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Notes: Weird Walk Zine Issue Seven

48 page A5 zine

Printed on high quality PEFC certified recycled stock

With the sun at its lowest ebb, and the night stretching to its longest duration of the year, Weird Walk Issue Seven is offered up as a symbol of the continuing cycle of rot and renewal, death and new life.

Taking inspiration from the woodland, author Nadia Attia explores the folklore surrounding some of Britain's iconic tree species, while leafy associations abound as the Hastings Jack in the Green festival is reflected upon, and the suitably named Verdant Wisdom collective take us through a rural take on dungeon synth music. Elsewhere two mavens of weird walking, Alice Lowe and Benjamin Myers, lead separate quests in two very different locations, each filled with magick and memory.

And if trees can emotionally connect us to the landscape, then so can the old stone monuments that so entrance us; in this issue, phenomenological approaches to ancient sites are explored (and, also, cheese).

Includes photos by Sarah White, Rachel Adams and Freddie Miller.

Notes: The S1 is a promotional bundle that Tiptop Audio is offering to users, providing a 33% savings to get you started with ART. With these bundles, this incredible voice is included: the big, beefy 3 VCO stack. The bundles come in two options: Bundle S1, which uses the ART V/OCT Quantizer as a controller, and Bundle S2, which uses Octopus as a controller. In addition to the controllers, there are three ATX1 analogue oscillators, MIX7 for mixing them with plenty of headroom, and followed by the beloved 4-pole Z2040 filter that has been with TipTop since day one; it just sounds so good. Finally, we end up with Control Path dual envelope plus VCA dynamics modules. This special price is time limited and while supplies last.

ART QUAD QUANTIZER is a four channel CV to ART Quantizer to play ART oscillators from CV sequencers, LFOs and anything that outputs CV. This is Tiptop's second ART controller option and is designed for those of us playing ART without a computer or MIDI source. The inputs take in positive, negative, bipolar CV voltages. Scales include Major Minor and the five other modes (Dorian, Lydian, etc). The module is simple to set up with a simple menu and one knob with switch for navigation. The 4th channel can be set to generate Chords and polyphonic note streams for ART Polyphonic oscillators.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 38mA / -12V 4mA

ATX1: a classic all analogue saw VCO core with 3 switchable modes, ART, 1V/Oct, LFO and is recommended as the basic building block for ART systems. It is designed for patching analogue polyphonic synths from discrete modules or multi-mono patches in ART mode. When using ART the ATX1 takes care of the tuning including accounting for temperature changes. In 1V/Oct mode the ATX1 runs as a standard old school modular VCO. LFO mode drops the frequency range and is great for patching vibrato to other ATX1s among other things. The ATX1 outputs variable waveshapes with manual or CV control. Classic FM, PWM and hard sync are provided. A dedicated Gate Out in ART mode manages the voice envelopes or any modulation synced to that voice. TipTop consider the ATX1 the best sounding analogue VCO they have ever created.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 105mA / -12V 33mA

MIX7 is a seven channel analogue summing mixer module for Eurorack. It is designed for summing any of the different types of signals you'll find in a modular system: Audio, CV, Triggers, or Gate.

MIX7 gives ability to sweeten your mix with more headroom using the power of low noise analogue summing. A compact 3HP Eurorack utility module, MIX7 is an attractive mixing addition to any rig, especially with the ability to also combine rhythms, note patterns or CV automations from different control sources. The main output of one section can be connected to the input of another MIX7 to create larger mixing groups and complex signal routes inside your modular.

The MIX7 summing mixing circuit is built with low-noise operational amplifiers, giving it an excellent sound quality for mixing audio, the beautiful texture of classic analogue mixing with plenty of headroom to handle hot modular signals, and the versatility to sum non-audio signals in your system to open up new creative possibilities.

Each input is labelled with a number of dots, 1-7, yellow for input and green for output. The module matches Tiptop's system look with clean white faceplate styling.

At the back of the module is a user-configurable jumper allowing users to configure the MIX7 for either unity gain (OUT = IN) or give increased headroom (OUT = 0.4IN) for use with hot audio signals, which makes it a great pairing for Tiptop Audio percussive modules. A peak indicator light on the front panel warns the user of even the slightest audio clipping in the mix, helping to keep all the incoming sound sources at their full original quality.

Size: 3HP - Depth: 43mm - Power: +12V 25ma / -12V 20ma

CONTROL PATH is an all in one voice dynamics module that helps build full voices quickly. It contains two analogue envelopes with velocity cv, and one VCA. In a typical voice patch the left envelope will control a filter and the right envelope will be the voice VCA. Velocity control is provided for each envelope and delay front panel trimmers are used to compensate for any miss match between incoming gate signal and velocity CV timings. Envelope cv outs are 0-5V, Velocity cv ins are 0-5V.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 50mA / -12V 55mA

The Z2040 is TipTop's redesign of the most famous analogue filter from the polysynths of the 80's and features Tiptop Audio's signature lush, big, and creamy sound. Its frequency sweeps make thick bass lines and leads with great dynamics. When modulated with audio frequencies through its various inputs, the Z2040 gets quite colourful and is capable of creating many new sounds and textures as the forces of the incoming waves and their harmonics blend through the filter's non-linear circuit. When set with Resonance feedback fully up, the Z2040 transforms into a pure sine-core VC-Oscillator, great for making snappy percussive elements and whistling sounds.

A look under the hood will find that the heart of the Z2040 is a discrete design 4-pole low pass filter with a core similar to that of the SSM2040 filter chip, used in the 80's Prophet 5 Rev 2 synthesizer, and its brother the SSM2044, used in the famous early EMU samplers and PPG synthesizers of the 80's. Both filters are considered by many to be, "the best sounding filter ever".

The Z2040's four modulation inputs are built to handle CV and audio signals, enabling deep modulation of the filter core and passing signals. A VC resonance input is provided to modulate and even clip the sine wave produced by the filter feedback loop. A Frequency Modulation input (FM) provides dynamic filter sweeps and the unique VC-FM index allows modulation of the incoming FM signals. On top of that, the Z2040 comes with an audio VCA that can be configured to act upon the input or the output of the filter.

Size: 8HP - Depth: 42mm - Power: +12V 20ma / -12V 20ma

Notes: A serious bargain for anyone putting together a modular system, TipTop bundle three VCOs and the Octopus controller with their mixer, filter, dual envelopes and VCA. Great value.

