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Review: The first Blue Note Re:imagined album was frankly brilliant - an imaginative, inspired and thoroughly brilliant set of covers of classic cuts from the label's catalogue, expertly realised by a cast of 21st century UK jazz and soul talents - so hopes are naturally high for this sequel. We shouldn't have worried, to be honest, because it's another terrific collection. Our picks of a very strong bunch include Swindle's orchestra-sporting, jazz-funk-goes-hip-hop-soul take on Donald Byrd's 'Miss Kane', Ego Ella May's gently dubby, head-nodding and sunrise-ready re-imagining of Chico Hamilton's 'The Morning Side of Love', an ultra-dreamy, pedal steel-sporting cover of 'Harvest Moon' courtesy of Maya Delilah, and a tactile neo-soul interpretation of Marlena Shaw classic 'Feel Like Making Love' by Kay Young. Impeccable.

Review: As the title suggests, this brand new compilation from the legendary jazz label Blue Note finds a wealth of the UK's most exciting new and young talents turn their hand at reimagining a selection of classic Blue Note tracks. The wonderful sax player Yazz Ahmed kicks off with her take on 'It' which his all alluring and deep, and across the other 15 cuts the likes of Brit Award-winning Jorja Smith appears with her own distinctive voice, the much hyped - and rightly so - Nubya Garcia also adds her own contribution and Aussie soul boy Jordan Rakei serves up some buttery sounds.

Review: It's safe to say that Aqualung's eponymous debut album was very much a product of its time. A period when alt-leaning rock-y balladry packed with a forlorn, almost melancholic atmosphere and off-key melodies had taken over the mainstream in a fevered clamour to resurrect an indie scene that had been running out of ideas since the waves of Britpop began to recede.

None of which is a criticism, but rather a prelude to hearing this spectacular record again, at which point you're likely to be transported back to watching the VW Beetle ad that used the track 'Strange and Beautiful', and the first season of Skins (which featured 'Good Times Gonna Come'). Stadium sized quiet bleeding romance, heartbreak, and an introverted attitude, it's no wonder this record catapulted Matthew Nicholas Hales - as the artist was born - into the upper echelons of producers, songwriters and collaborators (the list of who he's worked with is, to put it mildly, impressive).

Review: The glorious Athens of the North label will always be one of our favourites. It is pretty much buy on sight for lovers of soul, funk and disco and this month it is serving up two more unmissable long players. Here it is Ike and The Uptights and their superb sounds which make, what me might bravely, say, could be one of this always high class label's finest releases. Formed by Henry Bradley in Forrest City, The Uptights recorded for Memphis label Action Records and here we get a perfect window into their world of raw and guttural funk.

Review: No digital, vinyl only. Save for these previews on Juno. Art Of Dark are one of just a handful of UK labels pushing 2-step garage in the best way they know how - 'keeping the tradition alive', if you will. Farty and strange as hell comes 'Hillyfields Warrior', referring to a lesser-known park in Hither Green known for its illegal parties and mystical properties. The A-side continues to be helmed up by proder JM Project, with 'Meltdown' serving harder and choppier flavours. Keo Lab handles the B and opts for nuskool electro and breakstep on 'Rich Cascade' and 'Swarm'.

Review: If you're looking for online evidence that Rust even existed then prepare for at least three Google searches. These guys aren't the rock band from Helsinki, Finland, that formed in 2001. Nor are they the mid-1980s classic rock covers outfit. The fact those other two groups used the same name speaks volumes about how little known this Rust are, which is criminal when you start getting to grips with this record.

British psychedelic rock at its finest, Come With Me was originally recorded back in 1969, and those in the know regard it as something of a lost mini-classic. From the off, it feels like you're spiralling down into a wormhole, surrounded by the colour of sound. From thereon in, we launch into the kind of cacophonous, blues-tinged guitar solo-filled, rhythmically infectious stuff that really should have earned this lot a chapter in the pantheons.

