Search dance music

Review: A strikingly unique dance music project from Nagasaki producer, DJ and sound director Keisuke Yamazoe, Aflex Combo has always been an impressive project, straddling several EPs stretching back to 2002 - and all centring, in the artist's own words, on "heavy funk beats and obscure jazz and Latin samples", albeit with the aid of live musicians. The intermingling of live-recorded and sampled material is always an exciting prospect, often to the extent that we can't tell the difference. Indeed, on this latest reissue of the artist's first ever track - the 2002 cut 'Dazzling' and the formerly unheard 'Etsom Ne' - we recall two janky, blissful jazzdance cuts, splayed across two spray-tanned sides. The former track hears bowing basses and trilling pianos whirl around the mix, as if lost in a nostalgic Millennium-bugged miasma; the latter is much more muted, its most striking elements being its boxy drum machine and expert flute line, betraying a well-integrated highlife influence.

Review: Sounds of the Sea was one of the first albums from Joanna Brouk, a West Coast sonic explorer who emerged somewhere around the boom in DIY tapes of ambient music in the early 80s. Brouk distanced herself from the platitudes of new age music and instead probed at more mysterious moods in her pieces, best captured in this highlight from the run of cassettes she first released. Numero Group have taken up the mantle and reissued Sounds of the Sea for the first time, bringing the swathes of pads and cascading flute to the attention of a much wider audience, finally.

Review: Main room techno doesn't come any more authentic and impactful than when served up by Drumcode, which is a label that has long been dealing in exactly that. For this new dancefloor weapon, label boss Adam Beyer has called upon Oscar L for two of his finest. First up is the fizzing, texturally rich and overwhelming sound of 'Again' which is always on the rise and powered by slamming great big kicks. 'Driving Into Techno' is another purely physical and functional workout with some nice saw tooth synths bringing a little funk.

Notes: High-quality compact studio monitors for the uncompromising creator

HS Series speakers have become the standard in studio monitors, trusted for many years by the world's top audio engineers, producers, and artists. Now Yamaha has redefined their essence in a compact housing. The HS3 and HS4 are powerful tools to help create a wide range of audio content-from music production to video editing-that meets the expectations of creators who have limited space and need to keep the volume down but do not want to compromise on monitoring quality.

Sound that is always true to the original

The HS3 and HS4 continue the design philosophy and know-how of previous Yamaha studio monitors. No effort has been spared in the pursuit of the optimal product, and the resulting speakers comprise carefully selecting parts such as a high-performance class-D amp, a highly resilient MDF cabinet, and woofers and soft dome tweeters that deliver a sound that is faithful to the source despite their small size. They also feature proprietary "Twisted Flare Port" technology that reduces air turbulence noise in the bass reflex port, providing clear and accurate bass. That's the secret to why the HS3 and HS4 deliver outstanding resolution, sound image, and depth, with a flat response across all bandwidths without any colouring of the original sound.

Optimal sound tailored to your environment

The sound produced by speakers is sometimes affected by the surrounding environment.

The rear panels of the HS3 and HS4 are equipped with ROOM CONTROL and HIGH TRIM functions that allow you to make adjustments to achieve the ideal sound for any environment, such as reducing the unneeded, exaggerated low-end that can often occur when speakers are placed next to walls.

Inputs and controls to fit any use case

The rear panel of the HS3 and HS4 is equipped with combination XLR/TRS phone, RCA, and stereo mini connectors, allowing you to connect to a wide range of professional and consumer equipment such as computers, audio interfaces, audio mixers, and electric instruments. The most commonly used features-power button, volume knob, and headphone connector-are located in the front for easy access.

Compact and portable

The compact size of the HS3 and HS4 was made possible thanks to the highly efficient class-D amp. Using one amp for two speakers has enabled us to both reduce the weight of the speakers and simplify the cable connections. They take up little space even in a small bedroom studio, and are easy to take with you on the road.

General specifications

Speaker type: 2-way powered speaker, Bass-reflex type
Frequency response (-10dB): 70 Hz - 22 kHz
Frequency response (-3dB): 85 Hz - 20 kHz
Crossover: 3.2 kHz
Maximum Output Level (Measured peak, IEC noise@1m): 100 dB SPL
Components: HF: 0.75" Dome, LF: 3.5" Cone
Nominal impedance: 6 O
I/O connectors: [Input Connector] L Side: COMBO (XLR/TRS Phone) ×2, RCA ×2, Stereo Mini, R Side: Speaker Input; [Output Connector] L Side: Headphone, Speaker Output
Output power: 26 W + 26 W (Dynamic, RL=6 O), 20 W + 20 W (THD 0.1%, 1kHz, RL=6 O)
Input sensitivity: LINE 1 (COMBO): +4 dBu, LINE 2 (RCA, ST Mini): -10 dBu (Volume: Maximum)
Input Level: LINE 1 (COMBO): +20 dBu, LINE 2 (RCA, ST Mini): +6 dBu (Maximum Input)
Input impedance: LINE 1 (COMBO): 20 kO, LINE 2 (RCA, ST Mini): 10 kO
Controls: Front: Volume, Rear: ROOM CONTROL SWITCH (0/-2/-4 dB under 500 Hz), HIGH TRIM SWITCH (+2/0/-2 dB above 2 kHz)
Indicators: Power ON (White LED)
Power requirements: Depending on area of purchase; 100-240 V, 50/60 Hz (*)
Power consumption: 15 W
Cabinet material: MDF

