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Review: Based in Bristol, UK, experimental musician and vocalist Lucy Gooch is certainly a name to keep an eye on right now. While boasting little by way of discography, this being her debut EP which follows the self released 2018 record, 'Sun', she has all the hallmarks of an established synth-y siren. You heard it here first (possibly). Compris-ing five sumptuous tracks that are pared back but, upon closer inspection, incredibly deep and immersive, elements of Bjork and Imogen Heap are audible in the songs here. Warm notes, sensitive, ethereal vocals and a sense of real passion behind the work itself. The likes of 'Rushing' comes close to a sombre choral mood at times, 'There Is A Space In Between' could stand with the best ambient work, while 'Stalag-mites & Helictites' is a hypnotic journey into the inner mind. Or somewhere near.

Review: Chasing the heat of his mighty "Modulator" EP on Simply Deep, London's J-Shadow dents the discography of Beat Machine with another generous collection of oddities and far-out designs. All writhing around his tech/grime/bass axis, highlights include the MC snippets and Pulse-X style depth plunge breaks, the tabla-style triplets and Indian jungle elements of "Orlov's Casket" and the iceberg dubstep glitches of "Contact". Complete with Gantz on the remix, it's another formidable dispatch from the shady one.

Review: New York cold wave pair Mixx Mann formed in 1981 and was made up of songwriter and vocalist Frank Oldham Jr and producer Paul Hamman. This is their debut album form the same year and it provides a real insight into the life of gay people at the times. Musically it is a slick and adventurous album with urgent beats, cold wave synths and neat guitar riffs all finished off with the involving vocals of Oldham Jr. For this first reissue, Dark Entries have added two bonus instrumental cuts alongside the original which makes it an essential addition to the ranks of any new wave lover's shelves.

Notes: Use the Stereo Line In 1U system to bring external audio into your modular system for processing. The system works with balanced +4 dBu professional audio products and with -10dbV unbalanced gear.

The Stereo Line In 1U system comprises two components:

The Stereo Line In 1U module:
Either a Stereo In Jacks 1U module, or a case with built-in 14" audio jacks, such as Intellijel's Palette or 7U cases (with a 2nd generation Audio Jacks board).

Width: 12HP
Depth: 38mm
Power: 18mA @ +12V
12mA @ -12V

Review: Four years ago Ethio-jazz elder Mulato Astatke came good on a promise he made way back in 2009 and joined forces with Australian collective Black Jesus experience to record a collaborative album. That album, "Cradle of Humanity", did a good job in fusing traditional Ethiopian songs and musical sounds with heady dancefloor grooves rooted in soul, funk and jazz. "To Know Without Knowing" takes a similar approach, balancing certified dancefloor workouts (see the fiery Ethio-funk-meets-Latin jazz flex of "Mascaram Setaba", bustling "Kulun Mankwaleshi" and breezy soul-jazz number "To Know Without Knowing") with deeper, more downtempo excursions that are every bit as alluring.

Review: Are there any more iconic names in underground electronic music than Swiss-Chilean Luciano? He might not be at the peak of his powers but still has a wealth of skills and experience that mean his every release is always well worth checking. Here popping up on Germany label Basic he offers up the brooding atmospheres and floating pads of 'Nature Reverance' atop a rugged and raw drum line. 'Trance Ilvana' is dialled back a notch to ear-tickling frequencies and bubbling bass and drums that are only loosely defined but fully hypnotic.

Review: Glen Velez is perhaps not a household name, but let Emotional Rescue change that with this wonderfully curated collection of works from a masterful drum devotee. Velez has Latin American roots, and he has performed since the late 60s in New York, but his interest in percussion spans the globe and all kinds of hand drums. His respected techniques have been snapped up by collaborators like John Cage and Steve Reich, not least thanks to the advanced polyrhythmic modes he operates in. Don't be fooled though - this isn't just a drum record. Accompanying musicians shape out the hypnotic percussion in a variety of transcendental moods that make this an invigorating listen start to finish.

