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Review: In a fit of complex hybrid future funk, Second Storey and Appleblim consolidate their first three EPs for R&S into a long player that shows the full breadth of their sound in glorious technicolour. It's a thrilling world full of contorting shapes, glossy melodies and large doses of psychoactive fairy tale ingredients, with a gutsy techno heart pulsing away at the centre. Hearing all the tracks in one sitting gives a worthwhile context to the artists vision as they contort in and amongst each other, while new piece "Arpegmonger" opens the album in utterly glorious fashion. Craftily blending the notion of home-listening music and dancefloor madness, ALSO will have you twitching wherever it infects you.

Review: Hot on the heels of the release of his critically acclaimed autobiography, long-serving pop experimentalist Momus delivers his 29th solo set, Vivid - an album that's already being praised as one of his finest in years. It's certainly an enjoyable set, with the Scottish singer-songwriter musing on a variety of topics - many related to the current global Coronavirus pandemic - over eccentric, soft-focus musical backdrops notable for their varied and in some cases unusual blends of instruments (think lo-fi drum machine rhythms, wayward jazz horns, snaking electronics, accordions, folksy string quartets etc.). It's a hard album to pin down, but with Momus on top form lyrically and vocally, that's no bad thing.

Review: Talented singer Keithus Dimits Selassie I has a deep emotion to the tone and message of his music. It is perfect for more spiritual dub sounds and that's the case here. His interpretation here rides nicely on the lazy rhythm below, with acoustic riffs dancing in mid air above puddles of echo. On the flip, Roberto Sanchez stepped up at Lone Ark studios to craft his own slow motion version that is a perfect partner for the a-side. This is a serious piece of 7" wax that packs a punch on many levels.

Notes: The 1U Mattson Buffered Multiple is a PRECISION buffered mult that is perfect for 1V/O CV sources. A signal plugged into INPUT A will be available from all 8 OUTPUTS. Break the chain by adding a second signal into INPUT B; signal A comes out the 4 "A" outputs and signal B is available at the 4 "B" outputs.

Please note: Synthrotek's 1U products do not fit in Vermona or Intellijel cases.

Current draw: +12 18mA, -12 18mA
Width: 20HP
Depth: 32mm

Notes: The 1U Stereo Mixer is intended for pannable stereo output, but it is also suitable for both DC (Gates, Triggers and Control Voltage) & AC (audio) signals.

Specifications:
Current draw: +12: 13mA, -12: 9.2mA
Depth: 32mm
Width: 24HP
Please note: Synthrotek's 1U products do not fit in Vermona or Intellijel cases.

Notes: 6xMIX is a six channel audio (AC coupled ) mixer, channels arranged in three groups with separate outputs having led indicators. Each group can be switched to mix with the subsequent group, allowing for 2-2-2, 4-2, 6 mix configurations. The module can also be used to mix two stereo channels plus separate group of two mono channels. Perfect audio performance with the lowest noise and distortion amounts.

The inner knobs control the A inputs, while the outer knobs control the B inputs.

50 mA +12V
50 mA -12V
35 mm Depth
6 HP wide

Notes: The 1U UniBuffer combines a buff mult and a unity gain mixer into a 1U module. It's great for small cases where you want both functions available (like the Power Lunch).

The Buffered Multiple is a PRECISION buffered mult that is perfect for for 1V/O CV sources. The 1U Unity Gain Mixer adds input signals together and combines them for a summed output.

Current draw:
+12V: 14mA
-12V: 13mA
Module Depth: 20mm
Width: 20HP
Polarity protected

Notes: 2xSAM is 4 HP Dual Stereo Attenuator-Mixer

Several 2xSAMs can be chained together or with other HN stereo modules via sockets on the back side.

2xSAM's total mix stereo output can be internally sent to the Isolator, PanMix Jr, 3xStereo Mixer, or can be received from OUT, PanMix, PanMix Jr, 3xStereo Mixer, or another 2xSAM.

If jumpers are not installed (placed on one pin only by default) the max gain is 1x. When the jumper is properly placed on both pins - the gain is 5x. There are four inputs thus four jumpers. Each jumper is relevant to its channel.

27 mA +12V
27 mA - 12V
35 mm Depth
4 HP wide

Notes: 3xVCA offers three high class amplifier circuits with linear characteristic. Thanks to AC / DC compatibility, a very low noise floor and basically no distortion, the module is not only a great partner for control voltages, but audio material as well. Besides a signal input and output, each VCA has its own CV input. The dual potentiometers regulate levels and bipolar CV attenuation values of all amplifiers. Using these rather unusual, yet very practical components, it was possible to equip the 3x VCA with a front panel that is only 6 HP wide. Switches allow the user to feed the results of one amplifier to the output of the next amplifier, so we can get 1+2, 2+3, and 1+2+3 outputs mix. Two-colored LEDs visualize CV and output signals.

60 mA +12V
60 mA -12V
35 mm Depth

Notes: Literally the size of a business card (if a little bit thicker), one of the smallest synths on the market. Simple design with a surprisingly punchy sound, plus CV and gate inputs for control.

Supplier's Notes:
The Business Card Synthesizer is a tiny synth that can be connected to a Business Card Sequencer, other synth gear, or played by itself.

