Back in stock: All genres

Review: Talented LA producer 1morning makes his debut on the well regarded Character label here and brings plenty of the know how he has picked dup while laying down his superb vinyl DJ sets around the world. He fuses new school funky and tribal techno with subtle hints that suggest he has a love of 90s originators like Ben Sims and Dave Angel. 'Samba De Verao' is a dense, high intensity sound with skewed synths and dusty hi hats while 'Flux' is more deep and has throbbing drums and smeared pads fleshing out the groove. On the flip are two more emotionally intense and fantastically engaging techno cuts.

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


We're never short of new Ricardo Villalobos material and he's generous with his time as a mixer, but this project offers something different from the Chilean mad scientist of minimal. A Mountain Of One are a duo who deal in Balearic-leaning pop with a subtle charm and an adventurous spirit, and they initially approached Villalobos for a single remix of one of their tracks. As a fan of their sound, Villalobos ran with the project and it wound up as a full remix album of seven different versions. On the earlier tracks Ricardo takes a surprisingly light touch, while the later stages find us knee deep in the mesmerising roll of his minimal house, shot through with dubbed out ingredients from the original songs. It's surprising and satisfying in equal measure, showing Villalobos at his best and quite the scoop for A Mountain Of One.

Notes: Next-generation rotary mixer from Pioneer's parent company, AlphaTheta. Cutting-edge digital tech meets analogue richness thanks to output transformers from the legendary Rupert Neve Designs. The best of both worlds.

Supplier's 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: Parallel is the fourth EP by Altinbas on his own label, Observer Station. The beats are pounding and rough for those strong advocates who like their techno tough. The gold in 'Tide' is found in the ever-changing percussion elements that propel it to addiction. For the second side, 'MT15' keeps things moving, employing key rave claps and a nice ride to the support the pulsating driver. Lastly, the title track takes some edge of tension with a great balance of melody over the mechanical loop. Hats off to Altinbas for taking the 90s warehouse techno sound and updating it while still paying homage to it.

Notes: ***B-STOCK: Dent on the side, product in perfect working order***


Like a greatest hits of recent Analogue Solutions synths, the Ample combines sound elements from the Fusebox with jack patch points, a patch pin matrix, plus sequencer and CV touch pads from the Generator, creating something new and unique.

Supplier's Notes:
Ample combines the best elements of several of Analogue Solutions' recent products.

The sound elements of Fusebox
Jack patch points of Concussor Eurorack
Patch pin matrix of Vostok
Echo from Dr Strangelove
Sequencer and CV touch pads of Generator

It shares all this yet still has its own sound!

Ample can be as complex or as simple as you want it to be

This synth has been given a large and diverse number of controls, that along side the patch sockets, will give even the best and experienced synthesist endless possibilities.

This synth presents the controls in a user friendly and familiar synth layout that, together with this manual and other resources, enable even the new guy to get great sounds.

Synth - Percussion - Audio Processor

Ample is a compact analogue synthesizer. Analogue - as in really analogue. Aside from the MIDI chip (which has to be digital), everything else is totally analogue using real transistors and op-amps. There are no CPU stabilised and quantised circuits, no DCOs, no digital LFOs and no digital EGs, as found on other so called analogue synths. The circuitry is based on designs dating back to the mid-1970s. So Ample has a genuine old sound.

Circuits included

3x Analogue Oscillators

There are three analogue VCOs - each providing a wealth of features and modulation choices. VCO3 can easily be utilised as a LFO.

2x Analogue Low Frequency Oscillator

LFO2(/Sync) has a triangle wave output. VCO3 can be used as an LFO and has Saw, Triangle and Square wave modulation signals.

Analogue Filter

Ample uses a four pole 24bB per octave low pass filter.

Analogue Amplifier

The VCA can be set to THRU so it is always 'open'. This allows Ample to be used as an effects processor.

2x Analogue Envelopes

There are two EGs - each having full control over ATTACK, DECAY, SUSTAIN, and RELEASE.

Modulation

Great thought has been placed into modulation route choices, allowing a wide range of sounds to be produced, including percussion and 'modular' sounds further extended by patching with the jack sockets and pin matrix.

MIDI

MIDI is intentionally kept simple - so you can concentrate on making new sounds and making music - not getting tied up with SYSEX programming.

