a year all over the world. He has done so with his band as well as playing vibraphone and percussion with artists like Rickie Lee Jones, Les Claypool and Ani DiFranco. The last year has obviously kept him at home so he has done only what he knows best - make music. The result is presented here and is a resales and energetic fusion of all manner of styles, with grizzled vocals, wild percussion, broken beats, new wave, kraut, space rock and dark Moog all defining the album which is the third in a trilogy.

Review: When Gregory Porter first released "1960 What?" back in 2012, he'd yet to become the soul superstar we know and love today. The single was released in limited numbers first time round and, thanks to his elevation to star status, has become an in-demand collector's item - hence this timely reissue. It's every bit as classic-sounding as the majority of Porter's work, with the main man providing an impassioned delivery of conscious lyrics over a wonderful soul-jazz backing track. Serious contemporary dancefloor thrills are provided by Opolopo's superb flipside revision, which re-imagines the track as a bass-heavy chunk of jazz-house brilliance that rivals St Germain's "Rose Rouge" in its ability to send dancefloors wild.

Review: Kazuki Tomokawa is one of the most enigmatic figures in Japan's modern musical history. Not only a poet and a singer, he's also a bicycle race commentator and a self-described vagabond, and in the 70s he set his poems to music as Japan enjoyed something of a folk music boom. It was 1975 when he recorded his first album, in particular teaming up with percussionist Toshiaki Ishizuka for a fruitful musical partnership. Blank Forms has been diligently reissuing much of Tomokawa's music, and now they're turning their attention to this deluxe three CD boxed set comprised of Finally, His First Album, Straight from the Throat, and A String of Paper Cranes Clenched between My Teeth.

Review: After his debut release with remixes from Arpanet and Mr Oizo, Kavinsky is back! Killed in a car crash back in 1986, Kavinsky is now a zombie in need of revenge. This record, released on Record Makers, is the story of his first steps in the world of the living dead. Three powerful and original tracks and a Sebastian remix. A bloody good one too.

Review: It's taken a while, but finally Knxwledge has delivered the follow-up to his "official" debut album, 2015's "Hud Dreems". A concept album of sorts - the tall tale behind it being that the beats were created in 1988 by an infant version of our musical hero after he climbed inside an SP-12 sampler and mastered the machine - the set sees Knxwledge sprint through a beat-tape style assortment of short, sweet and often sublime instrumentals that make use of a variety of period samples. Given his track record, it's an impressive album, regardless whether the beats were genuinely made when he was in "Nike diapers" (as the press release amusingly claims) or not.

Review: It's taken a while, but finally Knxwledge has delivered the follow-up to his "official" debut album, 2015's "Hud Dreems". A concept album of sorts - the tall tale behind it being that the beats were created in 1988 by an infant version of our musical hero after he climbed inside an SP-12 sampler and mastered the machine - the set sees Knxwledge sprint through a beat-tape style assortment of short, sweet and often sublime instrumentals that make use of a variety of period samples. Given his track record, it's an impressive album, regardless whether the beats were genuinely made when he was in "Nike diapers" (as the press release amusingly claims) or not.

Review: Shout outs to Larry Heard for finally relenting to the numerous requests to reissue his highly prized Gherkin Jerks material through his own Alleviated label with some digitally enhancement help from the guys at Clone. The 1990 EP was the last of the two EPs that Heard anonymously released under the Gherkin Jerks name back in the late 80s as a creative experiment. Notably less unhinged than Stomp The Beat, the six percussively taut tracks here feel like Heard was reacting to the nascent strains of techno emanating from Detroit. Opener "Meltdown" for example is a rolling slab of pitched-down techno with sharp Motor City-esque synth stabs and nagging, incessant keys, whilst the interplanetary connotations are clear as crystal on tracks such as the beautifully chiming "Red Planet" and the pressurised funk of "Saturn V".

Review: You have to admire Alex "Omar" Smith's work rate. He's been slinging out regular releases now for the best part of a decade and shows no sign of slowing down. "1992" is his second EP of 2019 and contains a trio of contrasting cuts in his distinctive, hardware-driven sound. Perhaps the biggest surprise is closing cut "Homey Trinitron", a techno-tempo workout that wraps fuzzy, lo-fi synth motifs around weighty and distorted, ghetto-house influenced drums. He provides a chunk of loose but locked-in deep house drowsiness (see the warm, shuffling and punchy title track), as well as a cheery, piano-driven A-side that's as warm, rush-inducing and anthem-like as anything he's released to date.

