Review: Considering their penchant for spinning yarns and the cinematographically-suited nature of much of their work, it's surprising "Days Of The Bagnold Summer" is only Belle & Sebastian's second shot at a movie score. The last was 2001's '"Storytelling", accompanying Todd Solondz's movie of the same name, and they certainly did a good job then. So, high expectations this time round. For those unfamiliar, their latest foray into the film world partners the directorial debut of Simon Bird, best known to many as one of "The Inbetweeners". The flick, an adaptation of Joff Winterhart's 2012 graphic novel, chronicles the life and times of a teenage metalhead and his single mother. The album perfectly accompanies but also contributes to that tale. Highly emotive instrumental tracks and classic B&S songs-proper, this OST is destined to go down well with the band's true believers.
Sly & Robbie - "Night Nurse" (feat Simply Red - radio mix) (3:45)
John Holt - "Police In Helicopter" (3:33)
Eek-a-mouse - "Ganja Smuggling" (3:46)
Don Carlos - "Rivers Of Babylon" (3:16)
Freddy McGregor - "Big Ship Sailing" (3:12)
Jacob Miller - "Tenement Yard" (2:33)
The Congos - "La La Bam-Bam" (3:50)
Alton Ellis - "I'm Still In Love" (4:22)
Dennis Brown - "Revolution" (4:15)
Errol Dunkley - "OK Fred" (2:55)
Groundation, Don Carlo & The Congos - "Jah Jah Know" (5:57)
Black Uhuru - "Sinsemilla" (5:14)
Ini Kamoze - "World A Music" (2:45)
Yelloman - "Zungguzungguguzungguzeng" (6:29)
Lee "Scratch" Perry & The Upsetters - "Soul Fire" (3:51)
Alborosie - "No Cocaine" (4:05)
Chaka Demus & Pliers - "Murder She Wrote" (4:04)
Review: Classics are classics for a reason, and this compilation champions them across two slabs of wax. All four sides are jam packed with firm reggae favourites from Bob Marley's stirring "Soul Rebel" to the buttery croons of Gregory Isaacs on "Babylon Too Rough". Mick Hucknall's inclusion will raise some eyebrows, but there is no denying his version of "Night Nurse" with Sly & Robbie has something going on. Smokers will delight in ganga odes from Eek-a-mouse and the lovable innocence of The Congos hit "La La Bam-Bam" will always have a place in anyone's affections.
Review: God bless Metronomy. Pioneers of a dance-indie crossover that was less garish and day-glow hued than the Nu Rave movement dominant back then. Their sixth full-length comes in the 10th anniversary year of their first, and proves the band have grown and fine-tuned, rather than got lost and forgotten why they came out to begin with. Despite clear development, though, the spirit of that inaugural effort is still here, and arguably in more generous helpings than any outing between then and now. Equal parts playful and earnest, there's plenty here to fall in love with. Single-worthy outings like the bouncy, floor-filler "Salted Caramel Ice Cream" and the appropriately titled pairing "Wedding" and "Wedding Bells" are confident and big room sounding. "The Light" veers into dubbier, more introverted directions, whereas "Upset My Girlfriend" shows them at their most heart-achingly beautiful and human. Exquisite, as usual.
Review: Red Soul Community is a ska band from Spain founded by Carlos Dingo, and after a small hiatus they make a big return with a punk riddled new album that comes with suitably confrontational artwork. Known and loved by rocksteady fans round the world, this outfit is led by the captivating vocals of Isa Garcia and since 2005 they've turned out a number of acclaimed albums. This new one is an uptempo affair with energetic grooves, hints of American ska, skinhead and 2 tone, and attitude to spare. The songs are both catchy and dance-y, and the whole album is wonderfully colourful.
Review: While he's continued to offer up occasional singles, Bonn-based producer Dominik Eulberg has not released an album for eight years. It's for this reason that "Mannigfaltig", the former Traum Schallplatten regular's new set, is big news. Interestingly, it's nowhere near as club-focused as you'd perhaps expect, with Eulberg combining his usual glitchy, tech-house influenced beats and sounds with a range of intricate electronic motifs, sumptuous melodies and atmospheric aural textures. There are one or two club cuts, of course, but majority of the tracks bob along at a more sedate pace, with Eulberg offering up cuts that draw influence from IDM and hazy electronica. As a result, it may well be his most coherent and "listenable" album to date.
Review: If you're new to the Alex Giannascoli's world then make yourself comfortable - chances are, like us, you'll be here for a while. There are so many tangents, threads and stylistic shifts of shape it's possible to dive into his back catalogue and spend years never getting bored. It's now far quicker to understand what we're talking about, though, thanks to his latest album. There are multiple personalities at play here than you'd think could be coherent, but coherent this record is. Opener "Walk Away" sounds like an overview of the whole thing - growing from desperate cry into a grandiose, captivating thing of real beauty via reversed-out backing track and looped lyrics. All very Beta Band. From there we're locked-in, through the shimmering melodies of "Taking" to "Sugar"'s deep, tense atmospheric crescendos and vocoders. Ending on the stunning brass-accented blues rock of "SugarHouse (Live)", it's as complete a record as you could ask for.
Notes: The 22 HP interface is simple, clean and streamlined. At first glance, Polyend Preset module might look like simple a digital preset manager for Eurorack systems, but it's much more than this. Its vast implications make it a very smart companion for your modular system. But let's start from the basics. With the use of 9 LED coloured clickable encoders, Preset allows you to store up to 9 different CV output values in 32 banks of 32 presets. Yep, 1024 in total!