Headphones can be connected directly to the output of the synth, and there are plenty of knobs to play with, so you can easily make noises anywhere. Great for learning about synthesizers!

S&H Button: Enables Sample & Hold, which disables the external CV IN jack and uses LFO1 and LFO2 to determine oscillator pitch. LFO1 sets the sample rate (SHAPE is ignored for this), and LFO2 is the wave that gets sampled.

GATE Button: Manually turns on the gate so sound comes out of the synth. This control is momentary, but you can latch it on by tapping the S&H button while holding the GATE button down.

COARSE TUNE: Adjusts the pitch of the oscillator up or down in large increments

FINE TUNE: Adjusts the pitch of the oscillator up or down in fine increments

SHAPE: Changes the shape of the wave produced by the main oscillator (VCO). Turning this control fully CW gives you a triangle wave. Start turning it CCW takes you through sawtooth/ramp, then at about the 12:00 position you get a square wave. Continue turning it CCW and you get several higher duty cycle square waves
.
GLIDE: Adjusts the rate at which the pitch of the VCO takes to go between pitches (whether changed by the COARSE TUNE knob or CV IN). Fully CCW causes the pitch to react almost instantly, while fully CW makes it take its sweet time.

LFO 1 / LFO 2 SHAPE: Changes the shape of the waves produced by the low-frequency oscillators (LFOs). The shapes are similar to those of the VCO, except that the LFOs have sawtooth/ramp waves that go both up and down (since you can actually hear the difference at LFO rates).

LFO 1 / LFO 2 RATE: Controls how fast the LFOs go.

LFO -> VCO: Routes the two LFOs to control the pitch of the main oscillator. The 12:00 position is basically "off", and the LFOs have no effect on pitch. Start turning the control CCW and LFO1 starts changing the pitch of the VCO. Maximum effect is at about 10:00. Continuing to turn the control starts to bring in LFO2 as well. All the way CCW gives you full effect from both LFO1 and LFO2.

Turning the control CW from 12:00 does essentially the same thing, but brings in LFO2 first, then LFO1.

This might seem like kind of a weird control, but it gives you quite a bit of routing flexibility with one knob. You can have no pitch modulation, LFO1, LFO2, LFO1 with a little LFO2, or LFO2 with a little LFO1.

LFO -> VCA: Routes the two LFOs to control the amplitude of the oscillator. (See LFO -> VCO control description above for more information about how the control works.)

ATTACK: Controls how fast the audio amplitude fades in when the gate is triggered. CCW is fast and CW is slow.

DECAY: Controls how fast the audio amplitude fades out when the gate is released. CCW is fast and CW is slow.

VOLUME: Controls the overall volume of the signal coming from AUDIO OUT.

FILTER: Changes the cutoff frequency of an analog low-pass filter. Turn the knob fully CW and all frequencies (that you can hear) are let through. Start turning it CCW and the high frequencies start getting cut off, until the sound becomes muddy / muffled. Use in conjunction with the SHAPE control to get the tonal quality you are looking for.

Connections:
CV IN: Accepts a 1 volt/octave control voltage to control the pitch of the oscillator. It responds from about 0-5V, but voltages outside of this range won't cause damage. The CV input is quantized, so only valid (western scale) notes are played. This input is ignored when Sample & Hold is enabled.
GATE IN: A voltage greater than about 2.5V will turn on the gate and allow audio to come out the output of the synth.
AUDIO OUT: Connect to an amplifier or another synth. The jack has both the tip and ring connected, so you can even use stereo headphones and hear sound from both ears.
Power: Connect 7.5-15VDC to this 3.5mm TS jack to power the synthesizer. The tip is positive (don't worry, there's a protection diode in case you get it reversed). You can get power from a 9V battery, AC adapter, or you may even be able to find an output on your modular synthesizer that can provide enough current.

Specifications:
Power supply: 7-15VDC (reverse-polarity protected!)
Power connection: 3.5mm phone jack, center-positive
Current draw: 15ma
Dimensions: 3.5" x 2" (the same as a business card!)

Review: Air Vinyl have secured a deal that allows them to reissue the seminal joint album by Benny The Butcher and 38 Spesh. The second part of the album comes later in the year, but the first one from 2018 is in the spotlight here. It's an accomplished affair that draws you int via lazy and long legged beats on the intro then gets more serious and confrontational on "Driver's Seat" (feat Styles P & Jadakiss). Social issues are address square on with tracks like "Gun Or Knife" and sweeter interludes like "Intro" (instrumental) help things move on without getting too heavy on one topic.

Notes: Motomouth is an analogue 3-Band, Sedra + Espinoza Bandpass Filter (DABP) with resonant frequencies that are tuned to the same resonant frequencies found in the human mouth and nose cavities, and these can be varied, independently, to form different 'mouth shapes,' to emulate vowels such as A, E, I, O and U. Motomouth can emulate 16 vowels and 'morph' or 'glide' between each vowel using a single Control Voltage input (1V/Oct), and a Gate to 'snap' to each vowel when required.

Two of the bands (F1 and F2) are used to form the mouth cavity, and the third band (F3) is used to form the nasal cavity, which is reasonably static. Varying F3 makes little significant difference 'in the mix,' but having it is important.