Review: ***B-STOCK: Slight tear in sleeves, also the record has light surface marks/scratches, but otherwise in excellent working condition***


The Mysidian label out of Costa Mesa, California drops Belarusian producer Fitzzgerald's first full release of original tunes. The 1993 EP features three deep numbers and much like its namesake it features old school flavour all the way. From the neon-lit bounce of the title track, merging the best of acid house and Balearic on the sunset bliss of 'Moon Jam' and getting on some big fun with the timeless first wave Detroit vibes of 'Want To Feel'. Also on the flip, Japan's Roy Comanchero, who appeared previously on the label with the Beach & Parsol EP a while back, returns for a hot remix of 'Moon Jam' awash in celestial FM synth tones.

Review: By their standards, Danish duo 2 Bit Crew enjoyed a very productive 2014, releasing well-received singles on Deso, Luvdancin' and their own self-titled imprint. Here they return to the latter with three more sumptuous chunks of tactile, arms-spread deepness. The untitled A-side arguably hits home hardest, with sweet, delay-laden loops and delicious riding a house tempo Motor City techno groove. The second track, nestled at the beginning of side B, seemingly shimmers with positive intent. The duo opts for Chez Damier style bass and a touch of vintage US house bump, while smothering the groove in darting synths and huggable electronics. Finally, the third track goes even deeper, delivering the dreamy tech-house equivalent of a long, sloppy kiss.

Review: For the first of two specially commissioned compilations marking their 20th birthday, Fabric has asked a host of house and techno talents to deliver exclusive, unheard material inspired by the storied EC1 venue. The results are impressive, with the chosen artists including many who have a particularly deep relationship with the club. In terms of highlights, Sasha successfully cuts up Alison Goldfrapp style vocals over a hypnotic beat on "Comet Chaser", Steffi slams down some high-grade club electro and Call Super brilliantly slows things down on the dewy-eyed shuffle of "Echothread".

Review: Over the past few years Nick Gynn has been whipping up a storm with his loose and limber strain of trance-inflected club melters. Now he's landing in exactly the right spot to kick off 2022 alongside the good folk at EYA Records. Minting their Lonewolf series specifically, the 2000 & Something EP deals in maximal acid wrigglers with a playful but dark-tinted edge which should go down very well with the buoyant wave of psychedelic party people. Watch out for the electro stylings of 'Ritmos Obscuros', which closes out the 12" in body-popping fashion.

Review: Having built his reputation via a trio of must-check EPs on Bokeh Versions, Mars89 transfers to Alex Hall's "mutant electronics" imprint Natural Sciences. The producer is a neat fit on the imprint, with "2020" containing a quartet of creepy, hard-wired, industrial-tinged cuts that seem eerily fitting for these troubled times. He begins with the bone-rattling beats, machine-gun percussion hits, ricocheting metallic clonks and gut-punching bass of "GoodThing", before successfully fusing mutilated industrial sounds and paranoid rhythms on "JoyCamp". Over on side B, "DayOrder" is a strangely swung slab of mind-altering electronica that defies easy description, while "MiniLuv" is a thumping stomp through lo-fi techno territory in the company of a steroid-fired monster.

Review: After launching last year via an arguably overlooked EP from Obsidian, Parallel Connection has made us wait a little while for the London label's second release. It comes courtesy of Sela, a 25-year-old French producer who apparently honed his soon to be trademark sound while living in the UK. There's much to enjoy across the four track missive, from the alien electronics, loose-limbed broken electro beats and chiming lead lines of '2020 Connection' and sub-heavy, acid-flecked stomp of 'Animal Kingdom', to the pitched-down electronica eccentricity of 'Really Get Fucked' and the psychedelic late-night tech-house hedonism of 'Mr Rabbit', which boasts bleeping melodies reminiscent of both mod-90s ambient techno and Yorkshire bleep and bass.

