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Review: Hailing from Spain's Non Series label, Ritmo Oscuro' offers a diverse techno exploration. Sciahri / Conceptual join forces to delve deep into the title track and evolve it enough to make alternate versions stand on their own. The original track oozes sci-fi ambiance with its heavy beat and eerie atmosphere. 'Ritmo Oscuro 2' shifts towards a more aggressive, energy-building tech sound. LDS' remix brings broken beats and distinctive sound effects. Finally, 'Ritmo Oscuro 3' transports listeners to the 90s with its ravey, linear techno. If you are looking for some percussive, sci-fi techno then look no further then this.

Notes: Carbon fibre anti static stylus cleaning brush from Pro-Ject for getting dust and debris off of your stylus.

Review: The Athens of the North label is a blessing for those whose tastes in soul, funk, disco and boogie tend towards the obscure and ludicrously hard-to-find. Their latest re-issue fits into both categories. Seemingly the only single they ever released, "Confrontation" came out in 1981 on Arista but copies have since proved incredibly hard to find; so hard, in fact, that original 7" singles now change hands online for nearly L300. The title track, produced by A Taste of Honey's Perry Kibble, is brilliant, though, delivering a soulful, heartfelt disco-funk jam full of smooth backing vocals, bubbling clavinet lines and deliciously righteous horns.

Review: Mystery label Digwah debuted in the summer, with a soul soaked trip into minimal techno territory that was supported by Ricardo Villalobos, amongst others. Like that 12", Something Else is a single-sided, hand-stamped affair, with no information given about the identity of the producer (or producers) involved. This cut retains the late night techno vibe of the original, but with percussion and whizzing electronic noises that recall classic tech-house from the likes of Swag, Rob Mello and David Duriez, rather than Berghain-friendly minimalism. The subtle, party-minded approach is confirmed by the use of cut-up vocal samples from Cuba Gooding Jr's "Happiness Is Just Around The Bend", which also featured on Nightmares On Wax's 1990 bleep techno anthem, "Aftermath".

Notes: A popular replacement stylus. Individually packed in a plastic case. Made in Japan.

Review: Twenty years ago it sounded like an oddly poignant evocation of pre-millennial tension. Two decades later it stands as an eerily prescient glimpe into the technological alienation and dislocation of of a new era. Yet more importantly, OK Computer is no more or less than a sparkling, dramatic and moving collection of songs that haven't lost any of their impact in the interim. The sound of a band stubbornly refusing to follow up the stadium-strafing stylings of its predecessor The Bends - and instead bursting headlong into experimentation and wild creativity -is portrayed in still more vivid colours by the alarmingly strong collection of out-takes and B-sides collected herein, Yet there's no getting away from the chill and spark that marked out OK Computer from everything surrounding it in the post-Britpop malaise, and continues to do so in the pre-Brexit counterpart.

Review: Given the brilliantly simple concept behind this fine compilation - contemporary Detroit producers remix Funkadelic - we're rather surprised nobody's done it before. With 17 varied re-rubs stretched across three slabs of wax, there's naturally plenty to enjoy. Highlights come thick and fast, from the deep house/P-funk fusion of Alton Miller's take on "Get Your Ass Off and Jam" and Andres' loose, hip-hop influenced revision of "Music For My Mother", to the thrusting loops and heady late night hypnotism of Anthony Shake Shakir and T-Dancer's version of "Standing on the Verge". While many of the versions stay relatively faithful to the original, the more "out-there" interpretations - see BMG's outer-space ambient dub of "Maggot Brain" and Moodymann's epic revision of "Cosmic Slop" - are also consistently impressive.

Review: We Out Here, Brownswood Recordings' latest compilation, was born out of a desire by label boss Gilles Peterson to capture the essence of London's contemporary jazz scene. To ensure a sense of there "here and now", Peterson invited some of the city's brightest young bands and musicians into the studio in August 2017, recording the results over three action-packed days. The resulting never-heard-before tracks are, for the most part, joyous and thrilling, and range from trad jazz, jazz-funk and Latin jazz to acoustic-electronic fusions and groovy, guitar-laden downtempo explorations. It feels like a glimpse of a scene on the rise, and we wouldn't be surprised if many of those involved become modern British jazz greats in the years to come.