You get the all important control over filter cut-off using MIDI Velocity.

Patchable External CV Control Sockets

Ample has many input and output audio and CV sockets - to allow the synth to be effectively re-wired to make new sounds.

The sockets also enable it to be easily used with Eurorack and other modular systems. They can be patched together.

Sequencer

Ample has a vintage style 16 step sequencer.

Touch Keys

There are 6 touch keys that each output a set voltage. Use this to play the pitch or as modulation signals. A great tool for inspiration!

Pin Matrix

A neat way to patch the synth.

Echo

Nice lo-fi echo / delay.

Review: Frappe launched its inaugural studio EP with the original version of the tracks that now get remixed and in doing so marked a new milestone for the Parisian label. They found renowned house producer Art Of Tones and the jazz-funk band Chatobaron combine expertise and top-quality studio musicians into some lush house sounds. Now they get reworked by the likes of Crackazat, Pal Cut and Trubojazz into deep jams, funky and percussive jams, disco-tinged and organic jams and lush downbeat jams.

Review: Arutani's third album Who We Used To Be is a meditation on times passed and alternate lives lost, filtered through the decorative lenses of deep, minimal, tech and dub. As if to paint a character portrait of the artist himself, this is a measured, calm, light, mindful and modest album, replete with bulging concave chord undulations and synaptic percussive snaps for balance. Everything from electro's usual dotted rhythmic pattern to progressive house's woodblocky felicities are checked off here, plus the glissando'ing lead on 'In Case You Wondered What I've Been Doing' is a special highlight.

Review: Heads will know 'As We Enter' as the name of the Breakage tune that set the stage for many more things halftime to come - not to mention a Damian Marley & Nas song released around the same time - so we're more than pleased to learn that one next-gen producer has taken on the name as an alias. However, something in the aura of this release tells us this artist is no debutante; 'Lover To Lover' brings wubbing Reesebound rollage and summery fluting funk together in quick step, with complementary numbers 'So Gone', 'Come Again' and 'Shifting Gears' flaunting a respect for the many different facets of drum & bass, from techstep to early jump-up. This one gets more and more sinister as it progresses; despite the cover, whatever's entered the room feels more elephant than pigeon.

Review: ***B-STOCK: Missing original outer sleeve but otherwise in perfect working condition***


Mikal Asher, a scion of Jamaica's Morgan family dynasty, reunites with Chocolate Star Records here and does so with a collaboration with disco legend Gary Davis. Asher, akin to his brother Denroy Morgan, upholds the family's legacy of righteousness through music. Known as the Binghiman, he crafts captivating tunes with profound lyrics and has recorded in Ghana's Hustle Hard Studios and collaborated with industry pioneers in Kingston and Brooklyn, setting new standards in musical excellence along the way. Here, 'Wicked Ah Fi' transforms into a modern dub stepper, while 'Black Woman' offers a soulful, laid-back dedication to Davis' wife, Sonjia. This 7" also comes with innovative remixes from California-based DJ and producer Knoe1.

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


One of our favourite DJ turntables. Clearly inspired by the classic Technics SL-1200 but clocking in at a more affordable price point. Direct drive motor, decent build quality and a few nice bonus features like adjustable pitch range.

Supplier notes:
The AT-LP140XP fully manual professional DJ turntable features a high-torque direct-drive motor and anti-resonant, mass-damped, die-cast aluminium platter to ensure stable, on-axis rotation at 33-1/3, 45, and 78 RPM. It is equipped with an S-shaped tonearm with height adjustment, adjustable tracking force (counterweight) and adjustable dynamic anti-skate control.

Audio-Technica has been a leader in phono cartridge design for more than 50 years, and that expertise shows in the durable, high-output AT-XP3 DJ cartridge with 0.6 mil conical bonded stylus included with the turntable. It comes pre-mounted to an AT-HS6 universal 1/2"-mount headshell.

Designed to connect to components with a dedicated phono input, the turntable comes with a detachable dual RCA output cable and supplies a strong 5.5 mV output.

Additional professional features include a start/stop button; forward and reverse play; selectable high-accuracy quartz-controlled pitch lock and pitch change slider control with +/-8%, +/-16%, and +/-24% adjustment ranges; a stroboscopic platter with speed indicator; a retractable plug-type stylus target light; and a removable hinged dust cover.