The single Control Voltage is decoded to control F1 and F2 independently, because the frequency bands for each vowel are not proportional to each other over the vowel range. So Motomouth has learned how to 'speak,' so to speak, but it still needs to learn more, and that's where you come in.

Specifications:
Module width: 12HP
Module depth: 42mm
Power draw:
+12V: 80mA
-12V: 4mA

Notes: With the original Beyond Heaven out of stock, Almighty Insane were at a crossroads . But when Mario "Liv It Up" Luna dug up a long-forgotten cache of material, and from that we bring you Beyond Heaven: Volume II. It has the same format as Volume I, but with all new flyers documenting an extended window of history, from early "mobile discos" that reflect roots of the underground movement before the term "house" was even coined, to the emergence of a new generation of house DJs and artists in Chicago inspired by the pioneers of the genre. As with the original, this book reflects a mix of figures and parallel movements that were entangled with the world of house. From dance groups to party crews, alongside promoters, labels, and record stores, both well established and lesser known-all are points of departure to good memories and/or further investigations into one of the greatest eras in the history of Chicago music, with a legacy that is profoundly influential to this day.

96 pages, full color

6 x 9 in | 16 x 23 cm

Notes: The MST Unity Gain Mixer adds input signals together and combines them for a summed output. For example, if you put in a 1V source and a 3V source, the output will be 4V. It's mainly used for CV, but it can also be used to combine audio signals together.

A unity gain mixer is handy in several ways:
Combining gates and triggers. Plug a few sequencer steps into the unity gain inputs, then run the output to a drum synth, VCA, envelope, etc.
Re-shaping two CV sources with a single envelope.
Combining different wave shapes or LFOs to make crazy sounds.
Controlling the CV of one source with the CV of another source. Just plug the CV out of a sequencer into and an expression pedal/touchable CV out into the unity gain inputs.

Specifications:
Current draw:
+12V: 9mA
-12V: 9mA
Module Depth: 22mm
Width: 6HP

Notes: The Kontact MIC is a lo-fi theme park. It's a Eurorack microphone preamp with a piezo contact mic built into the panel.

The creative applications are endless: finger percussion/rubbing/scratching, guitar input (works surprisingly well with just a little lofi crunch), acoustic sources to CV, etc.

The PCB fibreglass has quite a nice rough texture - rubbing it with a finger or a plectrum creates quite a wide range of sounds. The back of the panel is plated to expand the surface area of the contact mic. The mic will also pick up all the physical sounds in your modular- patching, cables rustling, switches, fingers on knobs - without picking up airborne sounds i.e. the sound your modular is making. At very high sound levels will pick up vibrations from the speaker output and start to feedback.

The module will work with both DIYed contact mics made from inexpensive piezo transducers, off the shelf contact mics (often called Piezo Pickups) made for guitars and violins which you can pick up for ten bucks from Amazon or eBay or more bespoke mics like the popular Jez Riley French models (including hydrophones!) which are firmly aimed at Sound Designers.

It is an easy way to bring environmental noise and feedback into a modular system, inspired by the early days of electroacoustic music in Paris and Cologne, and by the contact microphone and phonograph cartridge experiments of John Cage, Gordon Mumma, Robert Ashley and Nicholas Collins.

Notes: The 4093 Chaos NAND Synth, in Eurorack form! The 4093 Chaos NAND Synth is a super-modifiable noise generator that will knock your socks off with its sonic potential: low pulsing drones, random robotic chaos, and high-pitched laser sounds!

A great project to begin your explorations into the world of DIY sound synthesis, the PCB was designed with the beginner in mind. Board-mountable switches, socketed IC, hands-on knobs and switches for tone control, and a detailed silkscreen PCB to help you solder components right the first time.

Review: There's been plenty of online chatter about the confrontational title of Omar-S's latest full-length outing, and arguably not enough focus on the music itself (or the fact that the guest list contains Rick Wilhite, Norm Talley and OB Ignitt for that matter). This is unfortunate, because as usual Alex 'Omar' Smith has hit the spot. The six untitled tracks are impressively varied, with Smith effortlessly moving between 21st century P-funk (track one), cowbell-powered deep house funk (track 2), sparse and synth-heavy acid house hypnotism (track three), disco-house jack (track four), sub-heavy Detroit-meets-Sheffield minimalism (track five) and sunrise-ready dancefloor dreaminess (track six).

Notes: The Octave Fuzz is SynthRotek's take on the classic 70's SuperFuzz circuit, made into a Eurorack module, which has improved on some aspects of the original as well, including an increased output.

Two distinct voices like the original: switchable between scooped midrange and massive midrange bump.

Aggressive: It will sound massive and in-your-face like no other circuit can. This is for sonic explorers and heavy music only. In short, it's not useful for EVERYTHING, but the things it DOES do it excels at. Sounds especially killer for keyboard and bass sounds.

Tuned to give a subtle distorted waveform one octave up via wavefolding (see the video to view this on an oscilloscope). (Completed modules come pre-tuned; there are calibration instructions at the end of the assembly instructions for the kits)

This circuit has been optimized for Eurorack. You can find a guitar pedal version here.