Dimensions

Width: L Side: 132 mm (5.2"), R Side: 132 mm (5.2")
Height: L Side: 223 mm (8.8"), R Side: 223 mm (8.8")
Depth: Side: 189 mm (7.4"), R Side: 177 mm (7.0")

Net weight: L Side: 2.8 kg (6.2 lb), R Side: 2.1 kg (4.6 lb)

Accessories: Stereo Mini - RCA Cable 1.5 m, Speaker Cable 2.5 m, Anti Slip Pad, Quick Start Guide, Safety Guide
Packaging: Pair

* While this product will work at a voltage of between 100 V to 240 V, as limiter settings vary depending on the supply voltage, make sure to use this product at the supply voltage indicated on the rear panel of this product.

Notes: High-quality compact studio monitors for the uncompromising creator

HS Series speakers have become the standard in studio monitors, trusted for many years by the world's top audio engineers, producers, and artists. Now Yamaha has redefined their essence in a compact housing. The HS3 and HS4 are powerful tools to help create a wide range of audio content-from music production to video editing-that meets the expectations of creators who have limited space and need to keep the volume down but do not want to compromise on monitoring quality.

Sound that is always true to the original

The HS3 and HS4 continue the design philosophy and know-how of previous Yamaha studio monitors. No effort has been spared in the pursuit of the optimal product, and the resulting speakers comprise carefully selecting parts such as a high-performance class-D amp, a highly resilient MDF cabinet, and woofers and soft dome tweeters that deliver a sound that is faithful to the source despite their small size. They also feature proprietary "Twisted Flare Port" technology that reduces air turbulence noise in the bass reflex port, providing clear and accurate bass. That's the secret to why the HS3 and HS4 deliver outstanding resolution, sound image, and depth, with a flat response across all bandwidths without any colouring of the original sound.

Optimal sound tailored to your environment

The sound produced by speakers is sometimes affected by the surrounding environment.

The rear panels of the HS3 and HS4 are equipped with ROOM CONTROL and HIGH TRIM functions that allow you to make adjustments to achieve the ideal sound for any environment, such as reducing the unneeded, exaggerated low-end that can often occur when speakers are placed next to walls.

Inputs and controls to fit any use case

The rear panel of the HS3 and HS4 is equipped with combination XLR/TRS phone, RCA, and stereo mini connectors, allowing you to connect to a wide range of professional and consumer equipment such as computers, audio interfaces, audio mixers, and electric instruments. The most commonly used features-power button, volume knob, and headphone connector-are located in the front for easy access.

Compact and portable

The compact size of the HS3 and HS4 was made possible thanks to the highly efficient class-D amp. Using one amp for two speakers has enabled us to both reduce the weight of the speakers and simplify the cable connections. They take up little space even in a small bedroom studio, and are easy to take with you on the road.

General specifications

Speaker type: 2-way powered speaker, Bass-reflex type
Frequency response (-10dB): 60 Hz - 22 kHz
Frequency response (-3dB): 83 Hz - 20 kHz
Crossover: 2.3 kHz
Maximum Output Level (Measured peak, IEC noise@1m): 102 dB SPL
Components: HF: " Dome, LF: 4.5" Cone
Nominal impedance: 6 O
I/O connectors: [Input Connector] L Side: COMBO (XLR/TRS Phone) ×2, RCA ×2, Stereo Mini, R Side: Speaker Input; [Output Connector] L Side: Headphone, Speaker Output
Output power: 26 W + 26 W (Dynamic, RL=6 O), 20 W + 20 W (THD 0.1%, 1kHz, RL=6 O)
Input sensitivity: LINE 1 (COMBO): +4 dBu, LINE 2 (RCA, ST Mini): -10 dBu (Volume: Maximum)
Input Level: LINE 1 (COMBO): +20 dBu, LINE 2 (RCA, ST Mini): +6 dBu (Maximum Input)
Input impedance: LINE 1 (COMBO): 20 kO, LINE 2 (RCA, ST Mini): 10 kO
Controls: Front: Volume, Rear: ROOM CONTROL SWITCH (0/-2/-4 dB under 500 Hz), HIGH TRIM SWITCH (+2/0/-2 dB above 2 kHz)
Indicators: Power ON (White LED)
Power requirements: Depending on area of purchase; 100-240 V, 50/60 Hz (*)
Power consumption: 15 W
Cabinet material: MDF

Dimensions

Width: L Side: 150 mm (5.9"), R Side: 150 mm (5.9")
Height: L Side: 240 mm (9.4"), R Side: 240 mm (9.4")
Depth: L Side: 213 mm (8.4"), R Side: 203 mm (8.0")

Net weight: L Side: 3.7 kg (8.2 lb), R Side: 3.1 kg (6.8 lb)

Accessories: Stereo Mini - RCA Cable 1.5 m, Speaker Cable 2.5 m, Anti Slip Pad, Quick Start Guide, Safety Guide
Packaging: Pair

* While this product will work at a voltage of between 100 V to 240 V, as limiter settings vary depending on the supply voltage, make sure to use this product at the supply voltage indicated on the rear panel of this product.

Notes: Tiny but powerful studio monitors from Yamaha's hugely popular HS range. Impressive bass response all the way down to 60 Hz despite their compact dimensions. Here in their white colourway.