Review: Music From Memory are spending some time exploring the world of music created for dance and performance. There's a common interest in experimentation between the mediums, but not at the cost of musicality, which comes here with a distinct 80s veneer. Gerard Stokkink has a thread of drama and poise about the vivid synthscapes of "Yellow Turtles" while the self-titled track from Ivory Playground calls to mind the delicate fingerpicking guitar you might expect to hear from Alexis Georgopoulos & Jefre Cantu-Ledesma. Atlantis Transit Project have a heavier tribal lilt to the percussion on "Bird Perspective", and Ramuntcho Matta's "Zoique III" holds a mirror up to the freaky disco drum work of Jan Schulte and Niklas Wandt.

Review: During the early-to-mid 1990s, Stefan Robbers released some of the most inspired techno to come out of the Netherlands during the period, mostly under the Florence pseudonym on the Eevo Lute Muzique label he co-founded in 1991. This fine triple-vinyl compilation from Delsin tells the tale of both artist and label, drawing together the best of Robbers' work for the label. You'll find extensive liner notes from fine techno scribe Oli Warwick on the accompanying insert, but it's the music - a mixture of sci-fi flavoured club cuts, dreamy and melodious electronica, heady ambient techno, and tactile, loved-up rhythmic soundscapes - that makes "Analogue Expressions" such an essential listen.

Review: Harbour City Sorrow is a sub or sister outlet from the Dutch label Frustrated Funk. They are focussed on reissues here as they offer up real techno gems from Detroit visionary Terrence Dixon under his Populatrion One moniker. The beefy double pack mixes up tunes from 2008's 'View From Above' four-tracker and 2012's 'I Program My Computer Right'. The vital results are space travelling minimal techno with plenty of cinematic sound design and cerebral ambiance. This is a template that has been hugely influential over the years, though few ever bettered the original master.

Review: Emotional Rescue go hunting in the reeds for forgotten projects, and come up trumps once again. Delay Tactics formed at the beginning of the 80s as a tape looping project from Carl Weingarten and Reed Nesbit before expanding their palette with Walter Whitney's synth vamping. They didn't last past their second album, 1984's Any Questions?, but now the finest of the band's catalogue has been documented here. The sound is prime inquisitive 80s, teetering between the traditional band dynamic and the experimental pastures of technology-powered music. At times infectiously playful ('Oyster') and at others compellingly beautiful ('Kites'), Delay Tactics are exactly the kind of band that deserve another moment in the sunshine.

Review: Hands up all of those who expected UK garage legend MJ Cole's first album in 17 years to be an ambient set with neo-classical intentions. While on the surface it may seem like an odd move, he says that it has been "gestating" his "whole life", though in the end he apparently recorded it fairly quickly. Musically, it's well worth a listen, with Cole cannily combining sweeping strings, jazz style double bass, fluid piano solos, opaque ambient chords and very occasional rhythms to create compositions closer in tone to film soundtracks and conceptual neo-classical pieces than the sweaty, soul-fired club bangers he's long been renowned for. Judged purely on musical terms rather than his previous career, it's a hugely impressive achievement and well worth a listen.

Review: Second chapter of the Imago Series on Black Chrysalis Archives. All tracks come from the original version of the album Prometeo, written and produced by Tullia Benedicta and released by BCA Embryo Series in November 2018.

Review: For the second release on their new joint venture Mixed Signals, Henry Jones and Seance Centre founder Brandon Hocura have decided to offer-up a selection of tracks from Harold Lucious' overlooked 1990 album "Connected". Lucious' far-sighted blend of soulful house, new jack swing and what us Brits would call street soul comes to the fore on opener "Let The Feelin' - Turn You Out", a stripped-back, synth-heavy chunk of deep house-soul, and on the much more upbeat club cut "What Does It Take". It can also be heard, too, on delicious flipside opener "I Like It", where Lucious' layered vocals ride a tactile, lo-fi deep house groove. Our pick of the bunch though is sumptuously slow closing cut "Try My Love", which is much closer in tone to street soul.