Current Draw:
32mA @ +12v
24mA @ -12v
0mA @ +5v

Review: Legendary producer Black Devil Disco Club aka French composer Bernard Fevre is back for one final album that completes one of music's most strange and enigmatic discographies. His early work like 1977's debut record was often mistaken for the work of Aphex Twin as it was so experimental and ahead of his time. 2006 album 28 After on this label disproved that theory though and now this latest offering is another spellbinding collision of styles form wave to EBM, disco to experimental electronics. A weird and wonderful ride deep into the musical psyche of a truly maverick artist, it is another timeless work that serves as a fine tribute to his past 40 years of subverting expectation.

Review: Black Fire was an influential spiritual jazz and conscious soul label that is now the subject of a first ever compilation. It has been put together by Strut and covers the years 1975 to 1993, showcasing a rich mix of jazz, deep African polyrhythms and empowering lyrics across plenty of classics and rarities. The highlights are plentiful and the comp also comes with extended sleeve notes around the black-owned label's rich history, as well as a reprint of one of the original Black Fire magazines published by founder Jimmy Gray. This is a real piece of black music history.

Review: It would be fair to say that Levon Vincent's latest single could well be one of his strongest yet - and that's saying something. We're particularly enjoying A-side "Drum Circle", a near ten-minute outing that subtly builds throughout. Creepy, clandestine and intoxicating, it sees Vincent cloak a hypnotic, cymbal and bells-heavy rhythm track with deep, booming sub-bass pulses and hard-worked, marimba style melodic loops. It's a genuine heads-down treat that packs a punch, despite its hazy and minimalist vibe. There's more atmospheric fun on the flip, where "Space Exploration" sees him conjure up a suitably dark, intergalactic mood via crackling drums, opaque chords and far-sigted electronic melodies.

Review: With its crackly, gravelled textures, subtle melodic details and off-beat rhythms it's no surprise comparisons have been drawn between 'Finomehanika', Vladislav Delay's 'Mulitia' and Autechre circa 'Confield'. Fittingly, those turn-of-the-millennia masterpieces also arrived around the same time Merlak's 'Albumski' landed, his most recent long form outing until unveiling this, his latest effort. Talk about a long time coming, while the stylistic similarities might suggest a lack of progression since 2001, nothing could be further from the truth. Sure, what's here could be perhaps best described as avant-garde electronic warbles and shuffles, of the type you might hear after stepping into a capsule floating through blackest space. But although familiar, the album arguably represents the artist's deepest exploration of what can be done with a combination of synthesis, piano and field noises.

Notes: The Face The Fuzz is a modern take on a classic sound, modeled after the Dallas Arbiter Fuzz Face but with some important upgrades and modifications. Get the original Germanium PNP transistors for that classic tone just like the likes of Jimi Hendrix, Duane Allman, and George Harrison played!

What is the difference between Synthrotek's two fuzz pedals: Face the Fuzz and the Arbiter Fuzz Face Clone? The Arbiter Fuzz Face Clone uses the classic circuit that is known and loved by many, and everybody loves a classic. The Face the Fuzz pedal has been designed with a few key changes to make it more useful to the modern musician: a wider frequency response, the ability to daisy-chain the power with a 1 Spot, and the option to use temperature-stable Silicon transistors.

The Face The Fuzz comes with hand-tested and selected premium AC128 NOS PNP transistors. All of the AC128s for optimum gain and leakage current so that they are guaranteed to bias properly and sound great! Lower gain transistorshave been chosen for Q1 and higher for Q2 according to strict standards. Be assured that you will be playing a premium product that takes the guess work out of Germanium transistor testing.

Notes: Synthrotek's original Mean Screamer Pedal goes way beyond a typical tube screamer clone with a couple of great mods. An original 4558 OP-AMP IC has been used to give it that beautiful classic boost.

Review: Romare's third album is another exercise in finding the exact sweet spot where happy and sad collide. By now he is something or a master at it and here laces those sorts of sounds with a sense of spirituality, hints of disco, touches of identity and plenty of funk. These more serious influences come as a result of the artist becoming a father, but the album never grows too sentimental (though "Deliverance" sure is a nice adult lullaby.) Elsewhere there is slow acid on "High" and joyous, heartfelt melodic house on "Dreams." Versatile, emotional, dancey - what more could you want?

Notes: Stylish and compact speakers with powerful 200-watt amplifier built in. Impressive 50 Hz - 20 kHz frequency response courtesy of 5.25-inch kevlar woofer and 1-inch silk dome tweeter.

Supplier's Notes:
Satisfy your craving for powerful, full-impact sound with YU6. Armed with a formidable Class D amplifier pumping out 200-Watt peak power, YU6 will have you questioning what it really means to be loud. Its 5.25-inch Kevlarr drivers and 1-inch silk dome tweeters inject detailed sound into every square inch of living space, evoking emotions that can only be expressed with an ear-to-ear grin.

High-performance materials. Exceptional sound.
YU6's 1-inch tweeters are made from silk to deliver a high-frequency range that is bright and refined. Their dome shape improves sound dispersion to ensure your ears capture every sound, regardless of where you are in the room.

Unmatched connectivity.
Inspired by an equal appreciation for digital and analog, YU6 gives you the freedom to enjoy all your devices. Connect a turntable via a built-in phono preamp, transmit high fidelity audio from your computer or TV with Optical TOSLINK, or sit back and enjoy your newly curated playlist with Bluetooth 4.0. With five inputs and a subwoofer output, YU6 brings all your sound to life.

