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Notes: Eurorack version of 1010's superb Bluebox. Vast power in 30 HP, with the ability to mix, record and play back in mono and stereo, hook up to a computer over USB for stereo I/O and run effects, all with CV control.

Supplier's Notes:
The bluebox Eurorack edition is the new Eurorack mixer with effects and multichannel recording/playback based on the award-winning bluebox desktop mixer. With the Eurorack edition's USB-C EXT port, you can send 2 channels of audio to and from your computer. Plus, you can control up to 6 mix settings with the 6 CV inputs. Whether recording your Eurorack jams, using it to play stems as backing tracks, or a combination of both - bluebox Eurorack edition will rock your rack!

Connect your eurorack, sampler, drum machine, and synthesizer outputs to 12 mono, 3.5 mm inputs and map them to 12 mono tracks or 6 stereo tracks - all with independent control for recording and playback. Connect your computer to the USB C port to send and receive two channels of audio.

The bluebox Eurorack edition is the ultimate in compact mixing, effects, recording, and playback for Eurorack. Smack it in your rack and hit the road with a self-contained, electronic music powerhouse!

When you purchase a bluebox Eurorack edition, you will receive:

a bluebox Eurorack edition 30 HP Eurorack module
A microSD card with bluebox firmware and pre-loaded project files
two Eurorack power cables
a bluebox Eurorack edition Quick Start guide
two MIDI Adapters

Technical Specs

Dimensions & Power
30 HP
Module dimensions including knobs: 6" x 5"x 1.6"
Depth behind front panel with ribbon cable: 1.0"
Requires the +5V rail which may not be present
on some older racks.
Uses 500-850mA at +5V (depending
on screen brightness), 320 mA at +12V, and 82mA at -12V
Requires two power connections
Capabilities
12 mono tracks, 6 stereo tracks or something in between
Connect to TRS or USB C MIDI for beat syncing effects
Lots of headroom with support for Eurorack levels up to +/-5V inputs and outputs
3 effects: reverb, delay and compressor
Records and plays back 48k, 24-bit audio WAV files
4 band EQ per track
Durable aluminum faceplate
Stream 2 channels of audio in and out over USB C

Inputs and Outputs
12 mono 3.5 mm TS inputs
2 independently controlled 3.5 mm TS output pairs that can be used as 4 mono outputs
1 stereo 3.5 mm headphone output
6 CV Inputs
1 USB C MIDI Device port
1 TRS MIDI Input
1 TRS MIDI Output
1 USB C Ext jack for streaming audio
3.5" touch screen, 4 knobs, 8 navigation buttons and 3 transport buttons

Notes: Part of 1010's excellent Nanobox series, the Tangerine is a tiny powerhouse sampler. A fresh new approach to sampling, from one-shots to loops, all the way through to four-hour recordings.

Supplier's Notes:
Sweet and Tangy Sampling

The nanobox | tangerine delivers powerful sampling in an ultra portable form factor. With this nanobox, you can add recording, sample playback, clip launching, slicing, and musically intelligent looping capabilities to your desktop or travel rig. With an intuitive touch screen interface, nanobox | tangerine makes easy work of selecting, editing, and tweaking your samples. You can stream large samples of up to 4 GB file size straight from the microSD card. Interact with other musical components via MIDI. Load multi-sample banks with over 500 samples for amazing instrument reproduction. Tweak your configurations to get them just right, then save them to multiple presets for future reuse.

Top features

Play up to 24 stereo polyphonic notes when your samples fit in the 64 MB of internal memory or up to 8 larger stereo samples streaming directly from the microSD card

Play multi-sample banks with up to 16 velocity layers and 576 WAV files loaded in one preset

Configure 8 stereo sample pads per preset as single or multi-samples, clips, slicers, or new recordings

Stream long samples from the microSD card with a max sample size of 4 GB, which can be many hours of audio

Trigger samples with the touch screen or MIDI input as one shots or melodic notes

Control how samples start and stop by choosing from one-shot, toggle, gate and piano (New!) launch modes

Tweak playback through a variety of sample parameters, including start position, length, pitch, gain, filter, loop mode, launch quantization, ADSR, Exclusive Grouping, clip synchronization, slice placement and sequencing, and MIDI note and channel mapping

Quickly and easily use MIDI mapped controls for more tactile access to common parameters

Record up to 16 sequence layers per preset.