Review: Japanese heavyweights HHV continue their ongoing trawl through the back catalogue of long-serving hip-hop producer, DJ, record collector and self-styled King of Diggin', Muro. Here they present the second part of the dusty-fingered hero's turn-of-the-millennium Pan Rhythm series of 12" singles, this time presenting it on a tidy seven inch single. 'Hip-Hop Band' is a weighty, floor friendly, horn-heavy re-make of the Stetsasonic song of the same name, with local mic man Boo delivering tweaked versions of the U.S crew's verses in his native Japanese. While jazzy, the bombastic backing track - which can be heard in full on the flipside instrumental version - is forthright and club-ready, making the single a must-have for working hip-hop DJs and those who love the more up-tempo end of the rap spectrum.

Review: This tasty new 7" from Willie Tee is a real work of funk and soul genius. An original copy will cost you too much, basically (L4000) as it is one of the most sought after records in the world. It finds Tee retiring to a previous big hit but updating it with a New Orleans production sound straight for the 70s. The result is a modern soul anthem that is heart aching and sublime. And if you thought the a-side was good, the flip is just as strong, but with a more direct and raw approach, bustling drums and impassioned vocal delivery.

Review: Three months after rapper turned singer Lizzo's major label debut first appeared on CD and digital download, Atlantic has decided to offer up a deluxe vinyl edition of the well-received set featuring three bonus tracks. Prior to release, Lizzo admitted she wanted to become "this generation's Aretha Franklin"; while she's not at the late soul legend's standard just yet, there's enough on "Cuz I Love You" to suggest that she's going in the right direction. Her vocals are variously confident, powerful, strutting and tender, with the accompanying backing tracks mixing hip-hop and R&B style beats with raucous guitars, bombastic basslines, Daft Punk style synth stabs (think "Robot Rock" and "Technologic") and occasional nods towards more pastoral, semi-acoustic sounds. Above all, though, the album is funky, forthright and hugely entertaining.

Notes: Low-cost, portable, compact enclosure that turns Eurorack modules into table-top instruments.

The Pod64X Unpowered is 64HP with 2.16" (55mm) of available module depth. No power supply is included, you must supply your means of powering modules with a DIY power supply or a front-facing module such as the Row Power. Two holes on the rear face are plugged with removable plastic plugs, and can be used for DIY applications.

Pods are a perfect way to get started in Eurorack, or add a couple more modules to your monster system!

Made from 100% anodized aluminum, Pods are light, tough and perfect for on-the-go set ups. Mix and match your Pods with desktop synths, effect pedals, drum machines or any musical gear for a flexible modular system. Need to add another module? Just add a Pod! Need to pack light for a live set? Just grab the Pods you need and go!

Basic Features:

64 HP Eurorack modular space
Standard M3 threaded holes
100% lightweight anodized aluminum

Includes:

64HP Pod, black anodized aluminum
M3 x 8mm pan-head screws, stainless steel (20)
Adhesive rubber feet (4)
Unpowered: requires you to provide your own Eurorack power system
Exterior dimensions:
Width: 329.7mm (12.98")
Height: 159.5mm (6.28")
Depth: 57mm (2.24")
Interior dimensions:
Max module depth: 55mm (2.16")
Module width: 64HP
Weight:
0.42 kg = 14.9 oz

Review: Malin Genie welcomes an extensive EP treat from Lava Lap, an emergent producer with an affinity for the kind of braindance that will have fans of Jodey Kendrick beating their drum machines with approval. The acid is slippery, the structures ever-shifting and a wealth of expression spills out of every bar. There are faster drum & bass paced bits, melancholy detuned electro and much more besides. Far from just being clever music though, it's also amazingly emotional and so impeccably produced. Any electronica head should be all over this.