Supplier's Notes:
High-quality compact studio monitors for the uncompromising creator

HS Series speakers have become the standard in studio monitors, trusted for many years by the world's top audio engineers, producers, and artists. Now Yamaha has redefined their essence in a compact housing. The HS3 and HS4 are powerful tools to help create a wide range of audio content-from music production to video editing-that meets the expectations of creators who have limited space and need to keep the volume down but do not want to compromise on monitoring quality.

Sound that is always true to the original

The HS3 and HS4 continue the design philosophy and know-how of previous Yamaha studio monitors. No effort has been spared in the pursuit of the optimal product, and the resulting speakers comprise carefully selecting parts such as a high-performance class-D amp, a highly resilient MDF cabinet, and woofers and soft dome tweeters that deliver a sound that is faithful to the source despite their small size. They also feature proprietary "Twisted Flare Port" technology that reduces air turbulence noise in the bass reflex port, providing clear and accurate bass. That's the secret to why the HS3 and HS4 deliver outstanding resolution, sound image, and depth, with a flat response across all bandwidths without any colouring of the original sound.

Optimal sound tailored to your environment

The sound produced by speakers is sometimes affected by the surrounding environment.

The rear panels of the HS3 and HS4 are equipped with ROOM CONTROL and HIGH TRIM functions that allow you to make adjustments to achieve the ideal sound for any environment, such as reducing the unneeded, exaggerated low-end that can often occur when speakers are placed next to walls.

Inputs and controls to fit any use case

The rear panel of the HS3 and HS4 is equipped with combination XLR/TRS phone, RCA, and stereo mini connectors, allowing you to connect to a wide range of professional and consumer equipment such as computers, audio interfaces, audio mixers, and electric instruments. The most commonly used features-power button, volume knob, and headphone connector-are located in the front for easy access.

Compact and portable

The compact size of the HS3 and HS4 was made possible thanks to the highly efficient class-D amp. Using one amp for two speakers has enabled us to both reduce the weight of the speakers and simplify the cable connections. They take up little space even in a small bedroom studio, and are easy to take with you on the road.

General specifications

Speaker type: 2-way powered speaker, Bass-reflex type
Frequency response (-10dB): 60 Hz - 22 kHz
Frequency response (-3dB): 83 Hz - 20 kHz
Crossover: 2.3 kHz
Maximum Output Level (Measured peak, IEC noise@1m): 102 dB SPL
Components: HF: " Dome, LF: 4.5" Cone
Nominal impedance: 6 O
I/O connectors: [Input Connector] L Side: COMBO (XLR/TRS Phone) ×2, RCA ×2, Stereo Mini, R Side: Speaker Input; [Output Connector] L Side: Headphone, Speaker Output
Output power: 26 W + 26 W (Dynamic, RL=6 O), 20 W + 20 W (THD 0.1%, 1kHz, RL=6 O)
Input sensitivity: LINE 1 (COMBO): +4 dBu, LINE 2 (RCA, ST Mini): -10 dBu (Volume: Maximum)
Input Level: LINE 1 (COMBO): +20 dBu, LINE 2 (RCA, ST Mini): +6 dBu (Maximum Input)
Input impedance: LINE 1 (COMBO): 20 kO, LINE 2 (RCA, ST Mini): 10 kO
Controls: Front: Volume, Rear: ROOM CONTROL SWITCH (0/-2/-4 dB under 500 Hz), HIGH TRIM SWITCH (+2/0/-2 dB above 2 kHz)
Indicators: Power ON (White LED)
Power requirements: Depending on area of purchase; 100-240 V, 50/60 Hz (*)
Power consumption: 15 W
Cabinet material: MDF

Dimensions

Width: L Side: 150 mm (5.9"), R Side: 150 mm (5.9")
Height: L Side: 240 mm (9.4"), R Side: 240 mm (9.4")
Depth: L Side: 213 mm (8.4"), R Side: 203 mm (8.0")

Net weight: L Side: 3.7 kg (8.2 lb), R Side: 3.1 kg (6.8 lb)

Accessories: Stereo Mini - RCA Cable 1.5 m, Speaker Cable 2.5 m, Anti Slip Pad, Quick Start Guide, Safety Guide
Packaging: Pair

* While this product will work at a voltage of between 100 V to 240 V, as limiter settings vary depending on the supply voltage, make sure to use this product at the supply voltage indicated on the rear panel of this product.

Review: Jazz Bar is one of Japan's most high-selling and high-quality jazz compilations. This new edition is another well-assembled collection of sounds that traverse multiple eras, styles and borders with melodies that lodge deep and long in the brain. It brings together plenty of revered artists such as Enrico Pieranunzi, Charlie Haden and Paul Motian on the late night sounds of 'Nightfall', the Nesin Howhannesijan Trio on the more lively 'Symphony No 8' and the Creative Art Trio on the meditative Hommage A A Piazzolla.' A truly sophisticated collection that will bring class to any dinner party.