Supplier's Notes:
The S2 is a promotional bundle that TipTop is offering to users, providing a 33% savings to get you started with ART. With these bundles, TipTop have included an incredible voice: the big, beefy 3 VCO stack. The bundles come in two options: Bundle S1, which uses the ART V/OCT Quantizer as a controller, and Bundle S2, which uses Octopus as a controller. In addition to the controllers, there are three ATX1 analogue oscillators, MIX7 for mixing them with plenty of headroom, and followed by TipTop's beloved 4-pole Z2040 filter that has been with them since day one; it just sounds so good. Finally, we end up with Control Path dual envelope plus VCA dynamics modules. This special price is time limited and while supplies last.

OCTOPUS is a powerhouse ART controller that takes MIDI in via the USB or DIN connector and outputs 8 ART channels with 8 velocity CV plus 8 drum triggers. Together with the ART oscillators the OCTOPUS provide unprecedented simplicity connecting the modular to your computer sequencers, hardware midi sequencers and keyboards. Each ART channel can play polyphonic notes, monophonic notes or create multi-channel polyphony using an internal voice manager. All together OCTOPUS can play more voices and notes from a single controller than ever was possible in modular. Using ART high speed control signals OCTOPUS can maintain low jitter for tight timing. OCTOPUS is TipTop's first ART controller with more to follow, please select between Octopus or ART V/Oct Quantizer to get started with ART. Please note, OCTOPUS is not a 1V/Oct midi to CV and should not be confused as one.

Size: 18HP - Depth: 40mm / 1.5"
Power: +12V 140mA / -12V 100mA

ATX1: a classic all analogue saw VCO core with 3 switchable modes, ART, 1V/Oct, LFO and is recommended as the basic building block for ART systems. It is designed for patching analogue polyphonic synths from discrete modules or multi-mono patches in ART mode. When using ART the ATX1 takes care of the tuning including accounting for temperature changes. In 1V/Oct mode the ATX1 runs as a standard old school modular VCO. LFO mode drops the frequency range and is great for patching vibrato to other ATX1s among other things. The ATX1 outputs variable waveshapes with manual or CV control. Classic FM, PWM and hard sync are provided. A dedicated Gate Out in ART mode manages the voice envelopes or any modulation synced to that voice. TipTop consider the ATX1 the best sounding analogue VCO they have ever created.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 105mA / -12V 33mA

MIX7 is a seven channel analogue summing mixer module for Eurorack. It is designed for summing any of the different types of signals you'll find in a modular system: Audio, CV, Triggers, or Gate.

MIX7 gives ability to sweeten your mix with more headroom using the power of low noise analogue summing. A compact 3HP Eurorack utility module, MIX7 is an attractive mixing addition to any rig, especially with the ability to also combine rhythms, note patterns or CV automations from different control sources. The main output of one section can be connected to the input of another MIX7 to create larger mixing groups and complex signal routes inside your modular.

The MIX7 summing mixing circuit is built with low-noise operational amplifiers, giving it an excellent sound quality for mixing audio, the beautiful texture of classic analogue mixing with plenty of headroom to handle hot modular signals, and the versatility to sum non-audio signals in your system to open up new creative possibilities.
Each input is labelled with a number of dots, 1-7, yellow for input and green for output. The module matches Tiptop's system look with clean white faceplate styling.

At the back of the module is a user-configurable jumper allowing users to configure the MIX7 for either unity gain (OUT = IN) or give increased headroom (OUT = 0.4IN) for use with hot audio signals, which makes it a great pairing for Tiptop Audio percussive modules. A peak indicator light on the front panel warns the user of even the slightest audio clipping in the mix, helping to keep all the incoming sound sources at their full original quality.

Size: 3HP - Depth: 43mm - Power: +12V 25ma / -12V 20ma

CONTROL PATH is an all in one voice dynamics module that helps build full voices quickly. It contains two analogue envelopes with velocity cv, and one VCA. In a typical voice patch the left envelope will control a filter and the right envelope will be the voice VCA. Velocity control is provided for each envelope and delay front panel trimmers are used to compensate for any miss match between incoming gate signal and velocity CV timings. Envelope cv outs are 0-5V, Velocity cv ins are 0-5V.
Size: 8HP - Depth: 40mm / 1.5"

Power: +12V 50mA / -12V 55mA

The Z2040 is TipTop#s redesign of the most famous analog filter from the polysynths of the 80's and features Tiptop Audio's signature lush, big, and creamy sound. Its frequency sweeps make thick bass lines and leads with great dynamics. When modulated with audio frequencies through its various inputs, the Z2040 gets quite colorful and is capable of creating many new sounds and textures as the forces of the incoming waves and their harmonics blend through the filter's non-linear circuit. When set with Resonance feedback fully up, the Z2040 transforms into a pure sine-core VC-Oscillator, great for making snappy percussive elements and whistling sounds.

A look under the hood will find that the heart of the Z2040 is a discrete design 4-pole low pass filter with a core similar to that of the SSM2040 filter chip, used in the 80's Prophet 5 Rev 2 synthesizer, and its brother the SSM2044, used in the famous early EMU samplers and PPG synthesizers of the 80's. Both filters are considered by many to be, "the best sounding filter ever".

The Z2040's four modulation inputs are built to handle CV and audio signals, enabling deep modulation of the filter core and passing signals. A VC resonance input is provided to modulate and even clip the sine wave produced by the filter feedback loop. A Frequency Modulation input (FM) provides dynamic filter sweeps and the unique VC-FM index allows modulation of the incoming FM signals. On top of that, the Z2040 comes with an audio VCA that can be configured to act upon the input or the output of the filter.

Size: 8HP - Depth: 42mm - Power: +12V 20ma / -12V 20ma

Review: Latin funk music's best and brightest recollector-reissuers Vampi Soul continue to do what they do best with this latest reissue of the debut self-titled album by Zulu. One of the last great albums of the first wave of Peruvian rock,and originally released in 1974, Zulu was infamous for its linking of psych-tinged rock with Afro-Latin American beats and folk pop. The enigmatic Zulu (real name Miguel Angel Ruiz Orbegoso) was best known during his lifetime as a member of the bands Traffic Sound and Los Nuevos Shain, but his only solo album commands a unique aura as a numinous rarity, immediately pre-dating his latter-career immersion in the religious community. Reissued for the first time with the collaboration of Zulu, including extensive liner notes and one extra track, the likes of 'Si en el cielo yo viviera', 'Laberintos' and 'Candela' are pastoral gems of folk-cumbia and salsa, playing back with a level of sensitivity and texture that could only be born of a worthy spirit.