Throw on your favorite record.
YU6 comes equipped with a built-in phono preamp, allowing you to easily connect any vintage or modern-day turntable. Toggle between line-level and phono with a simple flip of a switch, and reduce noise using the provided ground terminal.

Play tunes from the palm of your hand.
Featuring integrated Bluetooth 4.0 with Qualcommr aptX technology, YU6 lets you stream high-quality audio directly from any Bluetooth-enabled device. Sit back and enjoy your carefully curated playlist from anywhere in the room.

Upgrade your desktop setup.
Take your desktop setup to the next level by connecting YU6 to your computer via the RCA, AUX or Optical TOSLINK inputs.

To reduce vibration and improve soundstaging, use YU6 with SP6HD desktop speaker stands.

Bring your movies to life.
Enhance any cinematic experience with high-fidelity sound by connecting YU6 to your TV via one of two optical TOSLINK inputs.

To ensure your speakers remain stable and properly positioned, place them on SP floor stands.

Take control of your sound.
Packed with functionality, the YU series remote makes listening to audio more convenient. Quickly switch between sources, tune your sound to fit your space, and control playback while streaming via Bluetooth.

Never miss a beat.
Automatic standby and power-up mode conserves power when you're away and continues playback when your music starts playing.

Use the provided USB charging port to conveniently power your phone, smart home or casting device directly through your speakers.

DRIVERS
1" Silk Dome Tweeters
5.25" Kevlarr Drivers

AUDIO
Class D Amplifier
200W Peak Power (100 Watts Total RMS)
Frequency Response: 50 Hz - 20 kHz

INPUTS
3.5mm mini-jack AUX
RCA with Phono Switch
2 x Optical (TOSLINK)
Bluetooth 4.0 with Qualcommr aptX

OUTPUTS
Subwoofer
USB Charge 5V 1A

WHAT'S IN THE BOX
Remote with Batteries
Power Cord
Speaker Wire (16")
3.5mm Auxiliary Cable (6.5")
8 x Rubber Feet
Manual

WEIGHTS & MEASUREMENTS
Dimensions (each speaker):
6.9" W x 8.1" D x 10.7" H (17.5 x 20.5 x 27.2 cm)
Net Weight (active): 11.4 lb (5.2 kg)
Net Weight (passive): 8.7 lb (4.0 kg)
1/4"-20 Threaded Mounting Hole

Notes: Stylish, good-quality powered speakers suitable for home listening or DJ practice. Built-in Bluetooth for streaming, auto standby and remote control for convenience.

Supplier's Notes:
Keep things simple without forfeiting performance. Housed within YU's compact MDF cabinets is everything you need to get the most out of your favorite tunes. Bluetooth 4.2 with aptX provides high-quality streaming, a single RCA input covers all your analog needs, and a SUB OUT port gives you the option to really crank up the bass. Equipped with 4-inch Kevlarr drivers and 1-inch silk dome tweeters, this high-performance powered speaker system delivers smooth, natural sound while ensuring you experience the full impact of lower frequencies. For laid-back listening, use the provided remote to make quick volume, tone and balance adjustments, as well as control playback while streaming via Bluetooth.

High-performance materials. Exceptional sound.

Silk Dome Tweeters
YU's 1-inch tweeters are made from silk to deliver a high-frequency range that is bright and refined. Their dome shape improves sound dispersion to ensure your ears capture every sound, regardless of where you are in the room.

Never miss a beat.

Signal Detection
Automatic standby and power-up mode conserves power when you're away and continues playback when your music starts playing.

Streaming
Play tunes from the palm of your hand.
Featuring integrated Bluetooth 4.2 with Qualcommr aptX technology, YU lets you stream high-quality audio directly from any Bluetooth-enabled device. Sit back and enjoy your carefully curated playlist from anywhere in the room.

Nearfield
Upgrade your desktop setup.
Take your desktop setup to the next level by connecting YU to your computer via its RCA input.

To reduce vibration and improve soundstaging, use YU with SP9 desktop speaker stands.

Take control of your sound.

Packed with functionality, the YU series remote makes listening to audio more convenient. Quickly switch between sources, tune your sound to fit your space, and control playback while streaming via Bluetooth.

Review: 2020's inaugural Love Record Stores campaign is an exciting prospect for those who love coloured, marbled and "split" vinyl releases. The latest essential album to get this treatment is Black Pumas' self-titled 2019 debut. Helmed by multi-instrumentalist Adrian Quesada, the Austin-based band's trademark sound tends towards the psychedelic end of soul, offering up songs that variously doff a cap to Tower of Power, Sly and the Family Stone, Rotary Connection, Terry Callier and the Chambers Brothers - all topped off with impassioned, effortlessly soulful lead vocals from mic man Eric Burton. Given the inspirations, it's no surprise that the band's tracks sound authentically old, though there's also an inherent vibrancy and freshness that means they never stray into hollow pastiche.