Review: Johnny Cash, Merle Haggard, Buck Owens, Loretta Lynn, Willie Nelson, Kenny Rogers, Glen Campbell, Tammy Wynette, Steve Earle, Waylon Jennings, Linda Ronstadt, Kris Kristofferson, Hank Williams, and Conway Twitty. If you can think of many country stars who don't feature on Country Collected then we're all ears. A real celebration of the genre, one look at what's been compiled should be enough to seal the deal. More than 30 tracks are listed, and while many are from undisputed greats, there are more than a few names some will be introduced to for the first time. Brewer & Shipley, perhaps, whose 1971 single 'One Toke Over The Line' brings elements of folk and pop into the sound, honkey tonk and Western maestro Lefty Frizzell, or the rhythm & blues hued Vince Gill.

Review: What better way to soundtrack your festivities this year than with the smoother-than-smooth vocals of Dean Martin? The late great jazz legend's Winter Wonderland album arrives on limited edition clear and heavyweight wax just in time for the party season and has all the classics you could ever wish to hear. From his seminal 'Let It Snow! Let It Snow! Let It Snow!' to bonus cut 'It's Beginning To Look Like Christmas' these are evergreen favourites that add a certain warmth and sparkle to any cocktail party or present-swapping session.

Notes: The tiny but mighty Eurorack power supply. Winterbloom's love letter to DIYers is perfect for custom cases.

Micronova is a miniature 100x30mm power supply with a big soul. It can provide up to 18W of power for your modules and multiple units can be easily daisy chained to power larger systems.

Despite being adorably small, Micronova provides lots of flexibility for custom case builds. It can be powered through an attached DC barrel jack, screw terminals, or through an optional front entry panel.

Micronova is equipped with two Eurorack power headers that can be expanded using a busboard or flying bus cable.

Micronova also has critical safety features including reverse polarity protection, a resettable polyfuse, and over-current shutdown.

A suitable AC-DC power adapter is required.

A tiny 100mm x 30mm board with M3 mounting holes
Provides +12V @ 1A, -12V @ 300mA, and +5V @ 500mA
Includes two 16-pin Eurorack power headers
Requires a 15V to 20V center positive DC power supply
Multiple units can be daisy chained
Reverse-polarity, over-current, and over-temperature protection

Notes: The tiny but mighty Eurorack power supply with all the bells and whistles

Micronova is a miniature power supply with a big soul. It can provide up to 18W of power for your modules and multiple units can be easily daisy chained to power larger systems.

This bundle includes:

an assembled Micronova
an assembled Micronova busboard
a Micronova front entry kit

Please note that the front entry requires assembly. It's a delightfully easy kit, but make sure you know what you're getting into!

A suitable AC-DC power adapter is required. We have adapters available for domestic customers. International customers please take a look at the manual for guidance and recommendations.

Check out the manual to get to know Micronova and all of the delightful ways you can integrate it into your case.

100 mm x 30 mm x 13 mm
15-20V, 1.5A
+12V @ 1A
-12V @ 300mA
+5V @ 500mA
Daisy chainable
Busboard included
Front entry kit included

Notes: Tiny but mighty busboard for the tiny but mighty Micronova

This tiny 100x30mm busboard is a perfect companion to Micronova. It provides six additional power headers and is the exact same size as Micronova - perfect for your custom case build.

Includes one 16-pin to 16-pin Eurorack power cable for connecting the busboard to your Micronova or other power supply. If you need them, grab some 16-pin to 10-pin power cables for connecting power to your modules.

100 mm x 30 mm x 13 mm

Review: Songs in The Key of E is a new offering the legendary soul man Everis, arriving in limited edition vinyl form just in time for Christmas. It features a number of superb new hair raising soul songs with some top guests too including a pair of award-winning singers, two international rappers, and a cult UK MC and sound system legend. There is an old school r&b tinge to the production and songwriting, with lavish keys and nice fresh beats all topped with emotive vocals that all swell the heart.

Review: Incredibly powerful stuff, Blazing Worlds - AKA Justin Wright & Grant Corum - recorded their self-titled latest album over a long summer in the US Midwest. Evidently inspired by what conditions were like, the official release information here opens with a reference to J.G. Ballard's landmark science fiction, The Drowned World, which, for all intents and purposes, could become a reality in the next few centuries. A planet so scorched lagoon waters that have flooded cities seem to burn by midday, there's a sense of rising temperatures about this truly hallucinatory album. Drone, ambient, use whatever label you prefer, this feels like you're either orbiting the sun itself, or looking out on lands that have long since succumbed to desertification, wondering when the scorching dunes might give way to some place more liveable. Atmospheric, futuristic, and deeply effective.

Review: Steely and Clevie were amongst some of the most supreme rhythm makers in all of Jamaica in the 1980s and on into the 1990s. They worked together at King Jammy's in the aftermath of Sleng Teng with Steely doing the synth work and Clevie making the magic on his drum machines. They wrote a wide array of essential rhythms for the day's best emerging dancehall tautens and At The Top is a collection of crucial digital dub workouts "that strips bare the computerised wizardry at the duo's core." These are essential dubs for fans old and new of dancehall.

Review: The Mood Mosaic Eleven - Feelin' Funky! is a double album of hardcore funk jams from several different artists. It lasts over an hour in all and in that time you will not be able to sit down or draw for breath. It was originally released in 2007 but still remains relevant for funk lovers. All of these tunes are by the superheroes of the 70s from the rolling funk and big sax licks of the opener from African Music Machine via Tony Camillo's Bazuka's more deep cut and playful 'Dynomite' and plenty in between. For us, Wilmer & The Dudes wins not only for the artist's name but the vibrant, guitar-licked energy of the 'Get It' instrumental.