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


Count Ossie and The Mystic Revelation's 1975 album Tales of Mozambique comes once again as a definitive purple vinyl edition. A critical album for the fusion of reggae with Rastafarian traditional music, Ossie is second only to Bob Marley in terms of being a populariser of the religion's sonic tradition. This cult favourite collates several songs, all of which were recorded and produced with Ossie's entourage in his compound in the hills of Wareika, Kingston. Flutes, shakers and organs conjoin with propulsive drum and bass patterns, producing a deeply mystical and ethereal experience that is nonetheless rooted in communal spirit.

Review: New York punks Love Child first burst onto the early 90s scene in the same aeonic breath as Pavement, Sebadoh and Beat Happening. But despite the ignition and hype, their debut seven-inch and subsequent releases have remained long out of print until now. Never Meant to Be: 1988-1993 pulls from these releases and some unreleased radio sessions, unearthing a trove of lost gems by the quadrangle of Will Baum, Alan Licht, Rebecca Odes and Brendad O'Malley. The former obscurity is undeserved and the reissue deserved, as the climaxes on this record - from the garbly top-reg guitar solo on 'Know Its Alright' to the tape-warblings of 'Sofa' (through and despite which we can still make out its humourous lyrics) - are full of forceful punk rapace.

Notes: Save space in your rack with stackable cables.

These are the newer shorter stackable Eurorack Patch Cables. Patching is more stable and makes it easier to get a lid on that performance case.

Each end of the cable has a male and female jack. They come in sets of 5 cables.

Available in 6in (15cm), 12in (30cm), 18in (45cm), 24in (60cm).

Notes: These are right angle patch cables for Eurorack. Colour is black, pack of 5 cables.

Notes: These rack screws for Eurorack can be screwed by hand for quick changes, or use a standard Phillips head screw driver.

Each Special Size M2.5 X 8mm stainless steel screw comes with a black nylon washer in a silver tin.

Notes: Paradise Garage Turntable Slipmats 7", printed using a high resolution printer, the results will not disappoint.

These are considered the go to slipmats for printers and turntablists, A hybrid slipmat with a unique glazed bottom surface.

These slipmats are compressed with enough thickness and density to accommodate the speed and accuracy of a Scratch DJ, without having the needle bounce when touching the vinyl. The Mix/Club DJ's using IDYD's hybrid glazed slipmats would get the absorbent feel and gain the speed along with the accuracy of a Scratch DJ.

These slipmats also work perfect for any vinyl/collector home turntablist.

Professional Grade Blank Slipmats for 7" Turntables
Weight: 16oz Felt
Bottom Surface: Glazed
Thickness: 0.09" (3/32")

Additional information

Weight: 0.2 g
SIZE: 7"
Pair of Slipmats

Notes: Paradise Garage Cork Slipmats, printed using the latest technology on high density cork.

Material Specs Color: Tan
Material: Cork
Dimensions: 11.75" Diameter
Thickness: 0.25 (1/4")
Bottom Surface: Plain surface
Grade: Strong High Quality
Feel: Dense / Firm Purpose:
High Quality Audiophile Vinyl Listening

Additional information

Weight: 150 g
Single Slipmat

Review: Cedric Vermue's Perpetua album from this time last year explored neo-classical and ambient with a mix of piano, organ, synthesizer, electronics, woodwinds, horn and even a female choir. Now one of its most standout cuts gets reworked into a more club-ready sound by master sonic craftsmen. Italian deep techno son Donato Dozzy goes first and brings his signature smoothness, supple rhythms and bubbly drum and bass combos for a delightfully heady trip. Then comes a Grand River rework, also of 'Patterns', that is more tense and textural with fizzing drones marbling the rising synth work and suggestive minimal rhythm.

Review: Shame On Dry Land (Syndabocken) is an award-winning Swedish movie that picked up the Guldbagge prize for best feature film soundtrack in 2024. That soundtrack has been written and produced by sometime Studio Barnhus associate and mythical young artist Baba Stiltz. It arrives on vinyl for the first time here and is a dense affair with plenty of esoteric stylings as you would expect of a man with a famously hard-to-pin-down sound. It goes from heavy and dark to airy and Mediterranean and needs to be heard nice and loud for the best effect.

Notes: Michael Gira - The Knot: Complete Words for Music, Collected Stories and Journals

Paperback; 7 1/4 x 10 1/4 inches, 408 pages, includes 101 colour images printed on high quality photographic paper.

Paperback has bookplate signed by M Gira.

Journals, stories, and songs span the years 1981 to present. Includes visual archives and artwork dating back to 1974.

"From the Preface to The Knot: This book contains the words to every song I've written worth collecting to date from all my musical projects throughout the years. I've left out various imbecilities and feckless half-starts. Also included in this book are several previously published short stories. They're taken from the collections The Consumer and The Egg, as well as a few other hand- made limited editions of stories. In a few cases I've included excerpts rather than the entire story. This was done for aesthetic purposes, with the overall feel of this current volume in mind. There are a great many journal entries in this book. For the most part they are also, emphatically fiction. They're from an ongoing journal, not a diary. My journals are where I often allow a disembodied, fictional 1st person narrator to take over and unspool imagined events, diatribes, impossible scenarios, psychic auto-cannibalisms, and corrosive or ecstatic dreams etc. Again, these are fiction. Certain things I've written about (in fiction and in song form) seem to exist beneath the surface (in myself and others) and I find them compelling to look at and to describe. I view this as a positive act. In acknowledgment of the constricting and microscopically judgmental and censorious times we live in, the usual authorial caveats apply here. Certainly there are many purely anecdotal journal entries included in this book as well, and my presumption is that an intelligent reader would be able to differentiate one from the other. Personally, I'm very suspicious of memory (especially my own), so I can't definitively vouch for the veracity of the recounting of the literal events herein either. I have also excised material that I felt too personal to include, out of respect for the people involved as well as for myself. There are several large gaps in the journal entries over the years. This is due to lost journals of the time, and in one case a lost laptop (which, painfully, contained a great deal of writing). There are also periods where I didn't keep a journal and didn't write fiction. In any event, I've tried to include fiction and journal entries that correspond roughly to the period before and after a musical album's release and the words that were written for that music. The end section of this book consists of recently unearthed visual documents and imagery and functions here as an incidental archive. The images span the years from 1974 to the present."