Review: Inell Young was a New Orleans-based singer who recorded with Eddie Bo and also had a small clutch of solo singles in the late 60s-early 70s. Soul Jazz picked up on one of Young's rarest offerings, a beautiful single which came out some time in the 60s. They first reissued it in 2014 and it keeps getting repressed for very good reason - it's just a perfect slice of southern soul. 'The Next Ball Game' is a fiery, funky number with a clattering beat and plenty of overdriven energy, raw like the best music should be but oh so sweet thanks to Young's angelic voice. 'Part Of The Game' is a swooning heartbreak ballad that makes the perfect inversion to the firecracker of an A-side.

Review: There is currently only one copy of this on Discogs and it is listed at a rather eye watering L1200. Thankfully this reissue means you can own an undeniably brilliant tune for a much more reasonable price. It is a seminal New Orleans joint from the main man Eddie Bo who made it for the hugely popular group The Explosions. Juanita Brooks is the powerhouse soul sister who provides the vocals and on the other side is something just as good - a deep soul gem to warm you to your core.

Review: Hailing from Philadelphia - currently up there with the most artistically arresting cities in the US (having spawned the nickname 'New York's most exciting borough' among those wanting weary of the Big Apple's gentrified shell) - Plastic Ivy make music that's pure drama on disc. Or digital file, depending on your chosen format. Founded by singer, songwriter and guitarist Lira Marie Landes, when teamed up with bassist, producer and engineer Daniel James Shields, the duo are something real to contend with.

Here we're given four pieces of compelling evidence proving that point. Original versions ooze a kind of affected sexuality, a retro-tinged electro-punk ride through the experimental side door of a night in the club, nodding to influences from Kitten to The Human League. Remixed, though, 'Superior Corruption' is nothing short of a banging electro number filled with attitude and cheekiness. Essential.

Review: Harlem's renowned THC fanatic Sean Pompey aka 10-year hip hop veteran Smoke DZA teamed up with LA producer Real Bad Man for this superb collaborative album back at the start of the year. It was inspired by the fact that weed became legal to be sold on the West Coast and so comes with bars that are heavily steeped in the spirit of the bud. Signature Real Bad Man beats are carriages for silky bars from DZA while plenty of solid guest appearances bolster the already fine collection of tunes. Flee Lord, NymLo and Knowledge The Pirate are amongst those contributing and it is so good to finally have these available on wax.

Review: Sugar Minott was born Lincoln Barrington Minott and not long after that he was working as a selector for the local sound system crews of his native Kingston. As a teen he launched his own sound system and then got into making his own rhythms from the late 70s and on through the 80s. Here we get 'Perilous Times' on 7" and it is a fine bit of deep and roots reggae with impassioned lyrics and fleshy dub sounds embellished with acoustic guitar leads. Black Roots Players then step up to wreck your head with the dub version in the flip side.

Review: The output from cult label Emotional Response is always varied and always vital. This time out the focus turns to Useless Users, who offer up a standout nine-track debut here. The band features former Sarah Records alumni including members of Action Painting! and Secret Shine as well as featuring Even As We Speak. The music they make is pop but with bold adventure at its heart. There are dreamy elements, big bold chords and stunning vocal deliveries as well as a few twists and turns along the way. It's a real gem with nods to sixties psyche amongst others.

Notes: Bags of character courtesy of 'tone wizard' Andy Timmons (Danger Danger). Dual delay lines work in tandem, creating stereo effects from vintage tape delay to infinite hold.

Supplier's Notes:
Andy Timmons' mysterious sounding "Halo" effect is a modulated dual echo sound that has long been kept a secret by the tone wizard himself. Andy spent decades combining and crafting the sounds you can now get from the HALO. Notes from the HALO dance rhythmically, almost creating a reverb diffusion. Those notes are held together with tape-style effects like modulation, saturation and compression. The results are stunning!

The pedal comes loaded with his signature delay tone and you can program your own sounds and save them as presets. Easily bounce between Side A and B on the fly, essentially giving you two delay pedals in one. In addition to Andy's signature "Halo" sound, there are numerous other rhythmic delays including: quarter note, dotted 8th, stereo rack mount analogue delay, and a vintage multi-head tape echo. Stunning stereo and pristine sound quality are further enhanced with controls for saturation, tone, and shelving filters that give you the ultimate delay pedal.