Review: Ill Bill once again delivers on his new solo album, BILLY. Taking the second half of 2022 to start setting this album up, BILL released singles like 'Once Upon A Time In Canarsie', 'Leviathan', 'Smarten Up', 'Root For The Villain', and 'Time To Go'. The album boasts features from the likes of Vinnie Paz, Kool G Rap, Rittz, Immortal Technique, Nems, Sick Jacken, Slaine, Lord Goat, Tragedy Khadafi, OT The Real, Q-Unique and more. With a stellar list of producers like DJ Muggs, Statik Selektah, Stu Bangas, C-Lance and others, this album will shine amongst the rest of BILL's catalog.

Review: Alkaline Trio continue to enjoy their heyday with the strong Blood, Hair and Eyeballs, their tenth album to date. The band's first ever album to be made with their new drummer Atom Willard (Rocket From The Crypt, Angels & Airwaves), this is both nominally and sonically a visceral album, a veritable oozing-forth of metallic-punkish blood and guts after a bloody groundswell built up over the long silence that followed 2018's Is This Thing Cursed?.

Review: Johanna Sadonis (real name Johanna Platow Andersson) is the German Wiccan frontwoman of Swedish retro psych-doomers Lucifer. Crafted in collaboration with her regular songwriting partner and husband Nicke Andersson (of hard rock heroes The Hellacopters and death metal legends Entombed), the aptly titled V marks the group's fifth full-length and distils accessible AOR style hooks with the sleight hands of proto-metal and blues-tinged psychedelia, while lyrically delving into the occult and cosmic otherworldly rituals; elevated and brought to life by Platow's sultry, frosted and commanding presence.

Notes: Nive Grad is a level shifter designed for simplicity. Two Eurorack signals can be attenuated down to pedal and line levels, and two external line or pedal signals can be amplified up to Eurorack level. Integrating a drum machine, external synth, effects processor, or guitar with your Eurorack system has never been easier!

Nive Grad uses 1/8" jacks to save HP. If you want to use 1/4" gear with your system, ask your modular supplier about mono/TS 1/8" to 1/4" adapters or adapter cables.

Nive Grad pairs well with Noise Engineering's Xer Mixa system mixer, but can be used in any Eurorack system.

Type: Universal drum synthesizer
Size: Level Shifter
Depth: .9 inches
Power: 2x5 Eurorack
+12 V: 25 mA
-12 V: 25 mA
5 V: 0mA
Nive - level - from Latin niveum

Grad - step or degree- from Latin Gradus

Review: American blues-slanted rock band the Black Crowes put out their second album The Southern Harmony and Musical Companion back in May 1992. It was the first time Marc Ford had featured on lead guitar in place of Jeff Cease who was sacked the year before. It also marked the first time Eddie Harsch joined on keys and set a record at the time for being the first album to feature four rock number ones, and the album itself also climbed to the top spot in the Billboard 200 album chart. Its mix of blues and Southern styles often sees the album being included in lists of the best rock albums of all time.

Review: The upcoming second solo studio album by US singer-songwriter and guitarist Brittany Howard (of Alabama Shakes fame), What Now follows up Jaime and its Reimagined edition, striking out with a fierce, "truest and bluest", nigh "brutal" lyricism, in which Howard addresses the titular question - "what now?" - and how today's society might respond. Written, of course, during the height of the pandemic, when such doubts were excised and up in the air (and more so than usual), the album's sonic aesthetic spans full-bodied funk, psychedelic chord progressions, and a powerful bombast. The overall answer sounds to be: move through it; surrender to "the now", gracefully.

Review: Dee D. Jackson's Cosmic Curves is an album that was originally released in 1978 and has been reissued a couple of times since. It might well be best known for the open track, 'Automatic Lover', which became a chart-topping hit across Germany, France, Italy, Spain, Japan, Argentina, the Republic of South Africa and others. Listening back now it is primo Euro-disco dance tackle with rugged synth arrows and soaring vocals up top, and the rest of the album pretty much follows that same template.

Review: Bleachers return with their self-titled new album, released via Dirty Hit. Following up their debut album Strange Desire in 2014, the band are seen to continue building on a huge, passionate following across three studio albums, renowned for their impressive live show and infectious camaraderie. There's a rich depth to the sound on Bleachers, laid out in bright, soulful technicolour. The album is frontman Antonoff's distinctly New Jersey take on the bizarre sensory contradictions of modern life, on his position in culture, and the things he cares about. Sonically, it's sad, it's joyful, it's music for driving on the highway to, for crying to and for dancing to at weddings. There's something reassuringly touchable and concrete about its sentiment: exist in crazy times but remember what counts.

Review: Gilles Peterson's dedication to unearthing new artists is second to none. He has long championed the next generation as much as he has carefully dug out delights from his vast vaults of jazz, world, soul and Latin music, both on his various radio shows but also his own label Brownswood. The Future Bubbler series is where he does that best and now it hits a seventh volume with eight more tracks from fresh creative talents who explore broken beat, nu jazz and plenty of in between styles in all in their own unique ways.