Michael Gira

Review: Iconic label/record shop from the mid-90s Remix Records is back courtesy of Kniteforce! And this five-piece party pack from one of London's most consistent breaksmiths right now - man like Dwarde - is the perfect way to herald their hardcore legacy. Big pianos, pitched up vocals, swashbuckling Amens and house samples galore, Dwarde takes everyone to 1994 on a big old ravey magic carpet but with an edge and energy that will fit all junglist sets at the same time. Magic.

Review: NYC Records looks outside its in-house stable for the first time here and signs the delightful nu-disco delights of Constellation. This duo hails from Miami and focuses on space disco sounds that fans of the famous Metro Area style are sure to love. They remain mysterious themselves but their beats are brilliantly designed with plenty of retro-future pads, cosmic arps and tight basslines full of colour, texture and soul. Like Daft Punk but deeper and more dubbed out. All four of these cuts are sure to get floors going but also bring plenty of style.

Notes: Excellent value here. Alto's portable speaker is designed to fill a room with just one unit, plus the option to link two units wirelessly for even bigger sound. Built-in battery gives up to 100 hours of playback from a single charge.

Supplier's Notes:
Uber FX MK2 is a powerful but portable battery powered PA system with Bluetooth technology. Its 5-speaker, 320-degree sound array is the perfect solution for delivering hours of clear, punchy sound from microphones, instruments, mobile devices and more. Uber FX MK2 is not just for musicians - it's also perfect for many other indoor and outdoor events including business meetings, training sessions, backyard parties and award/graduation ceremonies - and with up to 100 hours of charge, it doesn't matter whether you have access to AC power or not.

Powerful and Clear

The innovative 200W, 5-speaker system features an 8" Woofer, stereo tweeters and full-range side-firing drivers providing 320- of audience listening area. The side-firing speakers also make for excellent live performance monitoring. UBER FX MK2 features two input channels, each with its own independent volume control and 2-band EQ and digital effects, and there's an additional third 3.5mm aux input.

Fully Wireless

With Bluetooth 5.0, the Alto Uber FX MKII offers robust streaming, linking and control: You can stream from any device to Uber FX MK2, and wirelessly connect a second Uber FX MK2s to create a stereo PA system using your favourite music streaming app. The Alto Pro App for iOS and Android provides control of mixing functions wirelessly for convenient control from anywhere. The simple single screen mixer allows you to select a channel and control all parameters effortlessly,

Portable and Convenient

Uber FX MK2 is incredibly easy to transport with its telescoping handle and wheels; it also has a handy top storage compartment, side bottle opener and front panel lighting. There are also two USB charging ports to keep your devices topped up.

Portable battery-powered 200W speaker with 320 degree sound

320 Degree Sound
Innovative 200W, 5-speaker system fills the room
All day battery
100 hours of sound on a single charge
Easy to Transport
Less lifting with telescoping handle and wheels
Create your own Mix
Built-in 2-channel mic/line/instrument mixer with EQ and FX
Stream Music Effortlessly
Bluetooth 5.0 enabled streaming and control
Wireless Control
Alto Pro Control App on iOS and Android
Stereo Speaker Link
Expand to two speakers with Bluetooth Linking
Charge your Devices
Includes two USB charging ports
Set the Right Sound
Music and Live Performance EQ presets
Third Input
Additional 3.5mm aux input
Made for Events
Top storage compartment, side bottle opener and front lighting

Tech information

Output Power: 200 W

Charge Port: 5V, 1A

Mic Inputs 1-2
Connector: XLR / 1/4" TRS Combo Input Connector
Dynamic Range: 108 dB (A-weighted)
THD+N: <0.01%
Noise EIN: >-110 dB (A-weighted)
Maximum Input Level: +1.5 dBu
Gain Range: 50 dB
Frequency Response: 20 Hz - 20 kHz (+/- 0.1 dB)
Input Impedance: 600 O

Line Inputs 1-2
Connector: XLR / 1/4" TRS Combo Input Connector
Dynamic Range: 108 dB (A-weighted)
THD+N: <0.01%
Maximum Input Level: +16 dBu
Gain Range: 24 dB
Frequency Response: 20 Hz - 20 kHz (+/- 0.1 dB)
Input Impedance: 20 kO

Instrument Inputs 1-2
Connector: XLR / 1/4" TRS Combo Input Connector
Dynamic Range: 108 dB (A-weighted)
THD+N: <0.02%
Gain Range: 24 dB
Frequency Response: 20 Hz - 20 kHz (+/- 0.1 dB)
Maximum Input Level: +6 dBu
Input Impedance: 1 mO

Channel EQ
EQ Configuration: Channels 1 and 2 have independent 2-band shelving EQs
High EQ Filter Type: 12 dB/octave shelving filter
High EQ Cutoff Frequency: 12 kHz
High EQ Gain/Attenuation: +/-15 dB
Low EQ Filter Type: 12 dB/octave shelving filter
Low EQ Cutoff Frequency: 80 Hz
Low EQ Gain/Attenuation: +/-15 dB

Aux Inputs
Connector: 1/8" (3.5 mm) TRS Input Connector
Frequency Response: 20 Hz - 20 kHz (+/- 0.1 dB)
Maximum Input Level: +12 dBu
Input Impedance: 20 kO

Line Output
Connector: 1/4" (6.35 mm) TRS Output Connector
Frequency Response: 20 Hz - 20 kHz (+/- 0.1 dB)
Output Level: Fixed +10 dBu
Input Impedance (unbalanced): 100 O

Amp/Drivers
Frequency Response: 60 Hz - 20 kHz
Max SPL: 110 dB
Power Amp: 100 W RMS mono-bridged
LF Driver: 8.0" 203 mm woofer
HF Drivers: (2) 1.0" / 25 mm tweeters
Side Drivers: (2) 3.0" / 76 mm drivers

Bluetooth Specifications
Profile: A2DP, AVRCP
Version: 5.0
Frequency: 2402 - 2480 MHz
Range: Up to 100 feet / 30.5 meters*

Battery
Type: lead-acid battery
Capacity: 12V, 7A, 84 Wh
Life: Up to 100 hours
Charging Time: 10 hours

USB-A Charging
Front USB Port: 5V, 1A
Top USB Port: 5V, 2.2A

Power
Connection: IEC
Voltage: 100-240 VAC, 50/60 Hz, 120 W

Dimensions (height x width x depth):
19.4" x 10.4" x 15.1" / 493 x 383.6 x 266.6 mm
Weight: 22.9 lbs. / 10.4 kg

Review: 'Workout' is a driving hard anthem with a relentless beat, ideal if you are looking for prime time techno. Veteran electro/techno fusionists The Advent deliver a remix that adds a chunkier, more loopy dimension, creating a powerful dancefloor weapon. Rodiaz takes a different approach with 'Space Methods', incorporating industrial sound effects and sci-fi elements into a hard-hitting techno groove. The Slam mix intensifies the track with a harder edge and a hypnotic loop, meaning that overall, this EP offers a dynamic blend of hard techno, a perfect addition to any techno enthusiast's collection.