Get into the groove with a fast, fluid, and intuitive workflow

Make music anywhere thanks to a compact and nearly indestructible design

Recording Capabilities

Configure each pad for stereo or mono recording with the option to synchronize the start and stop times to clock inputs
Trigger recording via audio level threshold
Create perfectly sized loops by setting the recording length
Enable immediate playback after recording for live looping capabilities
Make recordings up to 4 hours in length
Resample the master output without patching
Automate recording of a multi-sample bank via MIDI
Store recorded samples as WAV files on the micro SD card then remove the card to transfer them to your computer

What is Included:
nanobox | tangerine - Compact Streaming Sampler
MicroSD card with 85 presets and over 1500 wav files
Colour matched USB power cord
Type B TRS MIDI To MIDI 5 Pin DIN adapter
Quick Start Guide

Technical Specs:

Power: USB-C connection 5V, 500mA
3.5mm audio input and output
Maximum input and output level: 2Vrms
DAC and ADC resolution: 24-bit
Internal resolution: 32-bit
Sample rate: 48kHz
MIDI Input: 3.5mm Type A/B auto sensing
MIDI Output: 3.5mm Type B
Clock Input: 1,2, 4, 8, 12 or 24 PPQ selectable
MIDI support: Note On/Off, Velocity, Pressure, Mod Wheel, Aftertouch, CC mappings to common parameters, program changes and clock
H x W x D: 1.5" x 3.75" x 3"
Weight: 0.25 lbs.
2" touch screen, 2 knobs and 4 buttons in a 3.75" x 3" x 1.5" package

Additional information

Weight: 0.65 lbs
Dimensions: 7.75 × 4.85 × 2.25 in

Review: You've always been able to hear the West Coast in Monocoastal, but it's particularly present when you shut your eyes after 12 months of lockdown stopping you from visiting the region. Less active L.A., and more observing in Oregon, Fischer's career didn't end with this in 2011 and the multi-disciplinary artist has produced great things since, but the album is certainly one of turning points in terms of reputation and note.

The idea of slowly watching time unfold in un-rushed places is also highly appropriate. Among the washes of tape and the waves of refrain that make up this beautiful, meditative outing, you'll hear takes and half-harmonies from found instruments including a piano and xylophone. Overall, it feels like a place removed from linearity. A liminal masterpiece, if you are that way inclined.

Review: ."Post-fluxos 'broken music'" is how the official release information describes this spellbinding outing from Miradasvacas. Made from fragments of recordings by Madrid's Pablo Miron and Juan Vacas, hence the artist name here, the two heads - who some will know from the Real No Real collective and Ediciones Fontenebro label - adopt a collage approach that stops some way short of musique concrete but, at times, is certainly barking up a similar tree. Taking influence from the likes of the Dieter Roth school, Anne Gillis, Leyland Kirby and Henry Krutzen, perhaps what's so technically impressive about this effort is the way tones and sounds and bits and pieces, when heard separately, don't always lay out their stall as complementary. But here, brought together as one, they create what can only be described as a magnificent whole.

Review: When Mick Mars stepped back from touring with Motley Crue, it seemed like the end of an era. Really, it was the beginning of a new one. The legendary guitarist, whose riffs, solos and overall devastatingly heavy sound powered the L.A. icons through four decades of world-conquering, multi-platinum sonic mayhem is, as he demonstrates on his debut solo effort, still a serious force to be reckoned with. Only now, listeners are reckoning with more Mars than ever before. On the aptly-titled The Other Side of Mars, fans get that vision in its full, multifarious glory. To be sure, there are plenty of characteristically riff-tastic, tough-as-nails hard-rock anthems, but The Other Side of Mars also shows the 71-year-old guitarist heading into new and uncharted territory, tearing through caustic, modern metal ('Broken On The Inside"', conjuring gothic-tinged soundscapes ('Undone'), digging into anguished, slow-burning power balladry ('Killing Breed"' and unspooling bluesy, cinematic instrumental workouts (the album-closing guitar showcase, 'L.A. Noir'). The music throughout the ten-track collection, meanwhile, is otherwise studded with slide guitars, violins, violas, keyboards, glitchy freak-outs and all manner of sonic surprises.

Review: As we write this The Beatles have just managed to put out their last ever, they say, new single. By harnessing the vast powers of AI and feeding it a dusty old clip of him singing back in the day, they have even managed to recreate the voice of John Lennon. It's a reminder of how ahead of their time the Liverpool band always was, even back in the 1960s. And that's when this album London to Manchester was recorded live on October 13, 1963, which marked the point at which the press knew the band was going to be global superstars and features all their biggest hits from this early-on time.