Review: Re-grouped and, if the introductory stomp here is much to go by, re-charged, Manchester's PINS return with a generous helping of sound clash business, melding filthy electro sleaze and playful rock with two deft and confident hands, the results of which should score big with fans of seductive disco sludge. And let's face it that's pretty much most of us. Tracks like 'Read My Lips' and 'Bad Habit' are fine examples of a dark but alluring edge this lot seem more than capable of creating, while 'Daisies' could almost replace Wilson Phillips to score the final scene of 'Bridesmaids'. Which is certainly no bad thing. "We can keep going" the band threaten over 'Ghosting''s compressed but intense rave punk. Based on this, we're more than happy with that idea.

Review: When it comes to modern soul albums of the mid-to-late 1970s, you'll find fewer more rare or sought-after than Timeless Legend's 1976 debut album Synchronized. Here the little-known Colmbus, Ohio-based group's masterpiece is given a special Record Store Day 2020 reissue courtesy of the soul diggers at Ohio Records. It's full of musically detailed, immaculately produced treats, with highlights including the summery grooves, dewy-eyed vocals and jazzy electric piano solos of 'Checking You Out', the snaking horn solos and impeccable group harmony vocals of 'Lonely Man', the heavy funk-rock-goes-R&B flex of 'River Boat Queen' and the pleasingly dubbed-out, effects-laden psychedelic soul of 'Ghost of Love'.

Review: It is often said that this tune was one of the catalysts for the coming together of Brit-funk sounds and UK disco styles back in the early eighties. Either way it is a real British classic that landed on the influential dance label Record Shack and came from the unique musical minds of Jeff Weston and Northern Soul, Blackpool Mecca and Wigan casino DJ/Promoter/icon, Ian Levine. Now the hard tp find and much coveted, as well as expensive, original has been officially licensed and remastered with a full colour picture sleeve for this special 12".

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

Review: Having enjoyed a help in hand courtesy of the Arts Council-funded "Future Bubblers" project and mentor Esa (whose Afro-synth band he played in), Forest Law has graduated to the Brownswood Recordings roster. The producer and multi-instrumentalist has a wide palette of influences, but is particularly interested in West African and Brazilian music. These inspirations naturally come to the fore on this inspired debut, which gathers together three tracks bristling with effervescent Latin-percussion, Afrobeat-influenced grooves, Afro-synth electronics and vocals - presumably provided by the artist himself - that sound a little like Hot Chip's Alexis Taylor. It's an alluring blend that results in three fine cuts, of which A-side "New Thoughts New Eyes" - a future dancefloor classic, we reckon - being the pick of a very strong bunch.

Review: For the label's latest release, the dusty-fingered diggers behind Archeo Recordings have decided to reissue a little-known but undeniably brilliant album from fellow Italians Fulvio Maras, Alfredo Posllipo and Luco Proietta. Recorded in 1992 and originally released in staggeringly low numbers (only 300 were pressed first time around), "Sfumature" drew on a disparate array of influences (think jazz, ambient, new age, fourth world, Afro-cosmic and electronica for starters) and loose-limbed drumming and melodious percussion instrumentation (marimba, glockenspiel etc) with ear-catching synthesizer sounds, sparse drum machine rhythms and occasional improvised vocals. It's a genuinely unique sounding anthem and well worth picking up, especially in this highly limited white vinyl pressing (apparently only 100 of these exist).

Review: Given that the last time this prime slab of Texan funk appeared on wax was way back in 1969, we'd say this special Record Store Day 2020 reissue is long overdue. A-side 'Iron Leg' is a bona-fide bomb: a fuzzy, low-slung, psychedelic-era instrumental funk smasher rich in hazy Hammond stabs, mazy solos, crunchy breakbeats, rising horn riffs and insanely weighty bass. It comes backed with 'Chocolate', a similarly bass-heavy but slightly jazzier instrumental funk workout that's well worth dancefloor spins. Original copies regularly change hands for three figure sums, so copping this essential reissue will save your bank balance (or leave plenty spare to buy other killer funk records!).