Review: Given that copies of the original 7" release flew off the shelves in record time, it's heartening to see that Classic has decided to give Sophie Lloyd's brilliant "Calling Out" a proper 12" release. Her fantastic original version - a jaunty, floor-friendly gospel treat that sits somewhere between house and disco - is this time accompanied by two fresh rubs from Robert and Lyric Hood's Floorplan project. Naturally, both mixes move further towards sing-along gospel house territory with the fantastic Revival Mix - all crunchy Chicago drums, wild organs, jaunty pianos and relentless chorus - hitting home particularly hard. It's very rare that we describe an EP as being "flawless", but this is as close to perfection as you'll find.

Review: The shadowy EEE series has already brought us tasty and much-played tech-house interpretations of a familiar jazz-house gem and a string-laden '80s synth-pop shuffler. Their third single-sided affair - as championed by Zip and Riccardo, no less - takes on a much-loved early noughties R&B classic, placing carefully selected and sequenced vocal snippets around a seriously snappy and sub-bass-heavy groove. Although tech-house in style - note the glitchy electronic noises and spacey effects fixed to the beats - the track's infectious rhythm track was clearly influenced by the current electro revival. This added swing and shoulder-swinging looseness, coupled with the familiarity of the vocal elements, makes EEE03 a guaranteed peak-time winner.

Notes: Double adapter splitter plug, pair of female stereo 3.5mm mini-jack to male stereo 3.5mm mini-jack plug.

Notes: A&H's excellent Xone:23 mixer gets tweaked for digital DJ software use and becomes the 23C. Clever solution with all the usual Xone sound quality plus a built-in audio interface. Slick.

Supplier notes:
The Xone:23C brings together the best of digital DJing and conventional mixing in a compact accessible format.

This high performance DJ mixer is equipped with a premium quality, 4 stereo channel 96kHz 24bit internal soundcard and offers plug n' play connection via X:LINK to Xone:K series controllers, making it perfect for performers looking to combine the convenience of digital DJing and recording with the hands-on control and visual appeal of a real mixer.

Xone:23C includes an enhanced version of the legendary Xone filter with resonance control, VCA faders, 3 band total kill EQ, illuminated switches, crossfader curve selector and styling inspired by the flagship Xone:DB4.

At the heart of the mixer is the renowned analogue Voltage Control Filter (VCF) system offering Low-Pass and High-Pass filters, frequency sweep and 'mild to wild' resonance control. There is also an FX loop to connect to third party FX units, which route back in through the filter system.

Xone:23C features 2+2 stereo channels with dual levels for phono and line inputs, allowing four music sources to be connected at the same time, including turntables and CD/media players. Additionally, the internal soundcard enables replay and recording from DJ software, offering users all the benefits of digital DJing whilst using hands-on mixer controls.

The main mix output and mic input are on professional standard balanced XLR's, and there is a dedicated record output. The Xone:23C is equipped with comprehensive monitoring facilities, including a dedicated booth output with its own volume control, a cue mix control, and signal levels clearly displayed on the 9 segment peak hold meters.

Styled on the flagship Xone:DB4, the Xone:23C includes soft touch, backlit controls, light-piped meters and a distinctive new shaped steel faceplate. The mixer can also be upgraded with the latest Innofader for enhanced scratch performance, available as an accessory.

Xone:23C comes with Mixvibes Cross LE Software, providing DVS control and plug n'play mapping for Xone:K series controllers.

Notes: This new line of performance vinyl features a re-mastered Serato NoiseMap Control Tone that is 6db louder than existing pressings, allowing for precise tracking, better vinyl wear and the most authentic feeling digital vinyl experience on the market. The new Performance Series pressings are packaged as a double set and feature a wide range of new colours.

Vinyl is a strange old girl. The manufacturing process - one part sweat, one part maths and one part magic, is not an exact science. While every record pressed is a high quality product and will perform flawlessly, there can be some variation in the colour throughout a run. Every record is unique.