Review: .There's plenty to talk about with The Who's historic show at Fete De L'Humanite, a huge open-air event hosted by L'Humanite, the main newspaper of the French Communist Party. For starters, on the day - Saturday 9th September, 1972 - an estimated 400,000 people were in attendance, a crowd size that dwarves pretty much anything we can think of today, and remains the band's largest ever gig. Taking to the stage as evening set in, they set to with a typically ferocious set, and four of the most standout pieces for the show are immortalised here on record. Unsurprisingly, that timeless anthem of misspent youth, love, rebellion, and hope for change, 'Baba O'Riley', is a dominant factor, although epic finale 'Relay' is perhaps where the might of their rock 'n' roll juggernaut is most felt here.

Review: Around the world in 12 wubs; Alix Perez's superlative 1985 continues to dig deeper and deeper into our psyche with the third volume of their faultless Atlas VA series. As always, the tempos are set to flexible as we slide and glide between the style and speeds courtesy of some incredible names... Cesco brings some proper dark UKG on 'Superstealth', Sir Hiss gets angular with the electro funk of 'Shower Man Time', Visages go all slinky and futurist on 'Margit' while the bossman Perez and GLXY link up for something truly sexy and soulful with 'Green Lane'. All this and so much more, from Rockwell & Scepticz to Settle Down to Eprom, this is yet another exceptional adventure from the 1985 crew.

Review: 1asia is a label that focusses on Asian artists from a broad array of genres and Caslean is next up with the beguiling Sweet Adventure, a remix EP that finds her work reinterpreted by an array of innovative talents. 'Munir's Bandung First Trip' is serene electronica with lush and dreamy lines and naive vocals floating up above the smooth and uplifting rhythms. 'Meng Que's Yard' brings jumbled percussion and sugar synths to a broken beat jumble and 'Mogwaa's Studio In 07307' is a retro-future cut that pairs bouncy nu-disco with dubby pads. Last of all is 'Knopha's Re-clockwork,' another innocent and pure electronic world of neon synths and intriguing vocals.

Review: The fourth full-length from Canadian progressive death metal trio Tomb Mold marks their first full-length since 2019's Planetary Clairvoyance, but in the interim, they offered last year's Aperture Of Body EP, which served as a sonic signalling to the expansive and cosmic direction their next full-length would take. The Enduring Spirit weaves jazz-trio flourishes, prog-rock virtuosity, and dream-pop hues into a head-melting, other-worldly concoction of complex, dizzying and utterly frenetic tech-death, while never falling into the cracks of masturbatory pomposity. Though somewhat impenetrable to the unseasoned ear, what's most surprising is the manner in which many of the cascading compositional elements become regular motifs or "hooks" (if you will), leading to a project that does the unthinkable by crafting a prog-death metal opus designed to welcome and not negate. This isn't your granddaddy's death metal, mind you...

Review: Canadian progressive death metal auteurs Tomb Mold have been relatively inactive since the release of their third full-length Planetary Clairvoyance in 2019. Returning last year with the Aperture Of Body EP, and reigniting listener thirst for head-melting, absurdly psychedelic tech-death, September of 2023 saw the trio announce their fourth album The Enduring Spirit, which would see release just a few days after unveiling. Mixed and mastered by Arthur Rizk (Power Trip, Code Orange, Trapped Under Ice), and accompanied by a statement from the band that detailed how they'd spent the past three years "spiraling in the cycle reincarnate necessity" and revealed that the "myriad of consciousness" has now coalesced into one hive mind. In layman's terms, this is avant-garde, complex, hallucinatory death metal far more interested in challenging our astral purpose within the cosmos than displaying macabre tales of viscera and gore.

Review: In 2021 and 2022 respectively, extreme metal label 20 Buck Spin closed out their year of releases with firstly, a full-length from melancholic dream-doom death metallers Dream Unending, and secondly, the complex, blackened prog-death outliers Worm. In a conspiratorial twist to round a trifecta of year-ending projects, Starpath offers a split LP of sorts boasting 20 minutes of new material from both acts. The A-side delivered by Dream Unending imbues gothic post-punk melodies into their cosmic compositions whilst Worm pour their oily, grim malevolence over towering monoliths of cavernous doom.

Review: Long-cherished underground stalwart Claus Voigtmann finally serves up his long-awaited new album Life Miles after many years of essential sounds on labels like Assemble and Intermission. He really shows his range here with a record that draws on his experiences of playing around the world in all sorts of different settings. 'Pinfire' and 'Transitory Moments' open up and take you to the heart of fabric, a club he has played so often, while 'North of the Sun' heads off into space on sleek electro rhythms while the likes of 'Abundance' bring cosmic melodic fun to a lively and inventive rhythm. Elsewhere there is the high-speed electro-funk of 'Flight Of Fancy' and the introspective downbeat trip 'Send Love To The Future' making this a varied and vital affair.