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


This official reissue of Bela Lugosi's Dead: The Bela Session comes on black and red splattered vinyl this time around and includes previously unreleased tracks that have been mastered from the original demo tapes of their first ever recording session together. The post-punk outfit's debut single was released initially in 1979. Bela Lugosi's Dead is not only their first single, but also often gets mentioned as the first goth record. It has since been covered by Nine Inch Nails, Massive Attack and Nouvelle Vague. The rest of the tunes from the demo session remain hugely innovative, reflecting their post-punk and dark-glam style with dub reggae influences that would further evolve in their output that followed and explain why the band went on to such cult status.

Review: Beatconductor's Dub Spectrum EP takes listeners on a journey through Jamaica with seven tracks of dubbed-out pop covers. The EP features creative mash-ups such as The Wailers providing instrumental backing for Adele, Dua Lipa, Christina Aguilera, and Duran Duran, offering a fresh perspective on familiar tunes. Additionally, Amy Winehouse and The Pretenders unite to form a ska supergroup, showcasing Beatconductor's innovative approach to blending genres. Beatconductor's skillful reinterpretations breathe new life into classic tracks, infusing them with reggae and ska influences while maintaining their original essence.

Notes: Really clever stuff here. The Octaves VCO takes an additive approach, layering harmonics on top of a fundamental frequency to create complex tones. Control the six bands via CV to adjust the harmonic content.

Supplier's Notes:
A harsh and funky take of an additive Oscillator.

Pile up multiplications of your frequency to get a lo-fi-retro wall of squared sound!

You get six doubled frequency pulses, or octaves, with common PWM and volume control for each of them.

The output of each is cascaded to the next one, so you can either have one output with all frequencies or break the chain and get several sums and modulate each independently!

Features
Six bands, multiple of the base frequency.
Square wave oscillator with Octaves selector PWM control and sync.
Range control for Tune pot.
Volume CV control and individual output for each band
Cascaded summing outputs.

Specifications
Current needs: +12V: 110mA, -12V: 84mA
Width: 12 HP
Depth: 22mm (assembled and DIY), including power connector
Aluminium, heat-treated front panel
Designed, kits prepared and completed modules assembled in Barcelona

Review: Black Carbon by Akae Beka featuring Chronixx delivers deep Jah vibes and chilled reggae rhythms that capture the soul of Jamaican life. On Side-1, the track unfolds smoothly, blending reggae and dub elements into a mesmerising sonic experience. The lyrics delve into profound themes, reflecting on societal issues and spiritual insights. On Side-2, the dub version amplifies the instrumental aspects, allowing listeners to immerse themselves in the rich layers of the music. Overall, Black Carbon is a captivating release that shows the talents of both artists and offers a refreshing take on contemporary reggae music.

Review: Interplugreaction is a track from Beroshima's 2007 album Real To Reel, but it's wasn't until 2023 that we (now get to) hear the cream of its reinterpretations. If only every track in the world could hear a remix from the likes of Marcel Dettman and Rodhad! Perhaps this calls for an entirely new industry - in fact, let's lock the artists in a room just so they can churn out the music and nothing else. Actually, a whopping four techno heavyweights (also including Frank Muller and Henning Baer) to reinterpret the classic track, with the new mixes ranging from stuffy and oppressive to airy and stark. Certainly not one to miss.

Review: The Black Keys, renowned for their gritty blues-rock sound, pay homage to their Ohio roots with Ohio Players, with this album serving as a soulful tribute to the legendary funk band. With electrifying guitar riffs, pulsating rhythms and soulful vocals, each track resonates with the spirit of Ohio's musical heritage. From infectious grooves to heartfelt lyrics, this lovely long player showcases The Black Keys' versatility and reverence for their musical lineage. It's a celebration of Ohio's rich musical legacy that will delight fans old and new, cementing The Black Keys' status as modern-day rock and roll torchbearers.

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


Celebrating the 50th anniversary of this truly iconic synth, the 'modern' take on the classic Buchla Music Easel doesn't mess with a winning formula, paring the 208C sound source with 218e touch-sensitive keyboard.