*** PLEASE NOTE: AS WITH ALL COLOURED VINYL, THERE MAY BE SLIGHT TRACES OF OTHER COLOURS WITHIN THE VINYL. THIS IS NORMAL AND DOES NOT MEAN THE VINYL IS DEFECTIVE. IT DOES NOT ADVERSELY AFFECT THE PRESSING IN ANY WAY AND RETURNS OF THIS NATURE CANNOT BE ACCEPTED ***

Notes: The new Headphone-Case II can hold any common foldable and non-foldable DJ or studio headphones and now features a mesh pocket for USB flash drives.

Fits:

Sennheiser HD-25, Sennheiser HD-8, Sennheiser HD-7, V-Moda Crossfade, Pioneer HDJ-700R, Pioneer HDJ-1500K, Pioneer HD-2000, Ortofon O2, AIAIAI TMA-2, AIAIAI Studio, Technics HP-1200 /1210, Technics RP DH 1200, Shure SRH 40 /20, Beats by Dr. Dre Mixr, Beats by Dr. Dre Studio, Nocs NS900, Reloop RHP 30, Reloop RHP 20, Reloop RP-15, Ultrasone DJ-1 Pro, etc.

Basics:

Lightweight Durashock molded EVA foam and polyester exterior shell
Zip-compartment for USB flash drives
Including carrying handle and adjustable + detachable shoulder strap

Specifications:

Outer dimensions: 18 x 20 x 9 cm
Inner dimensions: 17 x 19 x 8 cm
Weight: 0,3 kg
Colour: black/black

Notes: The Chord cable lead is the high quality audio lead for exceptional sound quality and reliability. The high grade cable comprises 2 insulated pure copper cores and global shielding. The durable PVC sheath has a soft texture and is reinforced with cotton cord to avoid tangling. Each end is terminated with a pro-quality 6.3mm stereo (TRS) jack plug.

Notes: A high quality MIDI cable for connecting music controllers and devices together. Strong and flexible cable comes with low loss conductors and global shielding ensure a clean data stream. It is terminated at each end with a 180- 5-pin DIN plug.

Notes: Special self-acting liquid that removes dust, dirt and dried liquids groove-deep and without residue.

Review: It would be fair to say that Studio K7 has pulled off something of a coup in getting Kenny Dixon Jr. to agree to compile and mix the latest installment in the long-running DJ Kicks series. It is, somewhat remarkably, the legendary Detroiter's first commercially available mix set. This triple-vinyl edition features a whopping 19 cuts - all in unmixed form - from the 30 track mix. Musically, it's a blazed, jazzy, soulful and groovy as you'd expect, and contains a mixture of downtempo beats, nu-jazz and hazy house cuts from the likes of Flying Lotus, Dopehead, Peter Digital Orchestra, Nightmares On Wax, Soulful Session and Lady Alma.

Review: What is left to be written about the debut Joy Division album that hasn't been written already? Well, not much except to say if you've never heard it, you must. This is the more raw of the two studio albums, powered mainly by the foundations laid down by bassist Peter Hook and drummer Stephen Morris. But although the rudimentary electronic experimentalism of its successor Closer are missing - with the possible exception of 'She's Lost Control' - Martin Hannett's production job creates an uneasy world of magical reverbs and echoes that lure in the listener. From its iconic, Peter Saville sleeve to classic songs like 'Shadowplay' and 'Interzone' - which started life as a cover of Nolan Porter's Northern Soul cult hit 'Keep On Keeping On' - this is the template that effectively launched a thousand bands, from indie and post punk to goth and beyond.

Notes: Adaptor with 2 x phono sockets to 2 x phono sockets

Depth (mm): 10
Height (mm): 30
Width (mm): 25
Product Dimensions (mm): 30x25x10
Net weight (kg): 0.010
Colour: Black

Review: If you want hugs on the dancefloor deep into the night, Late Night Tough Guy's (formally DJ HMC) "Bless The Rains" is the perfect drug. The Adelaide based luminary rehashes Toto's "Africa" in a heavily pitched down and simple edit fit for any fromage-laced discotheque. Skirting around the throbbing bassline and triangle hits of "My Body On Fire" is a vocal that will have some train-spotters pulling their hair out in frustration, while "Not In Love Anymore" will have both Warren G/Nate Dogg and Michael McDonald fans bumping and grinding to excess.