Review: Lush Life is a seminal recording amongst many from the late great and legendary John Coltrane. It came at a time when his sound was transitioning between styles and after he had overcome his addiction to narcotics. He had first played with the Miles Davis Quintet in 1955 before starting his own quartet with McCoy Tyner, Jimmy Garrison, and Elvin Jones in 1960 and this one was made from three different recording sessions. Side A is by a trio setup with no piano while the flip is a quintet with Donald Byrd and Red Garland showing their skills. Devoid of the speedy, flashy solo skills he'd been known for in his early career, this is almost ambient, much more about the lush textures and meditational pace than be bop ever was.

Notes: ***B-STOCK: Box opened, product in perfect working order***


ADSR is a four stage linear envelope with two expressive ranges. Each stage can be modified independently allowing for the creation of complex, multi-segment envelopes. Great for modulating filters, VCAs, and oscillators.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


The second release on 3 Mats features a cast of emergent artists dealing in the vibrant seam where electro synthesis and techno focus collide. If you rate labels like Partisan and EYA you'll be into this record, without a doubt. Frankfurt producer Philipp Boss opens up the record with 'Die Schone', a collaboration with Gianluca, while Gabriel Belabbas creates a rolling warm-up delight of electro breaks with an iconic sample on 'Dance With The Speaker'. Muelsa's 'The Future Is A Trap' is a raw, boxy machine workout and Nico Lampariello finishes the record off with an acid laced workout for the darker side of the dance.

Review: London-based producer Otik releases his first album Cosmosis on Martyn's label 3024. The 11-track LP signifies the fourth album on the imprint across its ten-year tenure, showcasing a more introspective side to Otik's musical output. The album leans into delicate melodies, hazy atmospheres and lush analogue sounds, often evoking blissed-out feels and ripples of brilliant colour. Produced three years ago during lockdown, Cosmosis comes after a period of spiritual struggles, where Otik questioned his faith, religious beliefs, and the concepts of right and wrong. While the pandemic allowed ample time for reflection, Otik translated these thoughts into music from his Peckham-based studio, later finding a home on 3024's evolving discography. Keen to release a body of work that explores the journey of enlightenment and the struggles to get there, Otik drew inspiration from the luminary filmmaker Terrence Malick and how Malick portrayed ideas and philosophies in films like The Tree of Life and Voyage of Time. As a result, the record conveys a compelling narrative of rebirth, told through exquisite sound design and a push-pull pace that oscillates across the album.

Review: The propulsive, tectonic Force of Electro is embodied in the eponymous moniker, returning for their its release since 1997 (notable indeed, that the multi-moniker artist should return to this one only now). Six masterclassics in the mode of acid electro beckon us into alternate frenzies, highlights among these experiences being the central banger 'Beyond After Dark' and the lesser-spottable ambi-acid closer, 'Beyond The Beats'.

Review: Laugh Track is The National's most freewheeling, all-hands-on-deck album in years. If Frankenstein represented a rebuilding of trust between group members after 20+ years together, the vibrant, exploratory Laugh Track is both the product of that faith and a new statement of intent. Revelling in the license to radically upend its creative process, The National honed most of this material in live performances on tour this year and captured those invigorated versions in impromptu sessions at producer Tucker Martine's Portland studio, Flora Recording & Playback. The nearly eight-minute album closer 'Smoke Detector' was recorded in June during a Vancouver soundcheck, completing a body of work bristling with spontaneity and vintage rock energy that makes a perfect complement to the songs found on its more introspective predecessor.

Review: Ohio five-piece The National present their latest, most affecting statement to date, Laugh Track. The 12-song LP is a follow-up companion to, and features material originally started in, the same sessions as First Two Pages Of Frankenstein, also released by 4AD back in April. While the parent album was a brooding genesis of post-COVID anxiety channelled into indie rock, this child is a higher-res re-rendering of the same headspace, lending the National clarity in hindsight. Like its predecessor, it features from the same ilk of collaborators - Phoebe Bridgers, Rosanne Cash, Bon Iver - and is an infectiously pristine indie-pop-rocker, dedicated to "bailing out of your head".

