Today Only: All genres sale vinyl

Review: Alhaji Waziri Oshomah is a master of Afro sounds and rhythms that cut deep. He is from the Edo State in southern Nigeria and always as making music and often holds local sermons. His music was highlighted by David Bryne's always-excellent Luaka Bop label in September with World Spirituality Classics 3: The Muslim Highlife Of Alhaji Waziri Oshomah and now comes another bumper collection of his tunes. As the title suggests, Vol 1-5: 1978-1984 pulls together his best work from that six-year period across five 12"s and a special booklet.

Notes: Unique custom design 3.5mm patch cables.

They feature strong, ergonomic barrels which are slim and stubby for max patchability.

Available in various lengths (15, 30, 60, 90 & 120cm) and colours.

Longer 60, 90 & 120 lengths also include ALM cable tie.

Review: The enigmatic Black Swan's Repetition Hymns is a gorgeous collection of 19 short pieces that all add up to a great sense of momentum. Well suited to the slow passing of time that we have all endured during lockdown, the ambient pieces range from frosty and angst ridden to more pure and heavenly. As each imperfect loop unfolds, it changes in infinitesimally minor ways that only reveal themselves if you really give yourself over and get deeply immersed for the duration. Ad you should, because it is a great and rewarding use of time.

Notes: Wow. Oscillators don't come much more special than this. Two contrasting, fully independent VCOs with waveshaping and complex cross-modulations, plus the 'Thru Zero Trinity' of FM, phase and amplitude modulation. Beautiful.

Supplier's Notes:
Thru Zero Complex Oscillator

A new complex oscillator, featuring two independent VCO's. Both voices have a unique signal path and flavour. Complex cross modulations entangle them together, opening up completely new timbral territories.

Features include the Thru Zero trinity; Frequency, Phase and Amplitude modulation.

Each oscillator also has its own Low Pass Filter, which works great to mellow the harsher tones from complex intermodulations.

Each VCO has great tracking and temperature stability, there is no distinction between a carrier and modulator.

The FM bus lets you modulate the index of each individual voice, with linear and exponential inputs for external sources. There are also inputs for Sync in, with both soft and hard sync.

VCO 1

The left VCO signal chain starts with a shape function, that let's you morph between triangle and saw. This waveform is also available as a separate output.

Next is a sinusoidal wavefolder, which changes its response dramaticaly based on shape of the waveform. The circuit is based on a modified version of a design by Barrie Gilbert from 1977, popularized by Open-Music-Labs (used with permission).

This circuit also creates the possibility of Thru Zero Phase Modulation, here the depth is controlled with the third slider. The source is normaled to VCO 2, but external modulation sources can be patched in, and the depth can also be modulated with CV.

Lastly there's a 2-pole Low Pass Filter, before going out the MAIN output. All parameters can be CV controlled, and feature handy attenuators at the inputs.

VCO 2

The first slider is a continuous waveform shaper, that morphs from sine to tri to saw.

This waveform then enters the Thru Zero Amplitude Modulation (Ringmod) section. The slider sets the depth of modulation, with the source normalized to VCO 1. The depth can be CV controlled, and an external source can be patched as well. The result is also available on a separate output, pre wavefolder/filter (VCO 2 sine).

The third slider is a wavefolder, it's based around a novel wavefolding topology, with a unique and more aggressive sound compared to the sinusoidal folder of VCO 1.

The wavefolded signal goes into a 2 pole Low Pass Filter, and out of the MAIN output.

Dimensions
26 HP
27 mm deep

Current Draw
190 mA +12V
190 mA -12V
0 mA 5V

Review: Proud internet motormouth and Pittsburgh mainstay Thomas Cox finally returns with a second release on his QED Recordings label. The tracks were made in February and were road-tested over DEMF weekend. Each one, he says, was made on hardware in one take, so they have a naturally rugged edge and dynamic feel that makes them all the more real. 'Desire Paths' again betrays his love of Omar-S with its layers of grimy drums and perc and distant cosmic chords, while 'Thunderhead' has a busted drum funk feel akin to Theo Parrish's famously fucked up work. Another worthy outing from Cox, then,

Review: When Marie Davidson announced last year that she would be, "retiring from club music", many wondered what she'd do next. Renegade Breakdown, her first album recorded with a full band (L'Oeil Nu), answers that question. It sees the Canadian artist and her new collaborators deliver suitably arresting, personal and ear-catching songs built on mixing and matching a surprisingly wide variety of musical inspirations, from Blondie, classic disco and mutilated heavy metal guitars, to Kraftwerk, Billie Holiday, Fleetwood Mac and Daft Punk. It's a big shift for the previously highly experimental artist, but thanks to her skill as both a a producer and performer, one that works magnificently well.

Review: 'Everytime' is the first single off the new album by Lisa Decker and Nautilus. It came about after the label head wondered how Lisa's songs would sound if Japanese jazz trio Nautilus arranged some of them. They have, and here are the results, a very personal new single off a great new album. 'Everytime' is tieless funk with a super sweet and innocent vocal over crisp drums. On the flip is a remix that takes it in new directions with Pat Van Dyke, a longtime known producer and multi-instrumentalist from New Jersey, at the helm. He brings good time horn led sounds with a guest appearance by Brooklyn based lyricist John Robinson.