Notes: 80cm x 10 Party Colours (2 Blue, 2 Pink, 2 Green, 2 Purple, 2 Fuscia).

Review: The last ten years have seen no shortage of bands with their delay pedals set to stun intent on capturing an aura of dreamlike radiance. Yet Texas 'pop-noir' troupe Cigarettes After Sex are no ordinary shoegazers, for a variety of reasons - frontman Greg Gonzalez' androgynous and dulcet tones may be part of the appeal, yet moreover it's the quality of the songwriting here, which never falls prey to the style-over-substance traps of their peers. Indeed, this debut is more than enough to justify the considerable hype around this outfit, being a collection of ditties as sultry as they are atmopsheric.

Review: By the time he recorded Gail, Michel Sardaby was already an established player on the European jazz scene. The Martinique-born pianist had made a string of memorable guest appearances and released two well-regarded albums before he set foot in Media Sound Studio in New York City in February '75. The resultant set, recorded with local jazz and funk musicians, has long been an in-demand record on both the jazz and jazz-funk scenes. The tracks touch on both, as well as contemporaneous modal jazz. While bassist Richard Davis and drummer Billy Hart play their part, it's Sardaby who is the real star, delivering a thrilling range of riffs and solos on piano and Fender Rhodes.

Review: What can be said about this timeless banger that hasn't been said before? From the iconic throbs of acid to the delirious string hook, the menacing intonation of "ecstasy" to the eerie plastic strings, this is as seminal as a rave track can get. While many out there will no doubt have this jam tucked away on any number of techno compilations or cramped up on one of the original single issues, "Energy Flash" is a track more than worthy of its own luxuriant single-sided release, and in doing such a release so many years on R&S are making a powerful statement.

Review: The Beats and Breaks series of "Extended Break Edits" has so far succeeded in its stated aim to provide DJs with simple but devastatingly effective rearrangements built around lengthening key percussive packages. The mystery editors behind the series are at it again here, first looping up the distinctive, cowbell and triangle-driven drum passages dotted throughout Bob James' classic "Take Me To The Mardi Gras". On the flip, they take their scalpel to David Matthews' 1977 jazz-funk gem "Sandworms", casually making merry with the proto hip-hop beat, rubbery bass guitar, flanged guitar riffs and snaking saxophone solos.

Review: Texan soul man, Frank Wilson, receives a timely repress of his 1965 monster "Do I Love You (Indeed I Do)", a tune which remains highly sought-after in its original format, and one that is bound to fly off these shelves like hot cakes! Outta Sight's done a great job here, and the quality is class, offering the original cut in all its majestic, romantic glory...oh, do we love this! The flipside is the mellow "Sweeter As The Days Go By", a certified love ballad that is a pleasure to the senses, each and every time...

Review: There's no doubting that Idris Muhammad's "Could Heaven Ever Be Like This" is a stone-cold classic; a sparkling, heavenly chunk of dreamy, disco-era jazz-funk that's capable of reducing grown men and women to tears when played at the right time. Some could argue that it's so good that it shouldn't be tampered with. Late Nite Tuff Guy, a producer who previous for reworking classic cuts, clearly disagrees, because he's delivered a fresh 2018 revision. His version is actually rather reverential, subtly beefing up the bottom end to provide a little more a rolling disco feel while adding some easy-to-mix beats at the beginning. Otherwise, he's made use of all the key original instrumentation and should be applauded for his tasteful efforts.

Notes: IsoAcoustics introduce the next evolution of their specialized line of speaker stands for the audio professional, music hobbyist, audiophile, and music lover. The new ISO Series of speaker stands provide superior acoustic isolation and enhance the sound clarity of any speakers including studio monitors, home theatre systems and sound reinforcement.

With a lower profile and new contemporary design, the ISO Series of stands positions your studio closer to the supporting surface or meter bridge, and the new redesigned isolators moves the acoustic performance another step forward.