Review: Roberto Lange is back with a new album for 4AD which feels in stark contrast to his previous outing, 2021's Far In. That album was a definite lockdown record, and now Lange is in the mood to reach out and celebrate the sunshine, funnelling his dense and dusky production and playing into some wonderfully varied songs. There's a unique sentimentality to the Helado Negro sound captured in the huge reverb tails which spiral out of songs like 'LFO (Lupe Finds Oliveros)', but there's no immediate fix for the curious charm of his dusty indie rock sound.

Review: Four years on from the release of sixth studio album As Long As You Are, American synth-pop/alt-rock fusionists Future Islands return with full-length number seven. People Who Aren't There Any More sees them reunite with regular collaborator Steve Wright and mixer Chris Coady, whose production on 2014's Singles - the band's most polished and arguably greatest album - was widely praised. Lyrically focused on being lovestruck and feeling lovelorn - wearily but forcefully delivered by frontman Samuel T Herring - the songs are strong and memorable. Musically, the sound worlds created - think stylish synths, immersive electronic textures, low-slung basslines and indie-rock guitars - match the disillusioned and emotionally fragile words, giving the set a coherent theme and sonic vision..

Review: US synthpop heroes Future Islands are back with People Who Aren't There Anymore, their fourth album for indie giant 4AD. The album has been a long time coming, with singles from the record teased by the band for the past three years from 2021's 'Peach' through to recently dropped sixth teaser 'Say Goodbye'. Finally, the album has been gathered together with the production work of Steve Wright and Chris Coady, completing the journey from previous outing As Long As You Are and still striking a sweet spot between electronic and indie-pop sensibilities in the band's continued evolution.

Review: Two years on from the release of their debut mini-album, Scar, Lush headed into the studio to record their first full-length proper, the critically acclaimed Spooky. One of the all-time great shoegaze-meets-dream-pop sets, it was notable not only for the immersive nature of the sound and the meditative effect of its hazy, layered guitars and vocals, but also the fact that it was produced by Robin Guthrie of the Cocteau Twins. This reissue, which forms part of a series inaugurated by the band and remastering engineer Kevin Vanberger, offers a neat reminder of the album's timeless qualities, alongside a freshly cleaned and spruced-up sound that allows every single sonic element to shine.

Review: Lush's reissue series continues via a painstakingly remastered and sonically spruced-up edition of the band's second studio album, 1994's 'Split'. A very different album to its loose, immersive and shoegaze-fuelled predecessor, it saw the band join forces with producer Mike Hedges (celebrated for his work with The Cure and Siouxsie and the Banshees) and opt for a more - in their words - "direct" sound. Of course, it was still Lush, so the layered guitars and vocals remained, albeit amongst a lightly expanded sound palette, more hooky riffs and an early Britpop vibe that delivered a subtle evolution from the band's more wide-eyed, sonically loved-up roots.

Review: Big Thief's 2016 debut album Masterpiece has been newly remastered by Heba Kadry for this reissue via 4AD - the first time it's been reissued and comes on eco-vinyl. Fans will know the music is rooted in Adrianne Lenker's songs and "paints in vivid tones the process of harnessing pain, loss, and love, while simultaneously letting go, looking into your own eyes through someone else's, and being okay with the inevitability of death. " Heavy stuff for sure and the music is indeed emotion with Buck Meek on guitar, Max Oleartchik on bass, and James Krivchenia on drums all bringing it to life.

Review: 541 is in the middle of a big run of spacial double albums that they say are made up of "nothing but classix" and we're inclined to agree. This eighth volume of 12 Inch Lovers is another bumper collection of big dance sounds from the 90s to the present day by plenty of names you will likely know, from Erick Morillo to Michael Gray to Robin S to Bakermat. There is string-laced swing-house to start with, vocal anthems like 'Show Me Love' to finish with and main stage house bangers and feel-good festival favourites in between.

Review: The seminal Age of Love gets a second chance to shine with this 15 Years Anniversary compilation which comes as a triple CD as well as three limited edition double vinyl 12"s. This is part one and it is a collection of iconic tracks by now legendary artists such as Tiesto, Emmanuel Top, Sander Kleinenberg, Taucher, Jam & Spoon, Delerium, Mr Sam and many more, all of whom take you back in time with their sensory electronic sounds, prog melodies and trance overtones. This is a great reminder of a vital time in electronic music.

Review: This album emerged as a live show experience only back in 2022 but now finally it arrives on vinyl. It's a cracking coming together of legendary Boston MC, Edo. G and New York City MC and producer Fokis and it draws on the classic era of boom bap but brings it right up to date. Importantly, the mic work is right on point - it is packed with thought-provoking lyrics that take in a wide array of subjects such as social justice, private struggles, inequality and more. Add in crips drums and smooth samples and you have a real doozy that has been rather slept on if you ask us.