Review: Based in Bristol, Habitus is a beat-maker, rapper and DJ from the Canary Islands. "Mind De Sample" is his debut album and it's really rather good. Featuring dusty, sample-heavy beats reminiscent of some of the greats (Dilla and DJ Premier, who both mined the hazier end of funk, soul and jazz spectrum) and an impressive cast-list of Spanish and British MCs (Verb T, Goose, Chillman, Res One, Datkid, Sadomas, Holly Flo Lightly, Emblema, Talia, Dr Syntax, Mac Lloyd and Bill Next all feature), it's the kind of laidback, soulful and sunny set that should warm the heart of anyone who appreciates quality underground hip-hop.

Review: Ask Vatn Strom, Eskild Myrvoll and Ingvald Vassbo are hardly the kind of trio you can take lightly. The Norwegian heads blew many of us away with their 2018 debut album, 'Windborne', and seem intent on continuing to deliver the same powerhouse fare on this next long form offering. Psychedelic progressive rock fusion is one label that has been used in the past, and we'd struggle to summarise the work better. Comprising six grand and ambitious tracks, it's easy to start reaching for jazz-y references given the freeform feel of this collection.'"Shades Of Yes' are just about audible on opener 'Worlds Together', the appropriately titled 'Mountain' is a huge affair that grows and builds to a staggering scale, while the likes of 'Worlds Apart' reveal Kanaan's ability to deliver bonafide steel and concrete heaviness with those guitars.

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

Review: The Live Band, a disco-soul/jazz-funk outfit helmed by bassist and vocalist Kenny Chavis, released a swathe of singles and a sole album on The Sound of Brooklyn in the early 1980s. Perhaps their most potent track was 'A Chance For Hope', an emotive, two-part plea for change that opened their 1982 debut album. On this first ever seven-inch pressing the order of the tracks has been reversed, with the swelling, scene-setting orchestration and atmospheric field recordings of the shorter 'Prelude' version appearing on the flip. That leaves the main vocal version, a superbly soulful chunk of boogie-era dancefloor soul rich in addictive grooves, sweeping strings and eyes-closed vocals courtesy of Chavis, rightfully nestling on side A.

Review: If you're in the market for a beginner's guide to krautrock and "kosmiche", then the first two volumes of Soul Jazz's Deutsche Elektronische Musik series should be essential listening. This third volume - the first for four years - should be on that list, too. It arguably goes deeper than its predecessors, combining cuts from pioneering electronic and art-rock bands like Neu!, Cluster and Popol Vuh with tracks from lesser-known artists such as Michael Bundt, Dronsz and Achim Reichel. Musically, it's also far more diverse than its predecessors, containing as much space-rock and proto-punk as early electronic experimentation and droning alternative rock. As ever, the accompanying sleeve notes from author David Nobbs expand on the story in brilliant detail.

Review: 25 years later... Foundation Bournemouth imprint Underdog return with the long, long, long awaited 013. The title couldn't be more fitting: "Original Jungle". Old label, old values, new names. Dark Dean and Mc Stevie A have been part of the Destiny raves since the mid 90s but this is the first time they've translated their years of service onto wax. Collab-ed with new-gen prospects Hankinson and Carmen Naida, each cut - from the bubble and skank "In The Area" to the hurricane breakbeat jam "Elevate" - rattles with jungle authenticity while punching with modern production welly. Welcome back Underdog.

Review: Japan seems to excel at everything and anything it does, including reissuing golden jazz funk. This time out, Hysear Don Walker's "Complete Expressions Vol. 2" is mined for the two escapist and mellifluous tracks that make up this essential 7". Ryuhei The Man edits "Children Of The Night" into a smooth flowing bit of late night and romantic jazz funk. It rides on a pensive bass loop and has a subtle sense of drive, while the slower original is that bit more sentimental with its noodling chords and more meandering mood. Both sides are pure winners.

Review: Formed in 2017, the Sokratis Votskos Quartet is fast becoming one of the leading lights in Greek jazz. Later in the year they'll be releasing a brand new album on Jazzman, from which this tasty double A-side is taken. "Almopian Etude" is a veritable humid summer breeze of a track: a loose and languid fusion of spiritual piano motifs, languid double bass, bustling drums and alternately snaking and intoxicating horn solos. B-side "Sevenates" is an altogether funkier proposition, with cyclical saxophone motifs increasing in intensity over a jumpy, piano-driven rhythm track. It's not exactly jazz-funk, but it's certainly travelling in that direction. Either way, it's ace.