IsoAcoustics ISO Series speaker stands are built with a unique, patented isolation technology that provides a high degree of isolations and manages the speaker's energy to deliver authentic, uncoloured sound. This next generation of speaker stands effectively eliminates energy transfer into the supporting surfaces. Bass becomes tighter, overall imaging is enhanced and your speakers are enabled to perform to their full potential. Following the same design philosophy as the ISO-L8R Series, these isolation stands provide 14 variations of height and tilt adjustment to optimize the placement and performance of studio monitors by getting the tweeters in the correct alignment with the listening position.

Whether you're a pro mixing in the studio - a musician creating in a home project environment - or an audiophile who appreciates every nuance of music and sound - you'll hear and appreciate the difference with the ISO Series speaker stands. It's simply the best investment you can make for superior audio.

ISO-155:

Designed for medium size speakers and studio monitors. These stands provide 14 variations of height and tilt to optimize speaker placement and performance. Isolate your studio monitors from the supporting surface and allow them to breathe so they can deliver the clearest and most accurate sound possible.

6.1"x7.5"/15.5x19cm Short: 2.9"/9.5cm Tall: 8.75"/22.5cm 40 lbs/18kg

Review: A new project based out of Copenhagen - Aether's Spring comes shrouded in mystery but makes a bold statement with this first transmission. WATER: Dancing Moon 12" leads in with "House In Blue Rain," a downcast track bathed in melancholic pads and blown out percussion around a steady 4/4 tick. "Dancing Moon" is a more kinetic affair that works with all kinds of synth shapes alongside some primal drum machine percussion that lends the track a new wave quality that suits it just fine. Closer "Throne Of Clay" spreads across the B side in a brooding, journeying epic fit for the likes of classic James Holden or a more wave-minded Jon Hopkins.

Review: Lux Interior and Poison Ivy, of Cramps fame, team up to deliver Leather Jackets and Diesel Smoke, a whopping 50-track compilation that documents their utmost personal favourite rock recordings, in the micro-veins of acid folk, rockabilly and psychobilly. We'll doff and eat our hats if both said punk legends' rising signs aren't Scorpio. With madcap performances from Donnie James with the Mighty Joe Houston Orchestra, Tall Tonio And The Mello-Dees, Chris Christian And The Chordaires, Elisabeth Waldo, Fred Katz and John Reedy and His Stone Mountain Trio among many more, this is a cavalcade of no-hit wonders, every last one of them a gem. Amounting to a contemporaneous account of the music that The Cramps heard and loved during their rise to notoriety, not to mention the lesser-known music that would've graced the halls of New York's CBGB club, of which they were favourite performers.

Review: Norwegian trumpeter Arve Henriksen and Dutch pianist Harmen Fraanje strike a fine balance on their latest collaborative jazz record Touch Of Time. Warm and tender throughout, this is a back-alleyed melanchole, with its stark counterpoints between piano and trumpet somehow eliciting the audio-sensation of more instrumentation than there is - a gestalt of ghosts. Gradients of emotion wax and wane like the strange blue lights that are often visible when one's eyes are closed. Produced by Manfred Eicher at the Auditorio Stelio Molo in Lugano, this is fine recording indeed.

Notes: 6.35mm mono Jack plug to phono (RCA) socket, metal.

Review: A home strictly for the tuffest cuts from the tuffest guy since last year, the Tuff Cutt label returns with a sixth grip of edits from Australia's finest exponent, Late Nite Tuff Guy. One of the country's true pioneers of house and techno under his previous House Master Cam guise, Carmelo Bianchetti has enjoyed a second wind as edit machine Late Nite Tuff Guy. Any jobbing selector that dips between house and disco will find these four cuts more than useful, featuring perfectly calibrated revisions of Aretha Franklin, Diana Ross, Revelations and The Jacksons. The latter take on "Shake Your Body (To The Ground)" is guaranteed to rescue any dancefloor.

Review: Yes, here we go, another lovely reissue of this utter Mood II Swing classic from the 90's! Last time we saw this it was on a considerably grubbier bootleg and featuring only the two mixes of "Move Me"- which are obviously the bees-knees in house music and probably as pioneering as the Chicago generation before them (that bassline on the original mix is simply irresistible!) - while this time you also get "Call Me" and "Function", two dusty-as-hell floor swipers that'll get anybody swinging from side to side with the right mood...

Notes: These high quality, durable felt material slipmats are ideal for home, studio, club environments or in competition. Resistant to dust and other particles, they so will not scuff, scratch or damage your vinyl.