Notes: Euphoric sound with digital clarity and analogue richness from Rupert Neve Designs transformer

The euphonia produces a euphoric sound with the clarity of digital and the richness of analogue that's never been heard from a DJ mixer before.

To deliver a clearer sound quality that accurately reproduces the expression of the music, the euphonia uses high-quality 32-bit A/D and D/A converters as well as 96kHz/64bit floating point mixing processing operations in the DSP, utilizing the digital signal processing technology AlphaTheta has developed over many years.

All sound coming out of the euphonia passes through a transformer circuit co-designed by AlphaTheta and Rupert Neve Designs, the legendary makers of outstanding analogue audio circuitry and mixing desks revered by artists and sound engineers around the world. This transformer circuit, tuned specifically for the euphonia, adds harmonics to the music and creates a glossy and energetic sound that's smoother for mixing. Low frequencies such as kicks and bass are more stable and punchy, mid frequencies like vocals and instruments have more presence and gloss, and high frequencies such as hi-hats sound silky and natural. The transformer breaks down the barrier between vintage live and modern electric sounds, making mixing easier and surprisingly natural, as if recordings in different styles were originally one piece of music.

Specially developed rotary fader makes you feel one with the music

When you touch the faders on the euphonia, you won't want to let go. To enhance its intuitive mixing experience, the unit is loaded with rotary faders that feature a brand-new carefully developed design to give you the feeling that you and the mixer are one. After extensive testing, the perfect knob sizes were chosen, with an elastomer applied to the outer circumference of each to ensure a comfortable and reliable grip as well as a high level of vibration absorption.

The uniquely developed mechanism for the faders also benefits from optimum weighting. You'll notice a difference in the feel of the knobs when you turn them at different speeds, as a smooth load is applied when you turn a knob slowly for delicate fine-tuning and a limited load level is applied when you turn a knob quickly to instantly reach your intended volume level. And the fader volume curves have been optimized through feedback from numerous DJs, enabling smooth and natural mixing without equalizing, so you can concentrate on volume control. This innovative fader allows for musical expression that will move your audience and enhance your performance.

Energy Visualizer for understanding overall sound at first glance

Get an instant visual grasp of the status of your mix and the balance of track volume levels by glancing at the euphonia's Energy Visualizer. Conventional VU meters only have 1 needle meter, making it difficult for DJs to grasp multiple channel levels at the same time. But the euphonia's uniquely developed Mix Level Meter features a needle meter for each channel so you can visually check the levels for all channels and mix smoothly while keeping the groove going. You can even keep an eye on the balance of the master output by looking at the Spectrum Analyzer, which helps you keep your mixes sounding consistent and smooth, even in a long set, as you "watch" the euphonia's output and adjust it to create your perfect sound.

Next-generation 3Band Master Isolator that transforms sensibility into sound at your will

Highest-quality isolator

The size of the isolator knobs is perfect for rapid turns from centre to maximum or minimum, and the torque load is perfectly balanced for both quick operation and fine sound quality adjustment, with a luxurious feel that's not too light. The cut-off frequency and slope are set to control and highlight the kick, melody, and rhythm bands in a natural yet sharp manner.

Brand-new Boost Send for one-handed effects application

Add one of the built-in Send Effects, or an effect from an external unit, to the sound of any of the master isolator frequency bands.

Specifications

Max. external dimensions (W × D × H): 429.2 × 331.0 × 119.9 mm / 16.90" × 13.03" x 4.72"
Main unit weight: 9.5 kg / 20.94 lbs.
Frequency response: 20 Hz - 40 kHz (LINE)
S/N Ratio: 107 dB (USB, DIGITAL IN)
88 dB (PHONO)
105 dB (LINE)
79 dB (MIC)
Power requirements: AC 110 V - 240 V, 50 Hz / 60 Hz
Power consumption: 43 W
Accessories: Power cord
Warranty (for some regions)
Quick start guide
Precautions for use

Compatible software:
rekordbox
Serato DJ Pro

Terminals

Inputs:
DIGITAL IN × 4 (coaxial)
LINE × 4 (RCA)
PHONO × 4 (RCA)
MIC x 1 (XLR & 1/4" TRS jack)

Outputs:
MASTER × 1 (XLR)
BOOTH × 1 (1/4" TRS jack)
REC × 1 (RCA)
PHONES × 2 (1/4" stereo phone jack, 3.5 mm stereo mini jack)
USB: USB Type-C × 1

Others:
SEND × 2 (1/4" TS jack)
RETURN × 2 (1/4" TS jack)

Review: Oh gosh! Since Ulterior Motive disbanded, Settle Down has gone from ravey strength to ravey strength. Lowering the tempo just a smidgeon, he's found himself painting from a vibrant palette that isn't governed by the tight rules of drum & bass, aligning himself more with the Biceps and Special Requests of the world and the sounds really shine as a result. Both of these have been on dub for some time, 'The Special' nods sweetly at Sade before burying its head in the biggest bass scoop it can find while the brilliantly titled 'Twos On A Pack Of 10' dives into dreamier breakbeat pastures - before breaking into a serious venomous bassline. Get down!

Review: Le Couleur consistently sidesteps complacency with each new album presenting a fresh musical experiment without ever losing its familiar foundation. With Comme dans un penthouse, the band takes its biggest leap into musical exploration yet as they revisit elements of 'Voyage Love' while delving deeper into disco infused with new wave nuances. The result is a cooler, more distant vibe compared to their previous work. The album crafts a narrative universe around Barbara, introduced in 'POP,' as she seeks excess, pleasure, and happiness amidst frenetic rhythms. From the Krautrock-inspired 'Autobahn' to futuristic tracks reminiscent of Das Mortal, Le Couleur deftly balances innovation with familiarity here on another sublime-sounding album.