Review: This rather rare and emotionally raw disco bomb from Jackie Stoudemire & Al Stewart landed back in 1998 and often fetches upwards of L300, if you can find it. It now gets a full remaster and is presented with replica artwork for Record Store Day 2020. Opening salvo 'Dancing' is an uplifting jam with laid bare vocals soaring over a tight, kinetic rhythm section. After the dancing thrills of that one, 'The Two Of Us' is a more sentimental slow dance for lazy Sundays, and 'Running' closes out the triptych somewhere in between, with soaring strings and life-affirming Rhodes riffs.

Review: Everyone's favourite cartoon band marked Record Store Day 2020 by serving up a UK release of a collection of tunes the was previously only available in Japan, and later in the US of A. It pulls together a wealth of b-sides from the studio sessions around their first album Gorillaz, and the Tomorrow Comes Today EP. It is limited to just 2000 copies and harks back to a time when the band - lead by Daman Albarn - was at the peak of its powers. The self titled debut album was such a hit it earned the band an entry in the Guinness Book of World Records as the "Most Successful Virtual Band."

Review: Two days after he laid down his most celebrated album, "Go!", saxophonist Dexter Gordon gathered together the same line-up of musicians - Sonny Clark on piano, Butch Warren on bass and Billy Higgins on drums - and recorded a follow-up. Initially released in 1962, "A Swingin' Affair" has long been considered a hard-bop classic - hence this fresh reissue from Blue Note. It certainly contains some of Gordon's best work, not least the sparkling opener "Soy Califa", the languid and smoky niceness of "You Stepped Out Of A Dream" and the bluesy, bittersweet brilliance of slow-motion classic "Until The Real Thing Comes Along".

Review: We've heard plenty about the underground electronic music scenes in Napoli, Milan and Rome, but not so much about the new wave of deep house and broken beat producers currently emerging from Bologna. This EP from Bristol's Boogie Cafe Records tries to put the record straight by bringing together a quartet of cuts from some of the city's fast-rising producers. Check first the insanely funky, broken house brilliance of Sam Ruffilo's blues-sampling "U Make Me Sing", before bathing in the jazzy solos, drowsy male vocals and jazz-funk-flecked cheekiness of D'Arabia's "Straight Outta Fire". Brine takes over on the flip, first joining forces with Ruffilo on the revivalist '90s NJ garage flex of "Request Line", before going solo on the ultra-deep, woozy and sun-kissed deep house warmth of "Star Chaser".

Review: 40 years ago this rare afro-disco track made big waves. It's the work of Cameroonina disco talent Zogo and now gets a big reissue along with two remixes from the much loved Gerd Janson and Bellaire. The original is pure joy, with trilling guitars and a funky bass riff that does plenty of work up and down the scales. The percussion is just as lively, while the vocal finishes it off nicely. Bellaire flips it into a more contemporary bit of punchy disco house and Janson sits somewhere in between, with plenty of the upbeat energy of the original but some boosted modern flourishes to help it soar.

Review: Tokyo-based duo Group A have been operating as outliers for many years now, self-releasing music and earning a reputation for their incendiary live shows. After catching the ear of Alessandro Adriani's mighty Mannequin label, they released a self-titled EP on the Italian imprint back in 2017, and now they're finally back to follow it up with a full-length. Being on Mannequin you should know to expect beyond the grave sonics with heavy notes of industrial and minimal wave, but Group A intersperse this with their own particular strain of sonic personality, from dismembered voices to American TV rips (on the excellent "Channel Surfing". It's an imposing listen, not to mention a captivating one.

Notes: Better known for analogue modules, it turns out Erica Synths are pretty damn good at digital too. Draw your own waveforms, build wavetables, tweak in real time and get freaky. Killer VCO.