Compatible with all turntables

Notes: Balanced microphone/audio lead terminated at one end with an XLR socket and at the other end with an XLR plug.

Notes: The SlingBag is a medium size bag that holds approximately 50 Vinyl records or a (MIDI) controller, an Audio Interface, a Headphone and cables. A perfect bag for the starting DJ.

It has a pocket on each side and one full size pocket in the front. Next to this the bag features the special steel bolts which make it impossible for grips and straps to break loose from the bag. The SlingBag can be used as a set in combination with the UDG SlingBag Trolley. A perfect size bag for a quick DJ set!

*Photographed records are not included

Review: "Besides selling 40 million albums and winning 9 Grammys in less than
10 years, over the years Norah Jones has collaborated with dozens and
dozens of artists from across the spectrum of music. This album collects
Norah's favorite collaborations from 2001-2010 into one amazing
collection: legends like Ray Charles, Willie Nelson and Herbie Hancock,
rock artists ranging from Foo Fighters to Ryan Adams to Belle and
Sebastian, hip hop luminaries OutKast, Q-Tip and Talib Kweli. No
matter the genre however, Norah's enchanting voice is the common
denominator and while the partners are varied, she ends up owning
every song and this album is a wonderful collection that holds together
brilliantly. The album is a testament to Norah's status as one of the most
in-demand and tasteful musical connectors in music. This album will
be an amazing gift item for any Norah fan and will be hard to miss this
holiday season and then again for Valentine's Day.

TRACK LISTING:
1. Love Me - The Little Willies
2. Virginia Moon - The Foo Fighters featuring Norah Jones
3. Turn Them - Sean Bones featuring Norah Jones
4. Baby It's Cold Outside - Willie Nelson featuring Norah Jones
5. Bull Rider - Norah Jones and Sasha Dobson
6. Ruler Of My Heart - Dirty Dozen Brass Band featuring Norah Jones
7. The Best Part - El Madmo
8. Take Off Your Cool - OutKast featuring Norah Jones
9. Life Is Better - Q-Tip featuring Norah Jones
10. Soon The New Day - Talib Kweli featuring Norah Jones
11. Little Lou, Prophet Jack, Ugly John - Belle & Sebastian featuring Norah Jones
12. Here We Go Again - Ray Charles featuring Norah Jones
13. Loretta - Norah Jones featuring Gillian Welch and David Rawlings
14. Dear John - Ryan Adams featuring Norah Jones
15. Creepin' In - Norah Jones featuring Dolly Parton
16. Court & Spark - Herbie Hancock featuring Norah Jones
17. More Than This - Charlie Hunter featuring Norah Jones
18. Blue Bayou - Norah Jones featuring M. Ward"

Review: Last year, the Expansions label kicked off a wonderfully intriguing 10" series featuring classics from soul music's rich canon complemented by contemporary cover versions and so far it's seen Blue Note troupe Quasimode tee off against Johnny Hammond and Bembe Segue challenge Norman Connors. A third edition duly arrives and hints Expansions are really enjoying the creative challenge the concept allows them with the jazz funk classic "Zaius" from Eddie Russ joined by a cover from the celebrated UK funk veterans Incognito. Originally appearing on the 1976 LP See The Light, "Zaius" is a blinding example of why Russ is described a master of the keyboard and it's complemented well by Incognito's B Side cover which appears on vinyl for the first time. Don't sleep!

Review: After 1972's seminal Ege Bamyasi, the German Krautrock legends released what is one of our personal favourite Can LPs. Aside from being the last work of theirs to feature the vocals of Damo Suzuki, it's a seriously deep and full-bodied piece of work, as you'd expect from the band. The title track itself is a hypnotic, visceral journey through space and time, but all the tracks on this are pure classics. You even get their poppier of moments in the form of "Moonshake". Don't ask any questions, just cop it. Essential gear.

Notes: Practical care set for basic cleaning. Lasting antistatic effect with Disco-antistat mixture, a special self-acting liquid that removes dust, dirt and dried liquids groove-deep and without residue.