Think of HALO as two delay pedals that work in tandem, letting you switch between your main delay (side A) and an alternative (side B). With up to 1500 ms of available delay, set sides A and B for different delay times, then simply foot switch between the two. Keeley's Smart Stomp System allows you to press and hold either stomp switch to engage tap tempo mode. Press and hold the alternate stomp switch for infinite repeat/hold.

Each Preset bank gives you 2 delays settings for a total of 8 user-storable effects. Use the Rhythm control to select between different echoes like HALO, Analog, Tape, Quarter and Dotted Eighth. HALO's Saturate control adds tape compression texture to your tone. The Tone and High Pass Filter controls your overall delay shape and mix. The Rhythm Mode selector delivers 5 delay types, including Andy's unique "Halo" sound. Set the Time and Feedback controls low, and you can open up a world of ambient chorus and flanger effects.

Run the HALO in stereo for incredible true-stereo imaging or save your favourite combination of settings as a preset and the HALO becomes an incredibly compact multi-effect workstation!

Review: Over the last few years, the Pixies have become surprisingly prolific, serving up a string of albums that move away from their punky alt-rock roots and further towards more grandiose, immersive territory. They've subtly shifted the dial even further on Doggerel, which on this 'deluxe' edition comes packaged in a bespoke hardback case. With the assistance of producer Tom Delgaty, drummer David Lovering and bassist Paz Lenchantin, Joey Santiago and Black Francis have chosen to offer up a string of widescreen epics that variously touch on folk-rock, 1960s dream-pop, Americana, turn-of-the-90s alternative rock and the kind of classic, timeless-sounding indie that should appeal to those who came of age in the 1990s. Highlights include the psych-tinged 'There's a Moon On' and the hooky, Pulp-does-Americana flex of 'Vault of Heaven'.

Review: In a collaboration you might never have expected but somehow makes perfect sense, original Brit blues mastermind Jeff Beck teams up with a little known American by the name of Johnny Depp to render some of the latter's songs alongside some finely selected covers. From The Beach Boys to John Lennon, The Velvet Underground to Killing Joke and more besides, this is the sound of two lifelong music lovers letting it all hang out and playing with the impassioned energy and innocence of youth. More than just a throwaway side project for a global superstar, this is a deeply discerning project which frames Depp's music in a whole new light.

Review: Dance music stars don't come much bigger or more iconic than Carl Cox. The big man with the big smile and famous gap in his teeth has been at the cutting edge for decades. He plays all across the spectrum with high energy and a really infectious style. Now the legend returns with his first album in over a decade and it comes on BMG. It was written over the last two years at his home studio in Melbourne and takes his sound to a whole new level. It is also being played live by Carl on the road right now.

Review: Following on from their crushing 2020 EP, 'Beneath the Canopy of Compost', New York/New Jersey based death-doom new schoolers, Reeking Aura, deliver a punishing, pummelling blend of grandiosity and fury on their debut full-length, 'Blood & Bonemeal.' A concept album detailing the "caretaker of a desolate agricultural property and that person's struggles with morbid psychosis," this is a ferocious blend of doomscaping and death metal brutality, elevated by a three-pronged lead guitar assault. Ambitious and desolate in equal measure, with the cavernous and corrupt colliding in abrasive cacophony, this is essential metal extremity for the most hardened of audible masochists.

Review: The new Parrish single appears on vinyl in the form of two mixes differing in vibe but consistent in quality and suitability for DJ use. The original rides along on a shuffling, almost Afrobeat version of house, with Maurissa Rose's gorgeous vocal floating above the gloopy, hypnotic bassline which gets the full filter treatment. The instrumental dub places that b-line very much at the centre of the mix, starting from a single kickdrum before building up to a more techno-edged, vocal free climax. all throbbing bass, solid bears and minimal, glitchy keyboard interjections.

Review: Spanish label Sungate has become a truly buy on sight label thanks to its eye-catching artwork by Abel Fdez and scores of quality digital and vinyl releases from the likes of Jozef K & Tinman, Iori, Skudge and many more. Their latest release comes from Estrato Aurora, who you might have spotted on Bliq, and his frequent collaborator Siarem. Between them, the pair whip up a classy strain of minimally-minded electro which locks into simmering, understated beats and uses subtle atmospheric touches rather than the usual punchy synth leads and basslines you commonly associate with the genre. It's a fresh approach which serves them well, and also gives devoted electro DJs some interesting tools for tweaking the energy in a set without losing the essence of the sound.