Review: DJ Disrespect again shows no regard for the rules of electronic music on this new and visceral outing on 777. It is a 12" he dedicates to "some of the feelings associated with the tribulations of mental issues" and that's reflected in the sounds which are dense and full of duality - drums going one way, coarse synth textures and percussion puling in another direction. On 'Energy Rush' screeching synths tear through the middle of the high tempo techno drums and 'Focus' is a compelling and parboil linear banger. If his mission is to unite people and offer comfort and community with his music, DJ Disrespect has succeeded here.

Review: The debut full-length from George Kusunoki Miller, once better known as the YouTube characters Filthy Frank and Pink Guy, came after a poised transition to move his internet celebrity status and legions of avid followers over to a rebranded, sincere musical project under the moniker of Joji. Following on from 2017's promising In Tongues EP, the Ballads 1 LP would drop in 2018 and take the entire cloudrap scene by storm with its nuanced use of vaporwave-inflected trap production, drugged out R&B and melancholic penmanship. Serving as the launching pad for the stratospheric heights the project has reached since, this five year anniversary edition arrives with new artwork in a gatefold sleeve, and boasts some of the most essential cuts from both Miller's catalogue and internet hip-hop as a mass entity, including 'Slow Dancing In The Dark', 'Test Drive' and 'Yeah Right', while also featuring production credits from Clams Casino and a guest-verse from Trippie Redd.

Review: To coincide with the Brian Jonestown Massacre's North American & Australasian tour in 2023 is the release of two new exclusive tracks by the band. Recorded in Berlin and remotely in 2023, opening track 'Abandon Ship (Martian Meltdown Mix)' runs at over 11 minutes and plays at 33 rpm. 'Maybe Make It Right', the B-side, is nearly four minutes long & plays at 45. With Anton Newcombe, Hakon Adalsteinsson, and Uri Rennert all playing on this offering, we're more than delighted to welcome the return of the Massacre, this time in incendiary live A-and-B form. The release comes in a heavyweight PVC bag with the artwork doubling up as a J-card, making the vinyl visible.

Review: Demi Riquisimo's 'A Lifetime On The Hips' sublabel returns to make it a hat-trick of releases for 2023 with the impressive 'Body Move' V/A, featuring eclectic club cuts from Dreamrdreamr, SY, Papa Nugs, Elfenberg, Absolute. & Ysanne. Dreamdreamr's emotive 'Zone 4 Booty Call' kicks off the A-side; it's a track that effortlessly fuses elements of deep house, trance, and r&'b, setting the the tone perfectly for an EP not bound by the borders of any genre. The titular 'Body Move' by SY is up next; a no-nonsense house chugger with flourishes of Italian 90s progressive and acid - a perfect modern interpretation of a foundational strand of club music. The A-side wraps up with one of 2023's most exciting prospects Papa Nugs and the vocoder infused, percussive, twisted jam 'Loosey Goosey'. The flip picks up right where the A-side left off with Elfenberg's 'Solarplexus', a cosmic, evolving and psychedelic interpretation of house. After, UK mainstay Absolute offers a 'Devastating Rhythm', a peak time techno floor filler that sounds like a Frankenstein mix of seminal imprints Dance Mania & D'jax-Up-Beats' output - proper gear. Finally, drawing the curtain on the 'Body Move' V/A is Ysanne's 'Tisno Tango'; a slightly more introspective cut, but with more than enough groove to make you dance, a perfect closer.

Review: Batu has proven himself hugely capable of making a wide range of music. He might be best known for his perfect techno designs but here delves further into the world of ambient. Across four tracks he explores a number of moods with painterly synth work that is detailed with gentle percussion, gorgeous keys, and in the case of 'Flown,' jazzy splashes of cymbal. 'Half Speed' is idk a slow awakening on a distant planet. 'The Fifth' brings more bright and energy synth motifs and 'Seams' is a soothing lullaby. A beautifully escapist listen.

Review: A Strangely Isolated Place has secured this second most captivating album from One Million Eyes. They impressed many with their magical debut album Drama back in 2021 and once again reach new heights in the world of ambient here with Iris. Their brand of ambient is relatively fulsome, with lots to focus on from the smeared and pastoral chords to the muted synth modulations, the vinyl crackle, distant vocal cries and the heavenly backlit glow. It is an absorbing and positive place to be with a sense of optimism colouring the airwaves thought.