Review: Danish artist Jacob Gurevitsch is a master of the Spanish guitar who has proven that over more than one album on the cult Music For Dreamers label out of Denmark. One of them was Yellow Spaceship which now gets a much deserved reissue on heavyweight vinyl having first landed back in January of 2022. It is a blissed out mix of Balearic and downtempo with the effervescing guitar lens front and centre wheel swooning strings and dusty, slow motion rhythms gently propel it along. Sunny, soulful and heartfelt, this is a real winter warmer.

Review: KingUnderground Records present the instrumentals version of Lewis Parker's sought after hip-hop record 'Frequency Of Perception' - a record that continued to cement Parker as a stalwart of the 90s hip-hop sound, think Tribe, Slum Village, The Pharcyde et al. The prolific UK-born hip-hop legend proves to be as tapped into the feel of a pocket as he was when he came on the scene in the 90s. The attention to detail and the intent in the sequencing and production on Frequency Of Perception is best noticed when listening front to back. The whole album touches on dynamics in line with the iconic sound that Parker built his reputation on for decades; all while finding new ways to tell stories by further exploring instrumentation. Lewis remains consistent in his craft, continuing to cook up beats and productions with classic techniques and fresh ingredients. There is no sense of reaching - the productions exude an attitude that reaps a true passion for his craft.

Review: Originally released in 2003 and now celebrating its 20-year anniversary, Indestructible served as the sixth full-length from punk legends Rancid. While initially criticised upon release due to the "poppier" sound certain fans took umbrage with, time has grown kind to the project which boasts some of the most personal penmanship from primary songwriter Tim Armstrong (of Operation Ivy), delving into his divorce from The Distillers' Brody Dalle (now divorcing Josh Homme of Queens Of The Stone Age), as well paying homage to two influential heroes who died during the recording process: Joey Ramone and Joe Strummer, with the latter even being mentioned in the title-track. Known to be the final album with original drummer Brett Reed, and even featuring one of the most underappreciated cuts in their catalogue with closer 'Otherside', written by guitarist Lars Frederiksen about his brother Robert who tragically passed away two years prior, Indestructible deserves your reappraisal as it's slowly become the forgotten gem in the Rancid crown.

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: The second release on RPX16035 takes us back into the beating heart of full-fat electro with a cast of emergent talents bitten by the machine funk bug. Digregorius is up first with 'Aurora Maia', a schlocky slice of twisted synth lines that draws parallels with labels like EYA and Partisan. Gianluca Pellerano has a definite video game soundtrack influence lingering over his track like he's battling an end of level boss. Marco Biagioli has a thumping 4/4 focus at work on equally spooked out 'Gate 5' while F Phono finishes the record off with the Italo-tinted 'We All Love Electro Dance' - a track title we can all get behind.

Notes: Further pushing the boundary of clock-defined pedals, the latest entry in Old Blood Noise Endeavors' BL series is a Phase Repeater, in the process making a genre entirely of its own.

Phase repetition takes the modulation of a phaser and applies it to the realm of time, creating a completely unique sound and more like delay or reverb than its namesake phaser. First used in the OBNE Dweller pedal, the BL-52 Phase Repeater represents a new spin on the sound, with simple controls including a Clock slider that enlightens the timing of everything in the pedal.

At a point, describing sound feels like describing time: the fourth dimensional perplexity of it all! Of course, this makes sense in that time being intermingled with sound and frequencies only existing over a period of time, whatnot. We spend a lot of time thinking about all-pass filters, you and I. How they pass all frequencies, but at different times. How this, in the digital realm, can create a phaser or a reverb, depending on how much memory you allow it and thus, how much of the fourth dimension it's playing with at any given... well, time.

BL-52 is what we call a phase repeater pedal. It's an effect we stumbled upon in our Dweller pedal development, living somewhere between phaser, delay and reverb, as it creates a series of repeats both unexpected and pleasing. It's digital trickery to do something quite unfamiliar and once you've bonded with it, is irreplaceable.

The BL-52 Phase Repeater is solely focused on that effect, with the Clock control setting the timing of the entire system: the sample rate that determines signal fidelity, the timing of the phase repetition and the speed of the LFO that shapes the diffusion of the repetition.

In short, it is an effect that does not require exactness, but rather openness to where the repetition will lead you.

Review: Following close behind Macarie's Out Of Streets EP, Verum returns with a further expansion of its sound as a new label in the minimal tech house scene. Olivian Nour sets the mood in compelling style with the subtle jazz guitar licks hovering over brooding twilight cut 'Collateral Damage', while Dorothy's Dream explores skittering, modulated forms on psychedelic workout 'Ten Colours'. Swoy leads on the B-side with the snaking, subliminal mastery of 'Tosmur' and Vern completes the picture with the slinky groove of 'Breath', making this another classy turn for Verum and the assembled artists alike.

Review: Cirkel Square bills himself as "rominimal, rotech, rodub, micro and everything in between", which gives you a good idea of what to expect as you slip into this latest from the emergent talent. On this occasion the music is arriving on Australian label Maru and it's yet another reminder to keep tabs on this new talent in the minimal scene. 'Beyond' has a hazy mood thanks to its fine slithers of pads hovering in the back of the mix, but there's plenty of elegant figures darting around the front of the mix to keep the track from getting too sleepy. That also means minimal veteran Reboot has plenty to work with on his typically streamlined version of the track.