Review: Lloydie Slim produced arguable all of the best music made by Ronnie Davis. Here comes fine expand of that with a previously unreleased tune on the Records Smith label. 'Never Leave You' comes in two parts with lovely lazy rhythms and dangling, jangling guitars over warm bass. The vocals soar and the horns bring the vibes net to Ronnie's buttery smooth vocal work. On the flip is part 2, a more stripped back version that is a little heavier and fatter.

Review: Following on from last year's excellent statement of intent, 'Nowhere Generation', Chicago natives and melodic hardcore heroes Rise Against return with the companion, sister EP, 'Nowhere Generation II'. Composed of 5 new cuts originally written/recorded during the album process, the band opted to split the 16 full songs into separate volumes, in order to give listeners an opportunity to fully digest the overarching themes of alienation and everlasting political corruption that have become ceaselessly commonplace. Anthemic, ferocious, emotive and cathartic in equal measure, this follow-up continues the momentous energy of its predecessor while putting a definitive full stop on the 'Nowhere Generation' era. Lead single, 'Last Man Standing', is also one of the most vital contributions to their own expansive canon the group have dropped in well over a decade.

Review: It was in 1990 that Bill Laswell and Richard Horowitz joined forces to take care of the production of local Gnawa musicians for this Nigh Spirits Masters album. It was recorded in the medina of Marrakesh and is an absolutely essential listen for anyone with an interest in African and Middle Eastern music. The Gnawa, if you don't know, are an ethnic group in what is today called Morocco. They are descendants of West African slaves who arrived in the 16th century and were converted to Islam but still kept with them remnants of their animistic practices. They perform a complex and long ceremony to recreate the genesis of the universe and this music is a large part of it.

Review: Andrew Chalk and Timo Van Luijk have been garnering praise for their work as Elodie for over a decade now, establishing themselves on the European ambient circuit as fine purveyors - nay, creators - of blissful music by way of improvisational techniques and processes. Not that you'd be able to tell given how finished and fully formed things sound on every track.

The two offered here are a case in point. Look beneath the hood though, and you start to see the tell-tale signs that not everything here was planned. It's too good, and feels too natural for that to have been the case - beautiful moments captured in a crystalline recording, never to be repeated again. From waves of background synth to chimes, twinkles and serene oceans of atmosphere, it's really rather special stuff.

Review: You can always rely on the Cocoon compilations to bring you a high level of quality control and an authoritative overview of the state of techno around the time of release. This mammoth six-LP set will give you a lot of music to work with, and it's featuring a dizzying cast of high-end operators starting with the mighty Stephen Brown. Each track gets a side of vinyl to itself, serving as a kind of statement for how much faith the label put in each of these 12 tracks. Amongst the best on this top-drawer comp are Daniel Avery's metallic, spellbinding 'Your Future Looks Different In The Light' and Carl Finlow's lithe electro workout 'Surface Control', but as you might well expect each track is one you'll turn to again and again to give your mix some spice.

Review: Can a duo be a supergroup? You could certainly argue that Belief ticks that box, given that it's a collaboration between two titans of the experimental electronic music scene: LEX Records stalwart Bryan Hollon (Boom Bip, Neon Neon) and Warpaint drummer (and frequent sticks-woman for hire) Stella Mozgawa. Interestingly, they've chosen not to explore the challenging end of their output, but rather deliver a set of "improvisational techno" that draws inspiration from the early '90s work of 808 State, LFO and the like. That means wiggly TB-303 acid lines aplenty, alternately dreamy, dubbed-out and futuristic melodic motifs, sci-fi sounds aplenty, and beats that veer from throbbing four-to-the-floor energy to sweaty breakbeats and off-kilter post-electro grooves. The results are uniformly imaginative, impressive and entertaining.

Notes: LOCI's brand new TRIPL3 is a brand new three tier modular desktop stand, which is a new format that's has been much requested by the LOCI community.

Tripl3 has been designed to hold three Elektron Machines (or similar sized instruments) in an upright configuration, it can also be used "flat". In the flat configuration, the Tripl3 can take the size and weight of large keyboards, large Eurorack cases, DJ mixers and more.