Review: Gerd Janson's Running Back seemingly has no borders or boundaries when it come to the sort of music it will put out. Next up is Partiboi69 with Call of The Void, a zippy outing that kicks off with the psychoactive synth swirls and hurried beats of 'Playin'' while 'Bodies' is a sleazy and ghetto-tinged tech pumper with well-treated vocals and big old school piano chords that endlessly stab away. 'Feel This' brings a subtly celebratory mood with splashy cymbals and wispy cosmic pads darting about up top and 'Call Of The Void' shuts down with a deeper house sound but one still lit brightly by the astral pads.

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


Alice in Chains' Jar of Flies from 1994 is a masterful album that showcases the band's versatility and songwriting prowess across an acoustic-driven collection of tracks. They deliver plenty of haunting melodies and introspective lyrics that make for a deeply immersive listen. There is a real melancholic beauty to 'Nutshell' while a gritty intensity pervades 'No Excuses.' Each song offers a glimpse into the band's emotional depth and musical complexity, always with raw emotion and captivating performances that make this one a standout release in Alice in Chains' discography.

Review: Originally released as a bootleg live album in 1986, Walls Have Ears was a rare window into one of Sonic Youth's earliest UK tour appearances. Though notorious on the band's black market, the album has only recently been given the band's green light, who've now licensed it in agreement with Goofin' Records. Containing early versions of later Sonic Youth fixtures like 'Expressway To Ur Skull', this is a key record for any would-be aficionado; made up of recordings of one of their final shows with Bob Bert at London's Hammersmith Palais, this is a great addition to your music-historical arsenal.

Review: 20-year scene veteran DJ Unknown has dropped plenty of great albums in his time both in solo mode and with the Tru-Paz band. He is known for his harmonious and soulful sound and for offering up driving beats for MCs to set to work on. He first rose to prominence in Toronto playing a mix of house, rock, reggae and hip hop but is now a full matured beatmaker who excels on his new album Prisoners of Gravity. It embarks on an epic science fiction journey, depicting life in a dystopian Earth and the quest for a purpose beyond its bounds conveyed through a captivating audio-visual narrative with psychedelic undertones. Ambitious in scope and execution, it offers an immersive experience that pushes the boundaries of hip-hop imagination and creativity.

Review: Elephant9: previous album, Arrival of The New Elders, showcased a diverse and contemplative side of the trio while maintaining their signature grooves and adopting a more structured approach. The album received widespread acclaim for its seamless collaborative qualities. New record Mythical River follows in the same vein, featuring six stellar compositions by keyboard virtuoso Stale Storlokken and complemented by cosmic interludes. From hypnotic enchantment to precise polyrhythms, the album showcases the trio's continued excellence while drawing comparisons to bands from the 60s, although Elephant9's sound remains contemporary, timeless and even futuristic.

Review: Jurgen Paape has a brilliantly characterful sound and wrote one of our favourite silly records in 'Ofterschwang' some 13 years ago (go check it out, it's brilliant.) We're glad to hear some new music from the long time Kompakt legend and co-founder and once again it's not what you would expect. 'Allein' is a downbeat piece with oriental melodies and gently plucked strings over warm bass. It's not for the club, that is for sure, but the flip side version 'Allein In Italien' sure is. This one is a chugging and brit Italo disco number with retro 80s synth sounds and plenty of joyous grooves.

Review: Less so an 'artist' and more the recorded memory of a late night radio show, the Collective Rhythm Network was the late 1990s brainchild of Geoff Adamson and Marc-Andrew Bird, hijacking the 103.7 FM airwave in St. Catherines, Canada. After gaining some local traction, Adamson and Bird did indeed continue the name as their own production and DJ alias, going on to play at many a party - and recently, to establish an eponymous record label. The 'Monday Night' series charts some of their favourite cuts to play on the radio and deploy behind the booth on a monday; this incarnation hears swelling, airy numbers from DJ Slugo, Chris Shivers and Infiltrate. Don't sleep.

Review: Varhat continues to explore the potential of sleek minimal tech house attitude with a broad palette of input, serving up some cool and deadly tools on this latest YYK No Label 12" to inject some flair into the party. 'Daddy Beat' is a percussive beast leaning in on dexterous breaks from less-mined sources and keeping the pressure up around the 130 zone. 'Hold On' nods to Detroit techno in its swirling pads and machine soul bleeps, all the while trucking on a focused rhythmic trajectory. 'Surprise I'm Logan' returns to the drum funk sampling and 'Engage' locks into a distinctive strain of machine funk with plenty of hypnotic motifs and playful fills to turn heads in the midst of a marathon session.

Review: Osibisa's magnificent The Lost 70s Live Shows resurrects the pulsating energy of the Afrobeat and highlife fusion that defined the band's vibrant sound. Released as a testament to their dynamic live performances in the 1970s, the album captures the group's fierce genre-defying spirit with infectious rhythms, hypnotic percussion, and spirited horns. It is with these that the group create an immersive experience that transcends time with multicultural influences abounding throughout. Osibisa's lost live shows showcase their ability to ignite stages with an infectious blend of African, Caribbean, and jazz elements so do not sleep on this reissue.

Review: Joren Edwards has slipped onto the minimal tech house radar in the past few years with some choice releases for the likes of Atipic and PIV Limited, and now he's back with this choice drop for Crossed Grooves. 'Exit Strategy' opens the record up with an excellent foray into the fractured beatdown and psychedelic synth sweeps of the minimal breaks scene, while 'For Love' locks into a stripped down shuffle with a strange, dislocated vocal sample. 'Add Lips' keeps the drums dexterous and leans in on the bass for a deep and dubby excursion, and then 'A Short Trip To Olivier' rounds off the EP with a widescreen adventure through illustrious soundscapes and yet more of Edwards' refined beat constructions.

Review: Underground Resistance likely owe much of their mythology to the Interstellar Fugitives series; a classic series telling the tale of the UR clique fighting oppression and music-industry corruption on a cosmic scale. It's certainly an experimental delight for most newcomers to the techno genre and/or those who want to trace the history of the sound. DJ S2 (aka. Suburban Knight) and Von Floyd (aka. Gerald Mitchell) are infamous members of the UR gang; both of them have enjoyed success in the genre, and as part of the clique, since at least the late 1980s. 'Post Emancipation Psychosis' is a classic slab of UR's anarchic, ironic militancy. With its orderly drum machine march, the eponymous track by S2 describes the paranoia and loss of mental clarity one might after having been freed from the coercive clutches of a former master; meanwhile, Floyd's 'Geiger Counter' is a super-early electro classic, channelling a bursting, radioactive soundbank even few producers today could replicate.