Supplier's notes:
Erica Synths Graphic VCO allows you to draw your own waveforms, arrange them in wavetables and wavetable banks, morph between two selected waves and alter the resulting wave in advanced ways (FXes) - apply FM, phase distortion, ring modulation, wavefold/wavewrap, bitcrush.

Waves, wavetables, FXes and other settings can be saved and recalled from the memory instantly. The module has two outputs - the main output and the output with configurable suboscillator.

NB! To have the module functionality up to date, we recommend you to check the Erica Synths home pageor our social media from time to timefor announcements about firmware updates for the Graphic VCO. You can update the firmware of the module via miniUSB cable. More detailed instructions of the firmware update can be found in the User Manual.

The sound is clean, modern, punchy and detailed thanks to the unit running at 96kHz - quite different to some low bit-rate wavetable oscillators on the market. Wavetable interpolation is smooth as butter and with the built-in effects you can dirty things up in many different ways. The module scores highly on the sound front. The Graphic VCO is a very capable oscillator module with excellent sound quality and a lot of features that could make it the right choice, especially if live performance is your thing. - Sound On Sound
The bottom line is that the Graphic VCO is a joy to use. It's a module that's unashamedly digital, yet unmistakably eurorack. I think Erica showed a great deal of careful judgement and restraint in the design of this module. It would have been easy to have made it bloated and cumbersome trying to cram as many features as possible into it, but they kept it fairly simple which keeps the module fun and immediate in use. It's capable of a huge tonal palette ranging from beautiful to brutal that is bound to fit in with a lot of different styles and systems. - Ask Audio
The ability to draw and then effortlessly jump between different custom digital waveforms in this way feels unique on the Eurorack stage, and allows for a wide range of tones and transitions between them. - Orb Mag

Technical specifications:

Audio output amplitude
10Vptp
Octave range
C0-C8
Sample rate
96kHz
Unipolar CV input range
0 -+10V
Bipolar CV input range
-10V -+10V
Panel Width
16 HP
Module depth
30mm
Power consumption
152mA@+12V,
20mA@-12V

Review: Following a low-key EP way back in 2011, Eprom and Stillcold founder Andrew Doubek's Deep Sky Objects go high-key with this raw and rampant LP. Nine tracks spanning the electronic diaspora, we're treated to everything from warm jacking house ("Brothers & Sisters") to industrial strength techno ("Lethwei") to schizoid bashment ("T.M.K.F") to divine dubbed-up haunted house ("The Chant") and all manners of club flavours in between. Unbounded business.

Review: Having previously worked his magic on classic cuts from Diana Ross, Luther Vandross and Teddy Pendergrass - among others - Bridge Boots boss Caserta has now moved on to Marvin Gaye. He's grabbed the acapella from a classic song - in this case one of Gaye's duets with Diana Ross, "My Mistake (Was To Love You)"- and incorporated it into a brand new track. The A-side "Casey Mistake Mix" sits somewhere between early '80s boogie and the mid-80s proto-house sound created by Boyd Jarvis, Timmy Regisford and Paul Simpson. Interestingly, Gaye and Ross's vocals fit it like a glove. The flipside "Dub That Got Away" is an altogether more bumpin' garage-house workout rich in cut-up vocals snippets and wobbly analogue bass.

Review: A warm welcome back to the SUED label, which returns to action - via a fresh EP from imprint regulars Dresvn (Dynamo Dreesen and label co-founder Sven Rieger) - after a hiatus of nigh on two years. Following a suitably spaced-out start (the weirdo ambient jazz of "Intro", featuring Tom Page on drums), the German duo offers up two mixes of title track "Metro". The first, the "Live Mix", is a fluid and off-kilter techno roller rich in deep, spacey synthesizer sounds, galloping drum machine beats, jaunty bass and sparkling lead lines. The "Studio Mix" is, as you'd expect, an altogether smoother and even more spacey sounding experience, with the pair conjuring up an ambient techno masterpiece that's more influenced by dream house than the sci-fi sounds of Detroit.