Tripl3 comes flat packed and is super easy to assemble and is fully compatible with all of LOCI modular stands.

What's special about LOCI Stands?

LOCI are a UK based manufacturer of modular equipment stands, their ethos is to provide the most flexible, robust stands for your studio, live setup or jamming rig.

LOCI stands free up your workspace so you can immediately access all of your gear and get to making music.

The LOCI range consists of:
LOCI classic, a mid sized stand for most synths, drums machines etc.
LOCI Dinky, a small sized stand for FX pedals & smaller synths.
LOCI XL, a large stand for MIDI controller keyboards, mixers etc.
LOCI Bundl3, a bundle of classic Dink & Expander
LOCI Expander, a small expander for adding a tier to any LOCI stand
LOCI Bunld5, a comprehensive collection of LOCI stands
LOCI Tripl3, the brand new large format 3-tier stand

*** Please note: the synthesisers in the pictures are not included, they are for demonstration only. ***

Notes: Keep your headphones safe for many sessions and gigs to come with the PULSE Case For Studio Headphones! This durable molded case can fit any model of professional studio monitor headphones from Beyerdynamic, Sennheiser, Shure, Sony, Audio-Technica, and other leading brands. Like all PULSE cases, this case is compact and ultra-lightweight, so it's easy to travel with.

Description

The PULSE Case for Studio headphones is made from durable and lightweight EVA, designed to protect and preserve your headphones during transport. EVA is often used in sports equipment for its shock-absorbing capabilities, so you be confident your studio headphones will be well protected. The case's interior is lined with soft velvet, which will help prevent scratches and any snags on your headphones.

The PULSE Case For Studio Headphones is a universal case that can fit any professional studio monitor headphones. This includes the most popular models from Beyerdynamic, Sony, Sennheiser, Shure and more!

Specifications

The perfect size to fit most professional studio headphones
Durable molded EVA exterior
Super-soft velvet lining
Interior dimensions: 8.62 x 6.69 x 4.09 inches
Exterior dimensions: 9.65 x 7.48 x 4.33

Notes: A portable interface needs a secure and mobile case! The compact GLIDE case features a soft, velvet-lined interior to keep your 2i2 looking new, and you'll have plenty of room to store cables in the mesh compartment built into the lid. The compact GLIDE case is designed to keep the footprint of your 2i2 small and lightweight while protecting your gear.

Description

The GLIDE case for the Focusrite 2i2 is custom molded to fit your interface perfectly without taking away from its portability. The case is made from the durable EVA material designed to protect your interface when you throw it in your backpack or carry it to and from your session.

The interior of the GLIDE case features a mesh pocket for storing any extra cables you might have. The soft, velvet-lined interior will protect the sleek exterior of the 2i2 while keeping the knobs and inputs safe from knocks and debris. Become as portable as you need to be while knowing your Focusrite 2i2 will be looking good as new!

Specifications

Custom molded to the exact dimensions of the Focusrite 2i2
Separate storage pocket for cables
Durable EVA exterior
High-quality, velvet-lined interior
Interior: (7.68 x 4.09 x 2.2) inches
Exterior: (8.19 x 4.92 x 2.68) inches

Notes: The GLIDE Case for the PreSonus Studio 24c is the ideal solution for keeping your audio interface safe and protected. The custom-molded design and velvet-lined interior provide exceptional protection when you're on the go. When you need to pack up and move at a moment's notice, you can be confident that the GLIDE case will keep the knobs and inputs of your Studio 24c safe from any bumps or falls!

Description

The GLIDE case is molded to the exact dimensions of the PreSonus Studio 24c. This means your interface will be secure inside the case without shifting or moving during transport. The interior is lined with soft velvet to keep your Studio 24c safe from any scuffs or scratches. We have also included a mesh pocket for extra cables.

The exterior of the GLIDE case is made of a durable and stress-tested EVA material. This will protect the inputs and knobs of your Studio 24c from any unintended drops or spills during transport.