Program the notes sequences using one of the 32 build-in musical scales. Record the automation using the encoders or external source.
Four modes, totally different possibilities:
Depending on what you want to achieve, there are four modes you can choose from: First, Next, Channel and Note.
Both First and Next modes are perfect for building your unique polyphonic synthesizer.
The Channel mode lets you choose which MIDI Channel is responsible for which voice. This mode is what the majority of users utilise to connect DAWs or external sequencers.
The Note mode translates data received from MIDI Notes C through G and directs them into the corresponding voices (no matter the octave). This scenario works excellent for triggering drums from drum pads or drum triggers.
Will I See You Tonight? (feat Vashti Bunyan) (3:22)
Review: Where would we be without our mothers? Literally nowhere, of course, given the medical facts of life. But psychologically and spiritually somewhere very different, too. Just ask Devendra Banhart, whose latest, heartbreaking and poignant LP packs intimidating strength and thoughtful themes by the birth-giving load. Here the synths that dominated more recent albums are replaced by instruments best described as "a bit earthier", with strings and woodwinds joining brass and keys. Despite its title, this album is less a dedication to motherhood itself and more a meditation on emotional ties and links in general. "Memorial", for example, is about the death of Banhart's father, while elsewhere we are told love is like "crowd surfing in an empty club". As per usual, Banhart's songwriting verges on mania, recalling the late-Daniel Johnston's razor sharp observations wrapped in innocent imagery, while the instrumentation conjures Burt Bacharach and the like.
3-way logic module featuring two internal signal inverters - 8HP
Notes: Dual logic module with 3 inputs for each unit. The logical states of the inputs ("1" = high / "0" = low) are linked together in 3 ways: AND, OR, EXOR (exclusive OR). The three functions are available simultaneously at three outputs with LED display of the output states.
Additionally, two inverters are available to obtain the inverted functions NAND, NOR and NEXOR. The sockets of each triple unit are "normalized", i.e. the switched contact of socket 2 is connected to input 1 and the switched contact of socket 3 is connected to input 2. Provided that no plug is inserted into socket 1 resp. socket 2 the socket is connected to the input above it. This simplifies the usage of the module when only 2 signals are combined, e.g. the logic functions AND and OR have different neutral input levels ("1" is the neutral state for AND, "0" is the neutral state for OR).
In case of a fixed input level for the unused input one of the functions (AND or OR) would work no longer.
Applications: combination of digital signals of the A-100 (e.g. gates, clocks, triggers), e.g. to obtain "gated" clocks or certain rhythmic patterns.
Dual trigger modifier, consisting of two trigger inverters for gate, clock or trigger signals - 4HP
Notes: Module A-165 (Dual Trigger Modifier) contains two separate trigger modifiers, to use with logical/digital levels (gate, clock, trigger). Each half of the module enables signals generated by the A-100 to communicate with other instruments (such as an external sequencer) or is simply used where you want to reverse a trigger polarity.
Whatever signal is patched into the input, inverted by the module, and fed out of the Inv. Out (inverted output) socket. At the same time, a trigger signal of roughly 50 ms is generated every time an edge of the trigger pulse is sensed (negative as well as positive). This trigger signal is available at the +/- output.
Two LEDs act as indicators showing the level of signal available at the two outputs.
When both units are daisy-chained the module can be used as level shifter for gate/trigger/clock signals (from min. +2,5V up to +12V)
Review: If there were still justice in the digital age, and artists really got what was owed to them exposure-wise, Alex Cameron would be a safe bet for leftfield pop sensation. A multi-faceted songwriter, his previous two albums took us through a horror show of horrible characters and their innermost thoughts, twin roads that have somehow veered onto another course altogether for "Miami Memory". Here a much friendlier face is donned. Nevertheless, opener "Stepdad" makes intentions clear, with uptempo keyboard lines invoking the emotional qualities of mid-80s Prince. "Far From Born Again" tells the story of a "her" who's making bad choices, and the potential fallout of that, set to a Bruce Springsteen-sounding chorus, the likes of which can be found again on "Divorce". Not holding back, but instead holding a light up to a different side of his personality, it's Cameron's most positive to date and his best.
Review: These days we're accustomed to producers serving up deep, dreamy and life-affirming fusions of breakbeat, deep house and ambient techno. This wasn't so much the case when Ex-Terrestrial released his debut EP, "Paraworld" in 2016. As this surprise reissue proves, it remains one of the best EPs of its kind. There's much to admire throughout, from title track's bongo-laden, new age deep house warmth, to the seductive ambient bliss of "Dreams of Jupiter", which still reminds us of 2015's Slow Riffs 12" on Mood Hut. Arguably best of all, though, is "Blue Smoke", a brilliant fusion of pitched-down rave breakbeats and comforting, Pete Namlook style ambient chords.
Review: The dusty-fingered diggers behind the BBE label have a reputation for unearthing obscure or unreleased gems, though we doubt that they've previously discovered anything quite as significant as this. Ebo Taylor, the undisputed king of Ghanaian "funky-highlife", recorded "Palaver" with his touring band way back in 1980, but for reasons the man himself can't even remember, Nigerian imprint Tabansi Records never got round to releasing it. That remains an odd decision, because "Palaver" shows Taylor at his very best, with the sax and trumpet-laden brilliance of "Make You No Mind" and the righteous, Afrobeat-influenced highlife brilliance of "Help Africa" being every bit as potent as the Ghanaian's most revered work.