Supplier's Notes:
The Buchla Music Easel was one of the first truly portable electronic music instruments. Fifty years ago, in 1973, only a few dozen were made. Unlike many iconic technologies, the influence was not grown through force of scale, but rather the force of the ideas. The Music Easel made available virtually every musical dimension: timbre, melody, rhythm, and time; how these dimensions intersected was no longer the court of acoustics and material, but signals and voltage. The 208 Stored Program Sound Source engendered "a new functional organization [with a] particularly rapid system of patching and program storage via plug-in cards."

Taking cues from the then-recent discipline of cybernetics, the 218 touch plate was for "real-time communication" to help realize the "potential vocabulary" of the Easel, rather than exploiting existing modes of musical virtuosity. The Stored Program Cards ensured rapid repeatability and repertoire on its own terms. The battery terminals made sure the music was as portable as any acoustic instrument. And the name let you know it was designed for art rather than science.

Buchla is ecstatic to revive the Music Easel for its third run in 50 years. Buchla first released the updated 208 Stored Program Sound Source, dubbed the Easel Command, with expanded MIDI and USB capability. Next came the update of the Easel Program Manager - a complete kit for storing and recalling sounds sources, even more rapidly than imagined in 1973. The new 218 Touch Activated Voltage Source provides the optimal input facility, as originally envisioned. It is now all together in a rugged case and the advanced EMBIO module that unifies all the audio and control inputs and outputs for integration with the rest of your musical world.

More than a retro novelty, the Music Easel still speaks to a future we strive for. A technology that invites conversation, not chats, and controls that engage expression, not work. There are many new worlds to explore in this instrument created at the crossroads of the jazz and computer ages. Designed as "an integrated assemblage of functions", rather than a collection of modules, the Music Easel's colour coding, comfortable access to controls, and solid patch connections allow for satisfying sessions of sonic discovery.

The Music Easel is available for pre-order starting June 16 at Buchla.com and your favourite Buchla Dealer. Delivery of the Music Easel (modern) is expected fall 2023.

Stored Program Sound Source Model 208C

The sound source of the Music Easel is the 208C, which includes a complex oscillator and a modulation oscillator (which can also serve as another voice), each with independent switchable waveforms, as well as a noise generator, allowing for rich and intricate sound design. The 208C also features a five-stage sequencer, envelope generator, pulser and modulation source - with switchable triggers - allowing for complex patterns and evolving textures. The dual low pass gate provides dynamic control over the tone and amplitude of the sound, as well as natural-sounding decay and sustain. The 208C has a number of modulation sources, including a random voltage generator, the envelope generator, modulation oscillator, and an envelope detector. These sources can be used to modulate various parameters via the extensive patchfield - creating movement, texture, and complexity. The 208C also includes a mixer section with spring reverb.

Touch Activated Voltage Source Model 218e (v3)

The first design appeared in the 1973 release of the Buchla Music Easel and named for the spacecraft that delivered astronauts to the moon. Providing the familiar piano key layout for this early mobile music machine, the additional controls and capabilities were an interface for exploring uncharted musical territory. With the new version 3, it's been elevated with a new foundation of stable, modern electronics with incredible sensitivity and accuracy - the lightest touch will produce triggers and control voltages. The adjustable sensor has the dynamic range and durability to handle your playing. The new texture not only improves the sensing, but provides a satisfying tactile experience. As always, pressure is an expressive output, adding an extra dimension to the control. MIDI outputs velocity and polyphony, as well as channel pressure, making the 218e a uniquely expressive controller. The 218e includes portamento and an arpeggiator, which can be driven by external inputs and are allowed to interact with the automated notes to make patterns more complex. Additional controls allow you to blend different patterns and randomness to easily change from the expected to the surprising. The classic preset voltage knobs offer several possible ways to shift your sounds into new territory. Not only can the knobs be used for quick access to voltages for your patch, they can control arpeggiation modes and octave shifting. Pads output pulses for additional control. The 218e also gives you a unique interface to playing your existing MIDI gear and soft synths. Each touch outputs note name, channel pressure, and velocity for every note, along with sustain controls from a pedal. Polyphonic MIDI mode lets you play chords. The touchstrip can act as a pitch bend control, or as a mod wheel for additional expressive control. Easily configured using the front panel controls, you can send notes and controls on any MIDI channel.