Notes: Do you use pedals that don't match the outputs of your power supply? With EBS new power adapter cables, there's a way to solve most matters.

It sucks when you realize your coolest vintage pedal or latest digital processor-driven unit can't be fed from your pedalboard power supply because they are thirstier or uses different power inputs than your power supply features. At worst, you may even skip bringing your favourite toys to avoid the hassle. However, with the new EBS adapter cables, you can solve many of these issues easily and save the space that those extra power supplies may occupy.

Need to convert a 2.1 mm plug to 2.5 mm? No problem.
Need more current than you get from one output? No problem.
Need 18 or 24V DC power from 9 and 12V outputs? No problem.
You can even change the polarity from the common Center Negative to Center Positive using one of the new EBS adaptor cables.

Here's how you do it:
To go from 2.1 to 2.5 mm, use the DC1-48 90/0 2.5 adaptor.
Want to change the polarity? Use the DC1-48 90/0 RP adaptor.
To increase the current, use the DC1-48 90/0 PAR and connect two outputs from your power supply. The total current will be the current from both outputs added together.*
To increase the voltage, use the DC1-48 90/0 SER and connect two outputs from your power supply. The total voltage will be the voltage from both outputs added together.*

* IMPORTANT! Requires a power supply with isolated, floating outputs.

Review: The Purple Fade crew has assembled another crack team of dub heads for this fresh platter, 'Be Clean.' Fat Frog is the man charged with produciton duties and does a fine job laying down a killer rhythm with two brilliant vocals - the first is Danny Red who implores us all to be clean on the A-side, while on the flip it's Amelia Harmony who sings on 'Reach Out' and does so with a smoky and sultry tone. Both tunes of course come with slower and more spaced out dubs to complete a fine EP.

Review: King Underground have started a cute series of 7" releases that looks back to the golden era fo library music. The genre was born as a result of TV, film and radio programs needing music to add drama, atmosphere and mood without the expensive licensing costs of using existing tracks. A wealth of musicians thus recorded endless instrumental tracks of all shapes and sizes and now we're treated to some of the best of them. Sam Fonteyn's 'One Way Trip' comes as warm and cool versions with the first bring a low slung bit of vibes-laced funk and the second a more mysterious piece lead by a flute.

Review: Eddie Fowlkes is one of those underrated American artists who has made as much of a contribution to house and techno as any of his more celebrated peers. His music remains innovative and essential and here he appears on an equally vital label, Classic. 'AHYEE' is timeless deep house with chunky drum funk and great vocal samples. 'Blow' is blistering, blown-out techno and 'Talking To Me' then flips it again with a late night seducer featuring warming chords. 'Complex' is the most melodic and freewheeling of the lot, a fresh house sound for sure.

Notes: The Glorious Vinyl Frame Set lets you display your vinyl cover artfully in any setting. The set consists of three vinyl frames and is suitable for all 7'' record covers. A vinyl cover is often more than just a sleeve for your record - many of them are designed with stunning artworks or were individually signed by artists. To avoid your favourite record covers collecting dust in record boxes, we have developed a suitable frame for them. The sturdy construction with glass cover is designed for 7'' covers and is captivating due to its minimal and stylish design, which is available in three colour finishes. The vinyl frame can either be hung on the wall or placed on even surfaces, thanks to the hinged stand. Display your favourite records in style.

Review: REPRESS ALERT: Gravity Graffiti has been doing great things with its series of split 12"s already, but now the Italian label goes one better for its tenth release with this mighty double pack of heavy hitters. First up is the ever-untouchable Yoshinori Hayashi, who gets as straight up as he possibly could with the freaky house burner "Dissociative." Telephones is feeling particularly dubbed out and groovy on "Kalimbalimbo", while DB.Source and Riccardo Schiro take things strung out and textural on "Montevago". Dynamo Dreesen is in rave mode for the pepped up and delightfully weird "Reactivate", leaving the final side to Oyvind Morken & Kaman Leung's chugging "Tunnel Visjon" and the rubbery side swipes of Acidboychair's "The End (At Any Speed)".

Review: There's not a huge amount we can say with certainty about O$VMV$M. The act is based in Bristol, UK, and certainly reinforce preconceptions of the city as a hotbed for leftfield stuff. Whether that's politics, art, or, in this case, music. Or perhaps all three. Beach Road is as much an exercise in sound-as-art as it is music per se, and as such is a strong statement about the lack of vision and imagination stalking streaming services and record shops alike in 2023.

None of which is to say that O$VMV$M's six-track EP isn't packed with incredible music. 'Diablo', one of the wildest, strangest efforts here, is disjointed mutant pop-electronica that seems like someone is warming up for an MPC showcase, and exemplifies our point. It's pleasurable to hear, but fascinating to take apart. Similar points can be made about the sparse, glitchy percussion of 'Beach Road' and 'Follow', making this one for the deep dive enthusiasts.