Review: Future Romance looks to the stars courtesy of this expansive retro-future prog house offering from Solee. 'Rumors' is one of those composed, slow-burning tunes that is full of plenty of promise so keeps you on edge as it rides the gritty drums, journeys through some epic breakdowns then comes alive with dark rolling bass and frazzled pads. 'Stimulation' on the flip is an equally serene affair with far-sighted pads and supple synth arps all rising up through the sky to lead you on an intergalactic prog trip with plenty of subtly bleeping melodies.

Review: In Peter Strickland's Flux Gourmet, a dysfunctional group of performance artists undertake a month-long residency at an institute devoted to culinary disciplines. Food is interrogated for its sonic potential as the group mic-up, amplify, distort and transform what they cook in front of an audience. The noise produced by the characters in the film is driven by food blenders, overflowing cauldrons of gurgling soup and sizzling frying pans (courtesy of The Sonic Catering Band), yet the music that soundtracks the culinary capers is engorged with aching melodies and wordless, airy vocals. Contributors include Cavern of Anti-Matter, Jeremy Barnes and Heather Trost of A Hawk and a Hacksaw and Trost's band, Roj (formerly of Broadcast), and Nurse With Wound. Flux Gourmet is presented in a lush 2xLP package with an ornate, colorful design and Strickland's detailed liner notes.

Review: Swiss label Dub Colony Music Switzerland looks across Europe to Mob Killa from The Netherlands for this fourth release after fine early entries from Sentient and TCP. '70 Degrees' opens up with a sense of late night mystery and urban loneliness. 'Kill A Boo' brings some gentle piano tinkles over earth-shattering bass that has you lurching from one foot to the other. There is more duality to 'The Mansion' which has a hypotonic lead flute up top and more weighty bass down low. 'Elitist' shuts down with a further mix of elegant and heady melody and more physical drums.

Review: It's Time to Play says this new Italian label, and when you hear what they have put together on their first EP to entice you to do so you will be happy to get involved. It's a classy deep house outing from the off with Meftah's 'Recognizing Strength In Healing' exploring subtle sound worlds with muted chords and gentle finger clicks. Colosimo's 'It Works' (feat Alessandro Barbieri) has dancing synths and deep and dusty drums overlaid with jazzy chord work and Phonorem keeps the late-night jazz houde vibes coming with 'Hyper Dino' (feat Stefano Nardon). Two more B-side cuts round out with more classy and sophisticated house depths.

Review: Adam Craft is back with a second selection of his Renata Tracks. The first EP in this series came back in 2017 on Arsenik Records but here he lands on Phorma. Things kick off with the cinematic ambient of 'Pace' (Variation) which then becomes a deep and dubby techno roller in original form. Things stay well below the surface with 'Into Dust' which is another fresh dub cut that is rippled with frosty chords. 'I Only Said' is a traintrack groove that locks you into its linear rhythm and keeps you there for a lovely old hypnotic trip.

Review: Letters From Home is a gorgeous new single from Rowee and Flowers On Monday. The original is a deep and shimmering late-night house lullaby with soft drums and shakers all sinking you into a reverie. The keys and synths are impossibly delicate and innocent up top as the groove unfurls and you fall ever more in its spell. The Mass Digital remix is an even more zoned-out affair with the addition of some angelic vocal sounds and the DSF remix brings a more prominent but still smoky and heavenly vocal over more percussive drums. Slow Hearts closes down with a last magnificent rework.

Review: Jazz drummer Art Blakey's formative album Mosaic was important as the first of his albums to introduce what would become the finest lineup of his Jazz Messengers band, which included Wayne Shorter (tenor sax), Freddie Hubbard (trumpet), Curtis Fuller (trombone), Cedar Walton (piano) and Jymie Merritt (bass). Blazing through the hard bop form like a dynamo wielding twin beaters made of the stuff magic wands are fashioned after, Blakey is heard on top form, flamming, rolling and double-tapping like it's nobody's business, and never breaking a sweat, or into a slow jam. The more measured cuts such as 'Crisis' are nonetheless as tight as ever and though Blakey is well into his career by this point, he's still at the height of it.

Review: The heady techno fans out there will already know that Darren NYE has been serving up deep and dreamy techno and roundabout sounds since the 90s. He is turning out some of his best ever material right now though and does just that again now on Deeptarx. His Thoughts & Emotions is an extended offering across four sides of vinyl that explores the intersection of techno, electro and dub, always with a soft touch, a warmth of sound and a pensive mood. There are deft cosmic jaunts, more heavy and purposeful slow burners and life-affirming nocturnal trips like the gorgeous 'Late Night Thinking.'

Review: Ukrainian label Rhythm Buro tells us There Will Be Light with this fantastic new double album. It's a collection of various artists all serving up some meditative ambient and drone soundscapes that take you far away from the here and now and drop you into the future. Long-assured names like John Beltran impress with 'Nothing Stays The Same', electro veteran Anthony Rother suspends us in lo-fi synth magic on 'Victory Of Light' and Sebastian Mullaert brings his signature minimalism to 'Just This'. These are just some of many standouts in a collection that will stand the test of time.

Review: Larry Young's Unity was released in 1965 and has endured with a fine reputatopn for being a rather innovative work in the jazz realm. As a pivotal figure in the post-bop and modal jazz movements, Young's innovative organ playing redefined the possibilities of the instrument. Unity marked his debut as a bandleader and he did so alongside an exceptional lineup that featured Woody Shaw, Joe Henderson, and Elvin Jones. The title track is a mesmerizing 16-minute exploration that showcases Young's mastery of the Hammond B-3 organ as he creates a spiritual and avant-garde atmosphere. The album's fusion of hard bop, modal jazz and experimental elements solidified Young's place in the pantheon of jazz greats you need to know, if you don't already.