Review: For the latest release in their ongoing "Esplande Series" focusing on the work of Japanese ambient minimalists, Swiss reissue specialists WRWTFWW have decided to deliver a new edition of Motohiko Hamase's rather good - but very hard to find - 1988 release "Notes of Forestry". It remains a remarkable work, sitting somewhere between the fluid and heavenly electronics of new age ambient, the cyclical minimalist movements of Steve Reich, free-jazz and the kind of free-wheeling, loose-limbed works most often associated with experimental percussionists. Hamase is a bass player by trade, and its' his fast-fingered fretless bass playing that catches the ear throughout (though it by no means dominates the sound space).

Review: We were rather impressed by the first volume in the CCCP Edits series, a re-edit imprint seemingly dedicated to offering up reworks of obscure, largely unknown musical gems from Soviet-era Russia, so hopes are sky-high for this second instalment. We shouldn't have worried. Opener "Nochi" is a deep, woozy and off-kilter chunk of two-step garage/jazz-funk fusion, while "Ne Mojet Bit" is the most Balearic electro track we've heard in yonks. The fun continues on the flip, where the glassy-eyed deep pop-goes-two-step flex of "T=H2O" comes accompanied with the hip-house era breakbeat-house warmth (and jazzy keys) of standout track "Hare, Krishna".

Review: "Pyramid Pieces" is a long overdue retrospective of the golden years of Australia's modern jazz scene in the 1960s and '70s. It could hardly be called a well-known scene - it was barely celebrated in Australia, yet alone elsewhere - but over the course of two decades produced a string of fine releases showcasing fresh interpretations of then contemporary jazz from the USA and Europe, as well as a homegrown style known as 'Eco-Jazz'. Highlights are plentiful, from the magnificent modal movements of Jazz Co/Op's "A La Coltrane" and the effortlessly evocative spirituality of "Exploration of the Sun" by the John Sangster Quartet, to the heady eco-jazz beauty of the Brian Brown Quintet's "Wildflowers" and Peter Gaudion Blues Express's winding instrumental cover of jazz staple "People Make The World Go round".

Review: First released on the obscure Derby label way back in 1982, Dr Togo's debut single "Be Free" has long been an in-demand Italo-disco rarity. It was co-produced by Louis Figino, who had previously produced Kano's legendary single "I'm Ready", and featured that band's lead vocalist, Glenn White, as the headline-grabbing Dr Togo. This much-needed reissue boasts both versions from the original 12: the deep disco warmth of the A-side vocal version, in which White's invitation to come dance rides rich chords, rubbery slap-bass and spacey synthesizers, and the dub style flipside "Instrumental" mix. In keeping with the style of the time it was recorded, this includes additional layered percussion and selected snippets of the original's female backing vocals.

Review: Anna Karolczak was last seen dropping bombs as Pretty Pink around 2016 with releases on Armada and others, but now she's back after a brief hiatus with some surefire club shockers landing on Kontor. "Move It" first gets a remix from Aka Aka, the Berlin based production duo responsible for the excellent Burlesque Musique label. They bring some massive brass stabs to this big room tune. That said, Karolczak's original tune is huge enough on its own, riding a rollicking bassline and teasing the energy expertly over the track's run time. If you need something chunky in your arsenal, look no further.

Review: There's been plenty of great "golden era" hip-hop reissued on wax lately, mostly via tidy and on-point seven-inch singles. Here's another, as Mr Bongo offers up a replica edition of the increasingly scarce "45" of Black Sheep's 1991 scene anthem "Strobelite Honey" - a playful and fun-packed affair that still gets feet moving 29 years after it first hit clubs. On the A-side you'll find the superior "Maybe We Did Remix", in which Dres's entertaining lyrics about courting a woman at a club ride crunchy drums, scratches, squally high pitched horn sounds and a wealth of killer samples. Turn to the flip for the far funkier original version, which lifts warm, squelchy and groovy elements from early '80s disco cuts by Change and Luther Vandross.