Review: Sindh combines old and new worlds on his latest mystic hymns, this time kicking off the A-Biotic label with his dark and alluring four-track EP 'Andaman'. He manages to fuse organic and synthetic materials here as he heads down a darkly introspective path where minimal and IDM, dub and techno all collide in mutant form. 'Jangil' is a real standout with its bubbling halftime rhythms and icy synths backed by distant angelic chorals. The bewitching sounds continue on 'Galathea' which rides back and forth on its heels as subtle sines, scurrying synths and menacing pads all interlock before 'Hinam' locks you in a dense synth stasis and loopy sense of lurching rhythm.

Review: Original soundtrack for Past Lives, featuring an original score by Christopher Bear and Daniel Rossen, as well as the original song 'Quiet Eyes' by Sharon Van Etten. One of the foremost romantic films of the 2020s so far, Past Lives is set in Seoul, SK, and follows two beloved childhood friends over the course of 24 years; detailing the personal trials, love triangles and vagaries that inevitably stem from a romance torn apart in childhood and brought back together again in adulthood. Bear and Rossen's soundtrack is pressed on cloud white vinyl, with original paintings by renowned artist Na Kim.

Review: If any other band decided to open what's essentially Greatest Hits Vol.2 with a track like 'Paint It Black' you'd probably worry the album was destined for a sharp decline, and wonder how such a powerhouse piece of music didn't wind up on Greatest Hits Vol I. Not so with The Rolling Stones, a band that had already put out more than enough incredible tunes to fill five volumes by the time this collection came along (1969). Representing the first seven years of the seminal English rock group, after the first juggernaut spirals off into semi-psychedelic mania we're treated to several more reminders of exactly why these guys were so good during their early days. 'Ruby Tuesdays', 'Dandelion' and 'Let's Spend the Night Together' reveal stunning pop sensibilities, while fare such as 'Honkey Tonk Woman', 'Jumpin' Jack Flash', and 'Street Fighting Man' celebrating the predominantly Black-made blues they looked to for so much inspiration.

Review: New York maestro and Loose Control Band member DJ Spun has served up a superb compilation for Above Board here. It is his third such collection and one that focusses on the specific subject of West Coast breaks, rave and electro funk from the late eighties to mid-cities. It was a fertile scene by this account and one that still sounds current today, right from the blistering open eats and trance-like synths of Tasti Box's 'San Francisco' to Deep2's old school house jacker 'Sphere' which closes out the double pack. In between are plenty of gems, not least the deep and dreamy sounds of Hawke's '3 Moods In A Purple Garden' (Robbie Hardkiss mix).

Review: After a surprise sojourn last year as Sato, an alias he used to explore ambient and dub techno territory, Satoshi Tomiie has reverted to his given name for solo album number five - a thin return given he made his 12" debut way back in 1989. The New York-based Japanese great is in fine form from the start, effortlessly sashaying between hypnotic deep tech-house (the eyes-closed, early morning excellence of 'You Are Here'), spaced-out dub-house ('Number 1'), chunky-but-dubby deep house of the kind that his friend Francois K would love ('Magic Hour'), acid-flecked minimalism ('Blast'), vintage-sounding dub techno ('A52', 'Meditation in an Emergency'), locked-in soundscape house (the shuffling and yearning 'Phase Space') and sub-heavy ambient dub ('Fast Track').

Review: Norwegian composer and producer Erik Wollo has a many sided musical approach which has produced a steady stream of music since the early 80s, with a generous tilt towards ambient pastures and jazz experimentation. Having made an impressive debut in 1983, he was already well into the rhythm of recording and releasing when he delivered Traces in 1985, but still this record marked a more sizeable leap forward as Wollo embraced the possibilities of MIDI to create a spectacular ambient electronic excursion. Rendered in crisp, gleaming tones and full of spellbinding charm, it's redolent of the era and yet also transcend the trap of sounding dated to truly become a record for the ages, now lovingly reissued by Abstracke.

Review: .Following the success of his Sunday Morning, Coming Down compilation, Ace Records has asked Bobby Gillespie to put together a follow-up. This time round, the Primal Scream frontman has decided to showcase tracks he turns to "for solace, comfort and empathy" during the Scottish band's various tours. Offering a mix of country, blues, Americana, psychedelia and soul, the selected songs - including inspired efforts by Willie Nelson, Lee Hazelwood, Al Green, the Chi-Lites, Ry Cooder and Kate & Anna McGringle (whose 'Heart Like a Wheel' is a genuinely tender and heart-aching affair) - more than deliver on the album's conceptual premise, offering equal amounts of emotion and entertainment.