Specifications

Custom designed for the PreSonus Studio 24c
Durable EVA exterior
Soft, velvet-lined interior
Mesh compartment for holding cables
Interior dimensions: (7.44 x 6.5 x 2.05) Inches
Exterior dimensions: (8.19 x 7.28 x 2.44) Inches

Review: High-kicking, nunchaking, pizza-eating, wise-cracking green dudes incoming. The barnstorming success of Teenage Mutant Ninja Turtles: Shredder's Revenge isn't hard to surmise. The original cartoon itself is a joyous, goofy, good time slice of late 80s / early 90s pop culture, and the modern video game knew exactly how to capture that energy and port it into a highly addictive beat 'em up. The soundtrack is pitched bang on for the occasion as well, running the gamut from electro and funk to jazz, all rendered with that classic chip tune finish. But that's not all - the team also invited a dizzying cast of guests to lend their voices to this project, from Raekwon and Ghostface Killah to Mike Patton and more. To put it another way, it's totally far out.

Review: Initially discovered by the label via cassette tapes picked up in Jo'burg's Kohinoor store back in 1995, The Movers feature on the 35th in Germany's Analog Africa's series of band spotlights. As its title suggests, this captures the band's work across the lion's share of the 70s, and tracks like 'Hot Coffee' and '2nd Avenue' are irresistibly, instantly groovy, but also a fascinating sonic crossroads where African jit music meets the funk and soul of the US and the funkier end of the guitar music coming out of the UK and Europe at the same time. All executed In the most natural, free flowing, as well, which makes this package even harder to resist.

Review: "Rich-poor divide widens. Unemployment soars. The East and West eyeball each other on the brink. 2022 isn't too far off the 1980s. Contort Yourself know this." A second collection of distortion soaked didactics from across the globe, all created specifically and exclusively to express wanton abandonment; marginalisatioan and alientation via tiny tape runs, but lovingly rustled up into a 21 track gem of a compilation. Rusted guitar strings, cobbled drum machines and fire in the belly - a soundtrack of despondent despair, a lament of languid lechery, an anthem of what was then and still is now.

Review: Harold Orozco Rengifo was a driving force in the new wave of beat-driven rock and funk that swept through Colombia in the late 60s and early 70s, which took some influence from US and British rock and gave it an unmistakable injection of Latin flair. One of his most treasured projects is Harold Y Su Banda, responsible for one sole record of funky perfection in 1975. Evolucion is a digger's delight, featuring the kind of universal but also incredibly geo-specific grooves that add so much depth and breadth to a set. There's a good reason why this is considered one of the best records of the 1970s.

Review: BufoBufo aka. Ben Murphy debuts his first LP on Altered Sense, breaking away from his own self-run label Ritual Poison for a long-form demonstration of ambient breakbeat in multiple movements. At first cochlear glance, each track here appears as simple ambient braindance a-la Global Communication or Kid Spatula, but the progression of each tune is much more fleshed out than what would normally be expected of your run-of-the-mill Apollo Records wannabe. 'Water Scorpion' is the post-rave reesey highlight, while 'Starmetal' continues into uncharted techstep trance territory.

Review: We're Going Deep is run by Placid aka Paul Wise and it has roots that go back many, many years. The music it puts out remains at the very cutting edge though as this new one proves. It comes from D5, UK underground favourites, and here they offer up a trio of super stylish cuts of deep and sleek techno. 'RedAnalysis' is a bumping one with nice prickly percussion and trippy melodies, then 'BlackAnalysis' gets more soulful and smears Detroit synths over tightly bobbling kick drums. 'Noanalysis' closes out somewhere between the two with warm atmosphere and cool groove to spare.

Review: Luis Vasquez is the artist behind The Soft Moon and on his latest album we find him in his most confessional and self-reflective mood to date. An array of his inner most feelings are laid bare here for all to wallow in on this cathartic and soothing fifth full-length album. It brings all new emotion to post-punk industrial with two standout collaborations with fish narc and Alli Logout of Special Interest adding further greatness to this instant classic. It is now 12 years since Luis debuted his first album, but this might be his best work yet.