Review: During his time working at Jazzman, Athens of the North founder Euan Fryer tracked down the late, great Avelino Pitts, whose impossible-to-find mid 1970s work with Gold counts as some of the deepest psychedelic soul ever recorded. Here, Fryer offers up two of Gold's greatest, previously featured on a 2011 Jazzman compilation, on "45" for the first time. Both songs are deep, fluid, emotional and evocative, with Pitts' impassioned lead vocals rising above intricately detailed backing tracks that prioritise twinkling pianos, reverb-laden slow grooves and slowly shifting basslines over cheap soul showmanship. As a result, from the first listen you'll be hooked.

Review: Kraftwerk's Ralf Hutter has more or less disowned the krautrock-inspired music he and the late Florian Schneider recorded pre "Autobahn". From that album (1974) onwards, they became the electronic futurists we know and love today; before that, they swum in more organic musical pastures, mixing rudimentary synthesizer and other electronic instruments with guitars, drums, flutes and electric organ. It's this sound that's captured on "Soest Live", a rare recording captured for WDR-TV in 1970. Accompanied by drummer Klaus Dinger, Hutter and Schneider offered up a mixture of arty, proto-ambient experimentalism, and surprisingly funky, groove-based krautrock epics that combine prototype Kraftwerk grooves with the organic sounds of flute, violin and organ.

Notes: Excellent value from this uniquely versatile pedal. Load or record acoustic guitar impulse responses and apply them to your electric guitar, transforming the tone and sound.

Supplier's Notes:

The Optima Air pedal is a programmable digital modelling acoustic guitar simulator for electric players. Plug in your electric guitar and morph it into any of 15 internal acoustic guitar models at will. An Impulse Response (IR) loader enables you to capture the tone profile of your favourite acoustic guitar and store it as a model that can be played from your electric guitar. To enhance the acoustic tone, the Optima Air is furnished with a foot-switchable studio quality preamp with 3-band EQ and a digital reverb section to generate ambience. The Optima Air also has an audio streaming USB interface providing, which can be used as a recording device and the USB can be used for remote editing via software which is downloadable for PC or Mac computer. Inputs and outputs include standard jack in and out, a D.I. XLR output, send/return effects loop, headphone output and aux line input for a myriad of connection possibilities. Optima Air is the acoustic guitar in a pedal for electric players either on stage or in the studio.

Power supply: 9Vdc, 500mA, negative centre (not supplied)
Sampling format: 24-bit, 48-kHz
Internal programmes: 15 models, 9 preset patches
DI output: XLR
USB computer interface: Micro USB port

The box for this item contains :

Optima Air pedal

Review: Richie Spice is a contemporary roots artist with a fine sound and growing fan base. He latest is a fine return with classic roots producer Clive Hunt on the buttons and helping to bring some history to his sounds. This one is a re-make of a Max Romeo hit that reasserts Spice's place atop the modern day pile. "Valley Of Jehoshaphat (Red Hot)" is just that, with expansive vocals and a widescreen dub riddim, while "Di Dub Dance" (dub mix) provide more direct thrills. This offering is also another preview of a full length album that roots mainstay Clive has in the pipeline for this year.

Review: Alexandre Gande AKA Le Syndicate Electronique presents his new project on the new Libertine X label series from Libertine Records. Billed as a journey into more exploratory, or 'wavey' sounds for a guy many herald as one of France's coldwave/electro crossover pioneers, that shouldn't be taken to mean things lack solid grounding here. As per 'Find Me Fine', its unashamedly rave-y stabs, acid line and druggy, looped mantra, this is still about setting it off.

From the mind-melting 4AM hooks of eerie and bass heavy 'The Roots', to the low-end organ growls of the epic grower 'Strange Birds' and the full-force of 'Onslaught's techno hoovers, this isn't just a lesson in how to produce super-weapons for leftfield dancefloors. It's a lesson in how to make sure the finish on those weapons so bright everyone in earshot is left grinning from ear to ear.

Review: Here we go again, then. Studio album number eight from Ray LaMontagne is doing him no disservice in terms of that formidable reputation. Taking on the roles of producer, engineer, singer, songwriter and every-instrumentalist for the purposes of this record, words like 'auteur' certainly make sense when talking about 'Monovision'.Enough preamble, onto the main event - 'Monovision' is the perfect reflection of a musician in peak form. When that iconic, throaty voice roars out over the slight-of-hand acoustic guitar plucks of opener 'Roll Me Mama, Roll Me', you're immediately captivated. Tracks like 'Strong Enough' set the tempo much higher, stomping a way through old timey rock 'n' roll tones, standing in complete contrast to the tender refrains and more mournful (or at least reflective) atmospheres of 'Summer Clouds' and 'We'll Make It Through'. To be honest, we're barely worthy.

Notes: The new CTRL Case Prime Go a super lightweight and compact hard shell case, offering a safe and comfortable way to carry your Denon Prime Go controller plus accessories. Made of lightweight and rigid Durashock molded EVA shell, the inside lid is lined with high density egg-crate foam to protect the displays, jog wheels, and controls.