Review: The evolution of Justin Vernon from the broken-hearted, falsetto-voiced troubadour who emerged from his cabin to deliver his debut eight years ago to the here and now may seem downright implausible, yet the facts of the matter are this - '22, A Million' is proof positive that he is one of the most multi-faceted and enigmatic and inscrutable artists we have at our disposal, still capable of delivering heart-rending beauty in song form yet also of marrying it to wilful abstraction in a way that not only offers emotional resonance yet reflects and refracts its surrounding era to offer succour and salvation. Sing it from the rooftops, this is little short of a complicated modern masterpiece.

Review: Over the last decade, Inokashira Rangers have proved that you can turn pretty much any track - whether it's a TV theme tune, rave banger or grunge classic - into a reggae or rocksteady gem if you know what you're doing. They're at it again on their latest "45", which opens with a storming, largely instrumental reggae-soul version of Edwin Starr's 1968 soul classic '25 Miles'. Their version - full of reverb-laden drums, fuzzy organ motifs, mazy solos, warming bass and JB's guitars - is naturally hugely different to Starr's version, but recognisably the same song. Their flipside take on Spinners' classic 'It's a Shame' is rather more difficult, with the trio slowing it down to a skanking reggae crawl while retaining the familiar melodic refrain.

Review: On their hotly anticipated debut album, Passive Refraction invites us up to the "27th Floor" of an imaginary hotel in the heart of Tokyo, a place where you can gaze in wonder at the neon-lit cityscape. Musically, it's an immersive experience, where dreamy, slowly unfurling ambient chords and vivid synthesizer sounds reminiscent of Vangelis' "Blade Runner" soundtrack intertwine with sampled voices, hazy aural textures and quietly loved-up melodies. It's the kind of album that you can imagine being classed as a 21st century ambient classic 20 or 30 years from now, which we think you'll agree is high praise indeed.

Notes: ADSR is a four stage linear envelope with two expressive ranges. Each stage can be modified independently allowing for the creation of complex, multi-segment envelopes. Great for modulating filters, VCAs, and oscillators.

Notes: ADSR is a four stage linear envelope with two expressive ranges. Each stage can be modified independently allowing for the creation of complex, multi-segment envelopes. Great for modulating filters, VCAs, and oscillators.

Notes: Arp is a gate-driven arpeggiator with a multitude of chord types and playback modes. Voltage control over both root note and chord type allow for sequencing any combination of chords in any key imaginable.

With the rate of the arpeggio and reset capability in your own hands, you're free to create dynamic rhythmic melodies from your favourite chords. Take your tonality for a ride with Arp.

Notes: AVert is a dual attenuverter. Each channel offers the ability to attenuate and invert any input signal. The signal present at channel one is normalled to channel 2, allowing for two unique output signals from a single input. Get Inverted.

Notes: The 2hp Buff is a buffered multiple capable of splitting an input signal to multiple outputs. Due to its active architecture, inputs retain their full integrity as they are copied to multiple destinations. One input signal can be copied to six outputs, or two inputs can be copied to three outputs each. The Buff is especially great for splitting pitch or audio signals where signal integrity is critical. Keep your signals in shape with Buff.

Notes: Clk is a voltage controlled clock generator with all the features a master clock needs. It has an extremely wide range from ten seconds between pulses well into audio rate. In addition, the pause button and CV input provide an expressive feature that is all too often missing in a modular setup. Stop using LFOs or other modulation sources for your master clock, and let Clk do what it's best at.

Notes: Delay is a flexible, full-featured delay audio processor. CV over all parameters provides dynamic access to its nuanced controls. The feedback path ranges from slapback to infinity, allowing for wild permutations of the original signal.

With delay times from milliseconds to nearly two seconds, Delay is sure to find a use in every patching situation. Add subtle echo to a melodic line, or crank up the feedback and hear a bed of layered sounds to bury your listeners in.

Notes: Div is a 2 channel, voltage controlled clock divider and multiplier. Incoming clock signals can be multiplied or divided by a factor of 16 with a multitude of values in between.

CV inputs provide external control of the current clock rate, allowing for the creation of dynamic rhythms from a single clock signal.

Notes: Euclid is a rhythmic pattern generator based on ideas originally presented by Euclid, the Greek mathematician. The Euclidean algorithm can be adapted to create rhythms by taking the total number of active steps in a sequence, and then distributing them across the entirety of the pattern.

This creates cyclical rhythms that are immediately musical and can be used for everything from EDM to IDM. Bring your patches full circle with Euclid.