Review: It's hard to comprehend how significant it was when John Lee Hooker first recorded 'Boogie Chillen' in Detroit way, way back in 1948. Once the track was licensed to Modern Records, it went on to sell close to a million copies in the space of a year, at a time when recorded music was still finding its feet, and from that moment on Hooker's legendary status was confirmed until his death in 2001. Now Ace are commemorating 75 years since that landmark song was recorded, capturing two different takes of a track recorded by one man singing his honest truth and creating seismic shifts in popular culture, before such a thing even existed.

Review: Bob Stanley and Pete Wiggs of Saint Etienne fame are the diggers behind this new rock assemblage which pays tribute to mid-afternoon set times at lesser-known festivals from years gone (well, the 70s) such as Deeply Vale, Bickershaw, Krumlin, Weeley, and Plumpton. They were just as important to those who attended as the more celebrated likes of Glasto' and this collection shows the sounds were just as good, too. The sounds - from big names liek Deep Purple, Hawkwind and Alan Parker & Alan Hawkshaw to lesser known acts like Jonesy, will appeal to hippies and bikers alike with big riffs, funky drumming and some psyched-out sounds.

Review: For the latest drop on France's unstoppable Acid Avenger's imprint, Sardinia-based producer ProOne79 channels timeless Chicago dungeon acid, bound to bring any self-respecting dancefloor to the boil, while on the flip, head of the Posh End Music and dark acid veteran Fear-E delivers three ultra-tuff, deranged 303 workouts for the small hours. Yet another essential outing from the Acid Avengers camp, and a hot tip for any fans of Adonis, Bam Bam, Paranoid London and the Roland TB-303. Jack ya body!

Review: The 27th split of the Acid Avengers series is dedicated to the homeland of acid music - well, the unofficial one - the United Kingdom. On my right, cult acid producer Roy of the Ravers, with some melancholic braindance and raw techno emanating from his tormented acid jams. On my left, 707-addict Jerry LaFlim, with two disturbed tunes mixing funky electronica, dark breakbeat and groovy electro. From Melchester to Brighton, four heavy tracks for the 303 trainspotters!

Review: Due to persistent demand and soaring prices for the original pressing, this reissue of 'Why Don't You Go Home' on striking red transparent vinyl could not be more essential. Featuring the dynamic vocals of Diane Ward, the title track delivers a powerhouse performance echoing the King and Federal r&b sound. On the flip side, 'Cocktail De Medianoche' serves up a delightful blend of Boogaloo and Northern Soul, a cherished favourite among aficionados of Latin grooves and Uptempo Soul. With two phenomenal tracks, this reissue promises a perfect double-sider experience! for lovers of soul.

Review: .Argentina-based producer-musician Kevin Fingier has delivered a swathe of killer singles for Acid Jazz in recent years, though this is his first attempt at a "proper" album. As the title defiantly states, this is 'Not Strictly Soul', but rather a stylistic melting pot that not only joins the dots between Fingier's favourite sonic styles (think Northern Soul, deep funk, organ-powered Mod workouts, Latin soul and heavy rhythm & blues) but also rattles along at a furious pace. It's naturally nostalgic - Fingier's music has always been rooted in 1960s and '70s musical cultures - but also fresh enough to dispel thoughts of hollow pastiche. There are some killer cuts contained within, too, not least the infectious Latin soul hustle of 'Groovin' In Soho', sweet soul number 'Only For Me (featuring Jo Ann Hamilton)', and the percussion-rich, horn-heavy dancefloor heat of 'El Popcorn'.

Review: Following the recent release of the outstanding 'Top Brass' single, Matt Berry releases a further unique collaboration with esteemed Library Music label KPM: the full-length album Simplicity, on which he follows in the footsteps of library music giants such as Keith Mansfield, Alan Hawkshaw and John Cameron, and presents a worthy successor album to complement them. Embodying the form of KPM's original LPs, geared towards film and television pitching, the album consists of 11 sharp and vibrant instrumentals, all of which will no doubt be heard in productions for many years to come.

Review: Composer Matt Berry aims to mimic the classic iconic Library Music label KPM with this new outing on Acid Jazz. It is the first in a series of such releases and it does a fine job of following in the label's tradition of providing the musical bedrock for classic British TV series and international movies. KPM used composers such as Alan Hawkshaw and Keith Mansfield and Berry proves he is right up there with this 7". 'Top Brass' is a funky instrumental with dramatic strings that add a sense of tension to the rude boy swagger of the rhythm. On the flip is a more stripped-back 'Bare Essentials mix' which is just as good and a little more menacing.