FITS: Denon Prime Go

Outer measures: 56 x 34 x 12,5 cm
Inner measures: 52 x 31,5 x 10 cm
Weight: 1,24 kg

Review: By the time 'Day To Day' reaches its gently soaring conclusion it's impossible not to be sold on Nuala Honan's ability to capture your imagination and soul. What begins as a sombre, heartbreaking tome has grown into something grander, once broken but now stronger than ever. Certainly strong enough to take everyone in earshot on a trip by way of melodic looped hooks and huge timbre

The musical equivalent to jumping off the cliff edge only to realise you can actually fly, it was the first taster of Honan's sophomore album we were given and for most people it was enough to get excited about. Of course, one track an album does not make, but reassuringly she doesn't drop the ball, or us, at any point on this record, although she does pick up the intensity significantly, giving us the Cate Le Bon-esque 'Slow Down', and the sore-throated barroom rock of 'KITY' and 'Head Undone'.

Review: If heavy and fuzzy funk is your bag, we'd heartily recommend checking out this straight-to-tape live session from Bjorn Wagner's long-serving Mighty Mocambos outfit. It was recorded at an in-store live performance at German store Groove City live December and comes complete with atmospheric crowd noise and a raw, heavyweight sound that only enhances the band's live credentials. Vocalist Nicola Richards makes her soulful presence felt on loose-limbed, breakbeat-driven deep funk opener "Something's Missing", before returning to lead the party on the wonderfully fiery and funky flipside "Keep It Movin". Sandwiched in between you'll find the slower, crunchier and more bass-heavy instrumental jam "St Pauli Second Line".

Review: Before becoming the multi-instrumentalist and producer extraordinaire behind most of Favorite Recordings' disco, boogie and jazz-funk flavoured releases, Bruno 'Patchworks' Hovart delivered one of the best revivalist funk albums of the 21st century, 2009's "The Empire Strikes Back", under the Uptown Funk Empire alias. Here he revisits the album, gathering together a bunch of killer cuts previously included on digital versions of the set but omitted from the vinyl release. As you'd expect, it's an authentic-sounding affair full of killer grooves, brilliant instrumental arrangements, fluid solos and dancefloor-ready workouts shot through with knowing references to 1970s black American music. There's one previously unheard gem - the righteous and celebratory "Party" - and a whole lot of insatiable good-time grooves.

Review: This is a third hot 7" release in a row for the Knekelhuis label. De Ambassade aka Pascal Pinkert is the man behind the intern, intoxicating music, which pairs a middle eastern sounding lead synth with urgent, hurried cold wave drums and stark synth work that brings more than a hint of industrialism. The sense of uncertainty and paranoia that blights all our daily lives right now certain colours these tracks, too, with anxiousness never far away from the avant-pop sounds. Add in the rolling basslines on the a-side and more mysterious vibe of the flip and you have two vital tunes.

Review: When it first appeared digitally earlier in the year, DJ Spinna described Deborah Jordan's first album in nine years, See in the Dark, as an, "instant future classic". As it now lands on vinyl for the first time, we have to say we wholeheartedly agree with his assessment. Sitting somewhere between neo-soul, broken beat, nu-jazz and future R&B, the set sees Jordan deliver impeccable, effortlessly soulful performances of her own songs with the help of an impressive cast-list of musicians and a string quartet. Brilliant from start to finish, its multiple highlights include the slow and seductive shuffle of 'Stay With You', the piano ballad 'Fear', the stunning R&B brilliance of 'Machine' and effervescent bruk-up number 'You Should Know'.

Notes: Upgrade to Studio One 4 Professional from any prior version of Studio One Professional OR Producer!

There's a very good reason why so many musicians have switched to Studio One from older, more rigid programs. Built on a modern foundation that's not bogged down by legacy code, Studio One provides an efficient, creative companion from initial inspiration to final master. Its efficient, single-screen interface houses an unlimited number of tracks, intuitive editing tools, advanced virtual instruments, mastering, and video player- you spend your time creating music, not wondering what to click next. The 64-bit double-precision mix engine is state of the art, while the smooth, analog quality of the virtual instruments comes from proprietary techniques that provide much higher controller resolution. That's why Studio One just plain sounds better.

The reason why Studio One resonates with musicians is simple: PreSonus listens. Many new features in Version 4 are the direct result of user feedback, including AAF import/export so users can bring song data from their old DAW into Studio One. Add the most flexible arranging tools of any music program, full integration with Notion for superior notation, over 20 GB of carefully curated content, analog console emulation, advanced step sequencing, unified hardware control with the FaderPort series of hands-on controllers, and much moreiit's no wonder that Studio One continues to gain new followers every day.

Create Without Boundaries - Produce Without Limits

System Requirements:
Windows

Windows 7 (SP1 + platform update), Windows 8.1 or Windows 10 x64
Studio One 4 operates on 64-bit operating systems only.
Intelr Core Duo or AMD AthlonX2 processor (Intel Core 2 Duo or AMD Athlon X4 or better recommended)
4 GB RAM minimum (8 GB or more recommended)
Internet connection (needed for installation and activation)
Monitor with 1366 x 768 resolution (high-dpi monitor recommended)
A multi-touch enabled monitor is required for touch operation
40 GB hard-drive space
Mac

macOSr 10.11 or higher
Studio One 4 operates on 64-bit operating systems only.
Intelr CoreTM 2 Duo processor (Core i3 or better recommended)
4 GB RAM minimum (8 GB or more recommended)
Internet connection (needed for installation and activation)
Monitor with 1366 x 768 resolution (Retina display recommended)
A multi-touch enabled monitor with TUIO support is required for touch operation
40 GB hard-drive space