Review: A first-time-on-vinyl reissue of Specifics' II, with original artwork and a Japanese obi-strip. Specifics is a still-strong lo-fi hip-hop unit from Montreal, Canada, widely known worldwide among Nujabes, Hyde Out and jazzy hip-hop fans for their participation in the compilation Modal Soul Classics By Nujabes, not to mention another tribute album released shortly after Nujabes passed away. After making a name for themselves with the release of their debut album Lonely City in 2004, which included the classic song 'Under The Hood', the band heard a further refinement and evolution with this second full-length. The original edition was difficult to find for some time due to low production runs, but is now available on vinyl; new listeners can expect a wonkier, G-funkier, more vibraphonic take on the blissful style popularised by the posthumous J-legend, adorned by flows from the group's very own Spencer Miller aka. Golden Boy.

Review: Nicholas Craven & Ransom assemble together once more for Deleted Scenes 2. Amongst those who know, Craven is said to be something of a super producer with the ability to really speak through his machines, while Ransom has also been hailed as a true modern king of lyricism. All five of the tracks here hit hard both musically and in terms of the lyrics with evocative bars and smart use of samples from the world of funk and soul to elevate each cut. Let's hope they keep on this collaboration and have more for us in the not-too-distant future.

Review: Weldon Irvine was one of the finest American jazz pianist and composers of his generation. He released several classic albums man of which are now being reissued thanks to P-Vine, but not before being fully remastered for the occasion. Weldon and The Kats was one that he put out on his own label Nodlew Records after releasing some albums through RCA and Strata-East. It is perfectly indicative of his style and has his early work 'Mr.P.C' on it, which was recorded in 1968 with Steve Grossman on tenor sax and sometime Miles Davies associate Lenny White on drums. This one has never been reissued before so snap it up before it goes again.

Notes: Make Noise's 208hp 7U 4 Zone CV Bus Case arrives ready to use. Just add modules, patch cables and inspiration. The powder coated metal construction offers excellent mechanical durability. The lid is removable and can be closed with the system fully patched. The sleek matte black finish was selected to match Make Noise's line of Black & Gold modules, and it looks great with just about any module installed. This finish will show the story of your modular synth's travels over the years.

The Make Noise 4 Zone Power Bus Board is a new approach to accommodating the ever-growing universe of Eurorack modules. The multi-zone solution is like having 4 independent bus boards in a convenient single bus board package. Each Zone features isolated +12 VDC and -12VDC supplies and a dedicated ground return path. The +5VDC supply is shared amongst all 4 zones.

The multiple section of the CV Bus was originally designed in 2013 for Alessandro Cortini's personal Make Noise system. It provides visual indication of level, rate and polarity for up to 4 control signals that will be shared throughout a patch. These 4 control signals are colour coded and distributed across the centre of the system allowing for quick, clean and intuitive patching. The distribution method is unlike the typical multiple since the control signals will appear beneath their possible destinations allowing for the use of shorter patch cables. The colour coding and visual indication makes navigating complex patches easier and more intuitive. Typically, the CV Bus would be used to share the most important control signals in a patch such as your Master Clock.

This new version of the CV Bus also includes useful modular utilities:

The Voltage Math is found at the left end of the CV Bus. Like the similar circuit on the 0-Coast, it is a small collection of universally useful modular utilities. The two inputs are summed at the output, one at unity and one adjusted by the input attenuverter. The attenuverted input is also normalled to a DC offset, for purposes of level shifting, voltage mirroring etc. The output strength and polarity is indicated by the Green and Red output LEDs.

A high quality Stereo Line Driver converts powerful modular synthesizer signal levels to the commonly used Line Level. There are mini-jack inputs for Left or Mono, and Right for Stereo sound, a single master volume control, as well as a stereo line output pair, and finally a TRS line/headphone out on a single jack. This output is capable of driving a long cable out to a PA System or a set of Headphones. It is AC coupled with a built-in limiting circuit (with visual indication) that prevents damage to ears and PA system when the patching gets experimental.

Includes

Two 104 hp 3U rows for Eurorack modules, One 104hp 1U row fitted w/ CV Bus
Hybrid switched/linear power solution for low noise and excellent load regulation
Multi-Zone, allowing isolation of noise-prone modules from noise-sensitive ones
Black powder coated metal w/ embossed logo on lid
Sealed to keep dust out during travel or storage
Lid offers space to close w/ your system patched
Recessed side mounted on/off switch and power inlet for safe travel
Locking power connector helps prevent on-stage power loss accidents
Solid carrying handle and rubber feet so the case travels w/ ease
Meets carry-on luggage size requirements for most airlines
Universal AC power adapter works world wide (Need IEC Cable for non-US outlets)
Blued Steel Stand sold separately

Specifications

Size: 7U
Total HP: 208 @ 3U, 104 @ 1U
Outer Dimensions:
22.25" x 14" x 7.25" w/ lid
Max Module Depth: 2.5"
Weight: 12.75 lbs. (w/ powered bus board, CV Bus installed)
Power: +12VDC @ 4A, -12VDC @ 2.4A and +5VDC @ 1A
Connectors: 32
Includes: CV Bus, Powered Bus Board, 120 Sliding M2.5 nuts w/ Black screws, AC Adapter

Review: What's your favourite Whitney tune and why is it all of them? Famously known as The Voice for the incredible range and emotion she could deliver on the mic the late great Whitney was a pioneering artist who always wanted to do more than the pop hits her label often tried to push on her. That's evident when you look at how her sound changed over the years from album to album. I'm Your Baby Tonight came in the middle of her career in 1990 and has since been certified quadruple platinum in the US. It is packed with funk, dance-pop delights and emotive ballads plus a fine collar with Stevie Wonder.

Review: Jazz collectors - specifically those of you with an obsession with the work of sax legend John Coltrane - perk up your ears. Many among you might not yet be aware of The Cats, a collaborative album recorded in synergy between Coltrane, guitarist Kenny Burrell, trumpeter Idrees Sulieman, and pianist Tommy Flanagan, but we wouldn't blame you, because this was one that flew under the radar on its New Jazz release in 1959. Not least, this might have been because it was released when Coltrane had moved onto more one-off release projects, shortly after his more widely publicized contract with Prestige Records ended. Nonetheless, it's cited as a deeply special album, resonant of the slinky sound of postwar New York jazz inasmuch as it is of the archetypal feline form.