Review: On this reissue of a Mighty Two instrumental classic, Prince Far I rides the rhythmic hand dealt by 'The Deck Of Cards', making for a dazzling reminder of the collaborative synergies between dub legends Michael Williams, Joe Gibbs and Errol Thompson. Released under Gibbs' contemporary imprint, which lends posterity to his work, 'Deck Of Cards' is a shockingly well-shuffled suit (not skimping on the jokers, either), with many trademark quirks and idiosyncrasies, such as an on-beat trumpet bubble, abounding on the infectious instrumental version. Far I's vocal, which captures our immediate attention, is just as righteous and steadfast as its backbone.

Review: The iconic Contra saga gets a big revival here with Ship to Shore unveiling the inaugural vinyl release of KONAMI's Contra: ReBirth soundtrack. In this superb adventure, Chief Salamander threatens Earth by altering history, plunging it into chaos. Exclusive to WiiWare in 2009, Contra ReBirth offers a nostalgic homage to classic 16-bit run-and-gun gameplay, enhanced with modern graphics and seamless action. The soundtrack, remixed in signature KONAMI ReBirth style, revitalises beloved Contra melodies and delivers an electrifying fusion of past and present. Complete with liner notes by Jeremy Parish and captivating artwork by Drew Wise, this one comes on striking purple-blue swirl wax.

Review: Mr G is presumably called Mr G because he is such a G. For seemingly ever now he has been turning out his smoky, stripped back and economical basement house joints, coated in dirty, lo-fi pads and grime. They are rollers that lock you in and keep you there and no matter how many times we hear new ones from him, the effects are always powerful. Here we get two more on his own label - the humid 'Drop It' and more raw and urgent 'Nangs', then comes a Drawing On Grace remix of 'Drop It' from Mr G's regular team up mate Duncan Forbes that pumps a little more of a funky drum pattern and a G Reprise that allows some light into the mix.

Review: This 2011 compilation on Cleopatra gathers together a unique clutch of classics and lesser known versions from the mighty Stooges. Freshly remastered and pressed up on red, blue and black splattered vinyl, it features the mighty 'Extended Psych Version' and 'Fast Version' of 'I Wanna Be Your Dog', plus all-time favourites 'Tight Pants' and 'Gimme Some Skin'. In a direct connection back to the formative influences of the porto-punk legends, their cover of 'Louie Louie' opens up the B-side in raucous fashion. Whether you're new to the Stooges or a long-time lover, this is an essential document of one of the most important bands in rock n' roll.

Notes: ***B-STOCK: Box opened, light surface marks, product in perfect working condition ***


Dual wireless microphone system with fixed UHF receiver and 2 beltpack transmitters, supplied with a choice of neckband or lavalier microphones. The receiver unit is compatible with standard 19" racks using the included rack ears and front mounting antenna accessories.

In the box:

Dual channel receiver
2 x beltpack transmitters
2 x neckband microphones
2 x lavalier microphones
4 x AA batteries
2 x UHF antennas
2 x antenna leads
2 x rack-mounting ears
Mains power adaptor
6.3mm jack to jack lead

Review: For the fifth volume of The Encyclopedia of Civilizations, Abstrakce's collection of split LPs - in which selected artists offer insight into fascinating ancient cultures - hears them focus this time on the enigmatic Babylon, visited by two of the label's favourite electronic bands currently active. Berlin-based duo Driftmachine take us on a journey between the ancient cities of Akkad, Uruk and Ashur. Bringing together astonishing electronics with a superb and precise sound - floating somewhere between modular ambient, leftfield, abstract dub - every detail has been carefully crafted to produce a complex architecture. Unconventional tribal rhythms recall obscure rituals, while warm, dynamic pulses contract and expand, interacting on their journey along the sandy roads of the Mesopotamian basin. Afterwards, Glasgow-based project Komodo Kolektif delves into the Babylonian vision of magic through the figures of the Kassaptu (witches and wizards), and the use of Mandragora. A blend of both tribal primitivism and a futuristic vision is provided by their vast arsenal of vintage synths and effects units, Eastern metallophones and traditional hand percussion. This is deep, psychedelic electronics that capture the spirit of ancient Babylonian sacred ceremonies and their vision of the cosmos.

Review: In celebration of the group's newest album, Blue Exposure, a sequel to their 1980 masterpiece Red Exposure, Chrome proudly present a special double album reissue of the latter, original project. Long regarded as not only one of the best albums of the band's stellar catalog but also one of the most groundbreaking musical achievements of the 80s, Chrome's debut album influenced a generation of electronic, post-rock and experimental artists, predicting and inspiring the many thought-to-be-inventors of the sound(s), such as Nine Inch Nails and Marilyn Manson. This version includes an entire bonus LP of rare "lost tracks", recorded in the same year as the originals. By far the most arresting cuts include 'Eyes On Mars' and 'Static Gravity', which effortlessly flaunt the band's melding of seemingly contradictory poles: the double-time groove of post-punk and the halfstep pace of dub, echoing the dizzying variety of influences that went into this electric, feline, crepulscular album.