Review: Two years after dgoHn delivered his second studio album, Undesignated Proximate - a gloriously far-sighted fusion of drum & bass, IDM and experimental electronica - that set has been given the remix treatment. As you'd expect, it's a more versatile and eclectic affair, albeit one that keeps the hazy, outer-space ethos of the original set. It naturally boasts a wealth of fine alternative versions and re-imaginings, from the reverb-heavy, dubbed-out brilliance of Meat Beat Manifesto's take on 'Daisy Takes Two' and Wisp's sparkling, piano-laden D&B re-wire of 'Electryon', to Scrasse's insanely weighty tech-step revision of 'Conty', Djrum's jazz-wise jungle spin of 'Ninnyhammer' and Skee Mask's grandiose, IDM-goes-jungle version of 'Robin's Windmill'.

Notes: Two Of Cups - include samples in your live set. Two of them at once with a wide variety of CV-able features. Simply load one of 8 (!) banks each containing up to 24 samples for each of the two voices and off you go (unlock this feature with firmware 1.1!). Needless to say you can change the samples under CV and if needed - you can set up the trigger delay for each voice because that boy plays its sample so instantly and sample accurate with the with lightning speed. Breathe life and fresh sounds into your setup with a small footprint (6 HP) you would normally need to carry around a gazillion of gear to reproduce the sonic capabilities. Alternatively, use it the boring way and simply play drum one-shots off it.

2 voice intuitive sample player each containing 24 samples and organized in 8 banks

Zero-latency sample playback - directly from micro SD card

Factory sound-bank by Julia Bondar

On-board envelope generator decay control, pitch control with 1V/Oct input and sample selection control with meta cv input

Arbitrary sample rate: 8, 16 and 24 bit samples with 12 bit output bitrate

Power consumption:

125 mA +12V
20 mA -12V
0 mA 5V

Dimensions:

6 HP
30 mm deep

Notes: Orange Nous'klaer Audio slipmat with text logo, 3mm thick.

Review: BBE continue their exploration of the imperious catalogue from Detroit-based jazz label Strata by unearthing a truly hidden gem. Sam Sanders' Mirror Mirror was never formally released, and that is in part because the legendary saxophonist's early brushes with the music industry inspired him to forge his own independent path. As such, some of his work never got the official release it deserved, and Mirror Mirror is a prime example. Even if the over-arching approach comes from jazz, there's a bias towards heavy grooves and song structures which makes much of the album land more as a deeply dug funk and soul classic. Just trip out on the melancholy beauty of 'Face At My Window' and you'll understand.

Review: Richard Brophy's First Cut returns with Wait For One...Then Three Arrive, featuring a bunch of the very best homegrown talents. On the first side, Carlow-based artist Tr One serves up the hypnotic dub chord journey 'Fold', followed over on the flip by Lunar Disko's Lerosa who's in fine form as always on the dark techno soul of 'Crash 2'. Lastly, Giles Armstrong presents his third contribution on the Dublin imprint in the form of a strobed-out slow burner titled 'Deep Is For Dopes!'. Tip!

Notes: Sun visor for CDJ players

Everyone knows the problem: a festival gig during the day, and the player's display is barely legible due to the sun. Lightscale DJ offers a lifesaver for festival DJs - the first sun protection for CDJs. The easily foldable sun visor protects the display of all the usual players (such as CDJ 2000, NXS and NXS2) from reflections from the sun.

It neither restricts the view nor the working area of the DJ.

The sun visor is designed in such a way that it can be pushed quickly and easily from the front under the CDJ, even during operation, without disturbing the process.

The panel can be customized with stickers, for example, and can be individually printed from a quantity of 50.

Folded together, the panel fits into any case or bag, with which the players are also transported and of course also in the flight luggage of a touring DJ.

Features:

Sun protection for CDJ players
Highly transportable
Quickly disassembled and assembled
Material: cardboard (stable)

Weight: 91g
Size (W x H x D) assembled: 33 x 23 x 11 cm
Size (W x H x D) folded: 32.5 x 32.5 x 0.5 cm

Notes: Wonderland is an 8×8 active patchbay/matrix mixer/switcher for both audio and control voltages. It features:

8 inputs (1 through to 8), each with micro-attenuators (which can be set with a small screwdriver)
8 buffered inverted outputs (A through to H) which are 180o out of phase with the inputs
8 buffered normal outputs (A through to H) which are in phase with the inputs
A switch matrix of 64 push on/push off switches
Any of the 8 inputs can be patched to any of the 8 outputs simply by pressing the corresponding switches. A patched signal will appear at both normal and inverted outputs simultaneously.