Review: It has been two years since the first 'Sowas Von Egal' compilation arrived courtesy of Hamburg label Bureau B and Hamburg party series Damaged Goods. The world is unrecognisable compared to then, but diving headfirst into a bunch of obscure tracks from one of Europe's countercultural epicentres, recorded during one of the country's most troubled but fascinating and creative periods, is still a wonderful experience. While tracks here veer from having one foot in indie punk to full blown electronic assaults, the energy levels are consistent throughout - in short, they all pack a punch, whether it's the runaway juggernaut of Vono's 'Fred Der Ritter' or the frenzied looped bleeps on 'Steig Den Luis Trenker' by 4712. Similarly, with distortions, fizzes, crackles and all manner of other audible DIY tells, it's hard to argue with the fact that everything here puts artistry first and foremost, giving commerciality short shrift.

Review: Move quick on this one as its a super limited red vinyl of rugged and ragged electro sounds from French label Radio Mars. It finds Red Arremer exploring new ground on some distant interplanetary body on 'La Forge D'isengard'. Busted kicks scuff along the ground while circling synths ride up and down the scale, while 'Masters Of Steel' recalls 90s video game soundtracks with its pixelated melodic rain. The variation continue on 'The Dark Mines Slave', a naught bit of bass driven electro with oversized sounds jumping from the speaker before a closing bonus takes off on a serrated bassline and crisp, crashing hits.

Review: This is the second reissue of godlier standard early rap and hip hop work from The Ultramagnetic MCs that is out this month. "Traveling At The Speed Of Thought" comes from their debut Critical Beatdown album in 1989 and is a real hard hitting tune stuffed with all sorts of punchy breaks that are easily recognisable and have since been heavily sampled by the likes of The Beastie Boys. The Ultramagnetic MC's were pioneers of hip hop in the late '80s and this shows why with its confident lyrical flow, big beats and brash vibes. Mr Bongo, of course, always do it right and that's the truth again here with this vital 7".

Review: Ubbo Gronewold and Tobi Kirsch are back with a second compilation of intercontinental rhythms after the success of the first one not so long ago. This one carries on where that one left off, but with the added emphasis of focussing on other European regions and including different countries than those from Vol. 1. A super broad spectrum of sound is covered as the mission goes on to connect music across borders and boundaries from Africa to Europe. There are newcomers, well known names, and a whole wealth of great jams and all of them rich in the musical traditions of Africa.

Review: This hot reissue of Garbage's third album revisits the exact format in which it was released over 20 years ago. Consisting of two heavyweight LPs, this anniversary edition helps us remember the band's innovative mix of electronica, grunge and new wave, as well as lead singer Shirley Manson's routine chronicling of the album's making on an online blog - making her one of the first high-profile musicians to do so. Featuring all the hits, including the trip-hoppy guitar headbanger 'Androgyny' and the Italo-grunge hilarity of 'Cherry Lips', this album isn't one to be forgotten.

Review: Rich NXT is one of the super reliable contemporary house producers who serve up functional records with a twist. Here comes another such trio on the popular Eastenderz label. 'Everon' pairs acidic bass and bobbling grooves with a heady sax line that drifts up top to add the all important special ingredient. 'Izbraz' is a much darker tune - a collision of dusty jungle breaks, haunting chords and warped vocals that is brilliantly dense and unusual. Lastly, 'Radian' slips into a freak 4am minimal vibe with a hiccupping hook and crispy 90s tech house beats.

Review: Romanian breakthrough talent Pirvu has been turning heads since 2018 with releases for the likes of Rummenigge, Meander, Understory and more. Now he lands on NorthSouth with a bristling, crafty slice of minimal tech house that subdues the minimal in favour of a detailed and busy sound powered by big basslines and hooky rhythms. 'Amazonia' is a particular standout, as catchy and playful as it is serious and deadly for the dancefloor. At times you can hear a whisper of French micro house influencing his sound, but then bassline and garage rear their heads too when you hear the wild low end flex on 'Time'. The references are relative, Pirvu is doing Pirvu and it's sounding very spicy indeed.

Review: From the eastern sorcerer who gave us 'Dying On Acid' a few years ago on Deep Medi comes 'Pusher Acid', one of the most beguiling EPs Gantz has cast our way in some time. Six tracks over two 12"s, there's a real measured pace and sense of tension running across the collection as we gradually build up to the pensive, fierce and well-chiselled title track. Elsewhere we have the eerie cinematica of 'Sleepless Elite', the left-footed lollops and slug-like bassline of 'Chiral' and the palpitating, slo-mo seduction of the vinyl-only cut 'Spineless'. Keep pushing on.

Review: Anonymous label Tartan kicks off with two tracks that should pique the interest of anyone who seeks out unusual swerves to spice up their DJ sets. On the A side, 'Took My Heart Away' fuses uncanny sounds from rolling thunder to South Asian vocals, strapped to a brooding beat that should be compatible with the chugging crowd. On the flip, 'Sun' nudges up the tempo a touch and spaces things out considerably, creating a swirling deepest techno mood which might well herald the odd sunrise given half a chance.