Notes: Drying stand for the Disco Antistat record cleaning machine

Notes: The black card high-gloss finish record sleeve has 2 x holes and no spine. It needs no inner sleeve.

Review: Flying Lotus collaborator Thundercat returns to Brainfeeder with his first full album since 2013's superb Apocalypse. Presented over four coloured pieces of 10" vinyl, Drunk is a thrill-a-minute, mix-tape style trip through the multi-instrumentalist and beat-maker's various inspirations (think skewed hip-hop, jazz, soul, funk, left-of-centre electronica, and so on), all of which have been fused and mutated to fit his unique musical perspective. His high standing within the leffield hip-hop community has allowed Thundercat to snag some impressive guest stars, too, including Kendrick Lamarr, blue-eyed soul legend Michael McDonald, Kenny Loggins, Pharell and jazz man Kamasi Washington. Old pal Fly-Lo also lends a hand.

Notes: The Dr Suzuki Kuttin' Donuts 7" Slipmat is designed specifically for scratch DJs, with its lightweight and highly durable design, the Kuttin' Donuts 7" uses high density felt to reduce vibration and provide added stability for your records for an improved scratching performance. The specialised material Dr Suzuki uses for the slipmats results in the best performance and hand control on your turntable.

One of the most unique features of the slipmat is its ability to reduce wobble/warp issues you may encounter while listening to warped or damaged records. This helps the record to sit snugly between the slipmat and needle for improved performance and audio fidelity. The slipmat is also breathable, for heat control on your vinyl record, minimising any warping or damage you may incur from extensive use. The superior durability and anti-static design will complement your scratching and protect your records while in use.

Notes: The best value rotary mixer on the market. Entry-level rotary option from German brand Omnitronic offers similar features and sound to boutique mixers three or four times the price.

Supplier notes:
The TRM-202 MK3 by Omnitronic with its classic ALPS potentiometers (Blue Velvet RK27) and the integrated 3-band frequency isolator offers the classic features of a rotary mixer.

Due to its high quality components, the sound pattern is good and appealing. The large potentiometers of both input channels allow very smooth transitions, hardly realizable with a conventional mixer. Both input channels can be switched between line and phono. A microphone input is also at hand. The kill characteristic provides a total erasure of basses, mids and highs and so enables creative mixing. Due to its booth output and a separate volume control, the TRM-202 MK3 can also be used in clubs without a problem. Thanks to the record output, it is also possible to record own's DJ set.

Notes: Module A-124 is a special 12dB multimode filter using the "strange" filter circuit of the "EDP Wasp" (an analog synthesizer with black/yellow case built end of the seventies, manufactured by the UK company "Electronic Dream Plant" with Chris Huggett und Adrian Wagner). This design "abuses" digital inverters as analog operational amplifiers leading to distortions and other "dirty" effects that generate the specific sound of this filter. The filter is equipped with a band pass output and a combined low/notch/high pass output. For this output a control knob defines the relation between low and high pass signal. If both signals appear at the same level (i.e. middle position of the Mix knob) one obtains a notch filter. Otherwise the low or high pass signal predominates. The module does not feature self-oscillation in contrast to most of the other filters of the A-100 system.

Inputs: Audio In, CV In (2x)
Outputs: Bandpass Out, Low/Highpass Mix-Out
Controls: Audio and CV attenuator, Frequency, Resonance, LP/HP Mix

The function and operation of this module is very similar to the module SEM VCF A-106-5. But the sound of both filters is very different! The only functional difference is the position of the sockets and controls, and the function of the controls CV2 (A-124: normal attenuator, A-106-5: polarizer).

- 3U Eurorack module, 8HP wide, 45mm deep
- Current draw 30mA

Review: Silvana Noris was tragically overlooked back in her mid 80s heyday, laying down just three singles before drifting onto pastures new. Best Italy have dug out her shimmering Din-Don single and given it the new lease of life it so richly deserves, helped a little by DJ Harvey testing the cut out on his turntable travels. Noris' vocal is a curious wonder to behold, hitting a low register and imparting a gravelly tone that sits atop the punchy boogie production. Another slice of disco manna makes its way back into the limelight thanks to Best.

Notes: Tonar replacement needle/stylus for Shure M-44-7. Diamond tip.