Review: In terms of funk, the importance of The Meters can't ever be overstated. Compared to what the likes of James Brown and George Clinton were up to elsewhere, down in New Orleans Zigaboo Modeliste, George Porter Jr, Leo Nocentelli and Art Neville were cooking up their own Southern-fried style which had a groove all of its own. Despite their influential status on the Bayou sound and their constantly-sampled catalogue, they remain a cult favourite deserving of far more shine. The best place to start with their considerable catalogue is at the beginning, on their debut album where you'll hear such iconic grooves as 'Cissy Strut' and 'Here Comes The Meter Man'.

Review: Fela Kuti lives on! This is the 10th Anniversary reissue of the classic tribute album Red Hot & Fela, pressed on opaque banana yellow and opaque red vinyl, with proceeds benefiting the Red Hot organization. Since his death in 1997 from complications related to AIDS, Fela Kuti has grown from a West African household name and musician's musician in Europe and the Americas, to a worldwide musical icon. This album hears thirteen collaborative supergroups - made up of stars including Childish Gambino, Kronos Quartet, Spoek Mathambo, Sinkane, Tune-Yards and Baloji & L'orchestre De La Katuba - pay tribute to the Nigerian musician and activist, taking after him in style and cover. Successful, they translate the Afrobeatific sound of Kuti, Africa 70 and Egypt 80 towards an electrified present and future.

Review: Los Sospechos first dropped 'Jano's Revenge' on Colemine back in 2010, and it's since gone on to become a stone-cold classic of heavy funk played by the most discerning DJs. Now it's finally getting a limited repress on green marbled vinyl, giving you a fresh opportunity to savour the sweet, soulful sound and share it with the world. There's a timeless quality to this instrumental and its spiritual cousin 'Mirror Door' on the flip, where the brass section takes the leads and hammers out hooks to sink your teeth into.

Review: The always classy Movida calls upon Franco Cinelli, Neuronal Network and Sasha Dive for this new outing, which takes a deep dive into smooth techno with plenty of healthy Motor City overtones. Cinelli goes first with 'Eternal Chat' which rides on deep and supple drums with deft synths peeling off the groove. Neuronal Network's 'Basic' is a textbook dub techno cut with frosty chord vamps and icy hi-hats over super deep kicks. Last of all, Germany's Sasha Dive brings a little light and playful mood to his 'Foes Treatment' with its shiny leads and more tech house-style grooves.

Review: Max Richter's latest work Sleep: Tranquillity Base first arrived on Deutsche Grammophon for World Sleep Day. Ot is a thirty minute work split across two parts and are inspired by the moon landings. It is music that "functions as a vessel that disconnects and travels through the body of work, allowing art to provide something which resembles peace within ourselves." It also comes with a couple of belting remixes from much loved contemporary innovators Alva Noto and Kelly Lee Owens. There is a reason Max Richter is so well revered and his music has had over three billion streams and this EP is one of them.

Review: Following on from their standout debut album Benevolence in 2019, Skemer return with a second record for Italian label Avant! The duo of Kim Peers and Mathieu Vandekerckhove have tapped into a fertile strain of dark wave with a seductive gothic mood which should be essential listening for fans of The Cure et al. There's a pervading gloom to tracks like 'Easy To Embrace' but it's offset by the motorik thrust of the drums, and there's a generous dose of pop nous to ensure these shadowy songs land with a broad audience. If you're looking for a soundtrack to shortening days in the Northern Hemisphere, this album is a must-check.

Review: Wajeed's tasteful Dirt Tech Rack welcomes Church Boy Lou for some more of that authentic house flavour. 'The Night Is Coming' opens up with funky drum loops and twisted metallic synth lines that swerve in and out of the grooves. 'Keep On Prayin' has a more urgent feel with busier percussive lines and some subtle vocals adding the soul in a gospel fashion then 'Push Em In The Face' is another gospel tinged house looper a la Floorplan which really makes a mark and also comes as an instrumental.

Review: Light In The Attic continue to shine a light on the musical legacy of Nancy Sinatra. They have already put out a slew of great reissues and given them all the full treatment they deserve. Now they offer up this collection in several different coleus with this being nice yellow version of Keep Walkin': Singles Demos & Rarities 1965-1978. It also arrives as a CD, eight-track cartridge and comes with a booklet and plenty of the great vocalist's finest tunes from her most celebrated period.

Review: Berlin-based artist Curses is committed to the dark side of the dancefloor as an artist, and as this series on Eskimo proves he's also an authority on the seedier side of selecting, too. The first volume of Next Wave Acid Punx was a knockout success and so he's back for another round from the seemingly unending pools of EBM, industrial, synth-pop and minimal wave spanning the 80s through to the modern day. Given the sheer size of the compilation (covering no less than 49 tracks) it has to be split across separate chapters, with this double vinyl serving as Chapter 2 and featuring creepy masterpieces from the likes of Boytronic, Matrixxman and Dina Summer.

Review: It's been a while since we heard from neo-soul favourite Tom Misch, so we're happy to welcome him back on hearing of his latest release under the name Supershy, described as his 'electronic' alter-ego. Drawing from classic disco, contemporary house, and crate-digger soul, this debut mixtape hears Misch deliver ten club-ready numbers brushing up against disco house, French-touch, acid and more - all, as ever, underpinned with his unmistakably unique Misch-family musicality.

Review: Grammy-nominated Texan psychedelic-soul band Black Pumas, led by Eric Burton and Adrian Quesada, return after their 2019 self-titled debut album - leading to the pair being put up for 'Best New Artist' in 2020 - with a bold statement to break the sophomore album curse. Lead single 'More Than a Love Song' is the perfect introduction to the sound, Burton's commanding voice riding on a wave of progressively zanier instrumental patches and choir vocal samples, with a sultry deep south tone that, oddly, reminds me of CeeLo Green. Quesada's production style is quick and loose, oozing with soul - nothing more to be expected from former member of Grammy-winning funk band Grupo Fantasma. The two describes Black Pumas as an "electric church", the synths and digital organs punctuating Burton's wistful wailing perfectly. If you're looking for a soul release to close out the year, this is it.

Review: Nick Cave and Warren Ellis returned to Australia for sixteen shows last year, taking their 2021 album Carnage on the road, along with songs from the Nick Cave & The Bad Seeds catalogue. Three performances at the Sydney Opera House on December 16-18 were the climactic shows of an emotional trip, captured for a new live album, Australian Carnage - Live At The Sydney Opera House. Cave himself said of the project: "Every show was moving and unforgettable, from the intimacy of playing in theatres and arts centres, to the vast and uplifting nights at Hanging Rock, through to our final three nights at the inimitable Sydney Opera House."