A single input can be patched to a single output. A single input can be patched to multiple outputs. Multiple inputs can be patched to a single output. Multiple inputs can be patched to multiple outputs.

Each input features a micro-attenuator which can be set with a small screwdriver. This space saving feature allows you to reduce the volume of an incoming signal without having to resort to external attenuators. If you add many inputs to one output you will of course cause clipping (which may or may not be desirable!), the micro-attenuators are your on-board way around this. I find it useful to leave the micro-attenuators set to 50% (which is how they come pre-set at delivery). Of course, their size is a little bit of a compromise, but they are a useful feature nonetheless. Wonderland’s sister module Looking Glass includes full size input attenuators as well as LED status indicators.

Product Specifications
12V draw
30mA

5V draw
0mA

-12V draw
31mA

Depth
35mm

Width
18HP

Review: One of many one-off bonus records to emerge from preexisting albums during lockdown, 'Day-Glo' is the spinoff of Erasure's previous 'The Neon' album. With Vince Clarke experimenting with the original's sound files, the artist views 'Day-Glo' as a hidden album emergent from the intertextual spaces and silences of the original. Atmospheric and introspective compared to the original album's uptempo urgency, we're more than bowled over by its mystical mood, one for true Erasure initiates.

Review: Jean-Pierre Massiera lived in his own little world with his own famous studio in the South of France. He is as master of outsider sounds from pop to funk and often transcends all these sounds with psychedelia. He is a perfect embodiment of the Finders Keeper label and that is why he is back on it with a reissue of his classic compendium Midnight Massiera. This special limited edition version captures all of weird and wonderful sounds and left of centre grooves. The once called himself Jesus while stood informant of a theatrical electric chair crucifixion, and he certainly has a godly talent.

Notes: A universal stroboscopic disc used to show the running speed of the turntable at 33 and 45 RPM with a spindle radius guide.

Review: The third full-length from Canada's greatest thrash metal act, Annihilator, was met with initial puzzlement upon its release in 1993. 'Set The World On Fire' saw the band straw away from the more metallic route of albums such as 'Alice In Hell', in favour of a more radio-friendly approach. Time working its nostalgic magic has led to cuts like, 'Knight Jumps Queen', and, 'Brain Dance', becoming live staples since, while many have grown to appreciate the expansive and accessible scope the project exuded. The final full-length to feature bassist Wayne Darley, as well as their final work with renowned metal label Roadrunner, this reissue comes at a retrospective time where artists can cherish their once misunderstood works, and offer them up to new legions of eager, less judgemental fans.

Review: Mint Condition, as you probably know if you are reading this, deals in reissuing classic tech house cuts. It has raced ahead in its mission and is now up to a 55th EP. This one brings back Presence's White Powder EP. 'Heart' opens up with dark but well swung drums overlaid with diva vocals while '$10' is a frazzled, slapping cut with bubbling basslines from the 90s. 'Power Chords' is a loved up dee house cut with echoing pads and cavernous grooves and 'Giving Love' is a jumbled of tribal hits and woodpecker bass.

Review: Andy Grey is the music maestro behind this excellently compiled and high energy selection of alternative and modern Latin music. It is big on lovely rhythms and percussive sounds across 10 tunes that are as steamy and tropcial as they come. It all makes for a fun and versatile collection that brims with spontaneity and is as good to listen to as it is to dance to. Represented are Venezuelan Raul Monsalve and Los Forajidos, Mexican Pahua, Cuban Arema Arega, the Colombian proposals of Las Mijas y Lucio Feuillet and artists from the likes of Madrid, Paris and Berlin.

Review: Another collaborative effort from the consistently fascinating US ambient kings Past Inside The President, this time with Hendrix - not that one - and Wayne Robert Thomas, whose atmospheric guitar-led work has featured several times on the label before. If the average ambient album has its head in the clouds, this is more grounding, more gamboling in the fields perhaps than floating in the ether, with gentle flute and guitar giving the walls of synth sounds some perspective. That said, the closing track of the four, 'Retract R (Type K)', sizzles away like something by Growing or even Spaceman 3 left to fry in the sun. Magnificent stuff..