Electric Music Box Input/Output (EMBIO)

Maintaining the spirit, sound, and process from the original, the new Music Easel adds a variety of new features. Buchla's latest renditions of the Stored Program Sound Source and Touch Activated Voltage Source are tied together with the Electric Music Box Input/Output (EMBIO) module. This of course provides MIDI out (mini jack and USB) and CV out from the 218, MIDI in to the 208, and the audio out from the 208C. Additional creative control comes from the Audio Mixer, for integration with other Buchla modules and systems, and the CV conditioners and controls. The slew control can turn your sequencer into a wavy modulator, or soften up a square LFO. The attenuator and crossfader gives you the opportunity to find new levels and combinations of voltages from existing ones. The pulse converter offers new rhythms to trigger. And a simple LFO provides another valuable modulator when you just can't quite let yourself flip that Mod Osc switch from "high" to "low."

Review: ***B-STOCK: Slight surface marks ***


The Charlatans self-titled fourth album gets a lovely yellow make over for this reissue on Beggars Arkive. It's the first time for over 20 years new copies of this landmark album have been pressed, and Frank Arkwright at Abbey Road has taken care of the excellent mastering. The original release date was in 1995, and the album was the most ambitious of the band's career with plenty of number ones included along the way. The most successful of these of course was 'Just When You're Thinkin' Things Over'. It's a real piece of classic 90s indie that will always sound good.

Review: Complementing the main LP release of this career-bookending Chicane release comes the CD edition of the new symphonic edition of Far From The Maddening Crowds. The original trance uplifter LP blew us all away at its initial '90s moment, proving producer Nicholas Bracegirdle's fine talents to the world. Now, however, comes the full orchestral version, sating our tireless retroactive desire for symphonies after trance; every track on the original album hears a full-blown symphonic orchestral rerub, utilising the collective talents of members of the The Halle and the Royal Liverpool Philharmonic Orchestra, and combining them with glistening SFX and studio embellishments to lend an epic neoclassical vibe to an all-out classic.

Review: The present face of IDM is here heard occupied by dream duo D'Arcangelo and Karsten Plum, whose latest joint effort for Acid Avengers bowls us over with its acid tweezings, pangs, twingings, twangs, thrums and flits-past. The pH scale skyrockets to the point of insanity on Pflum's side, with 'Hornfish Acid' and 'Aroe Acid' jointly corroding the full length of the Earth's core with their snippy but incisive sizzles and 'ows, until we reach a forbidden underworld uncannily reminiscent of Oz - except the faces of the protagonists are horribly twisted into a yellow, illegal-raved rictuses. D'Arcangelo's 'Gawain' does equally as much with its eerie sprung-verbed chroma-chords and muted but moving melodies; so too does 'Walker Two' raise the tempo to silly speeds, coming as a veritable velociraptor of Druqks-y breaks and drill bits, all let loose from the barrel at a surely illegal rate of fire.

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


You'll have to go a long, long way to find a more important record in the back catalogue of The Damned. Strawberries marked album number five for the New Wave-Goth-punks, arriving in 1982, initially through the now-defunct UK indie label Bronze, established by Gary Bron who - incidentally - also played a pivotal role in helping Uriah Heap realise their sound. Digressions aside, this LP at once marks one of the finest moments in The Damned's history, and one of their most turbulent times.

The band's creative confidence - Captain Sensible especially was enjoying a fair share of the limelight at this time as a solo artist - helped them expand and mutate in both subtle and crystal clear ways, introducing instruments like the sitar and cello to the mix. Fans got their beloved dark room masters, and much more besides. Behind the scenes, though, this was a point in time pockmarked by fallouts and disagreements. Still, who said greatness doesn't come at a price?

Review: The talented Greek duo Artificial DRM - already renowned for their contributions to Koslif, De Stijl and Semantica Records - come through for the sixth Alpengluhen release. 'Enigma' is a curious experimental, IDM and ambient release, neither settling for out-and-out categorisability nor giving up the danceable ends of things and happily resting in the crosstalk between genres. All circling around similar tempi but with some variation therein, these four unnamed tracks reveal themselves, together with their textural details, only as slowly as a desert landscape might reveal itself to a parched wanderer; only through somatic repetitions, such as endless walking, panting, and squinting - compare these to deep listening and/or uninterrupted turntable playing - might we make out the mirages or fata morgana through the horizontal heat haze.

Review: Pond Life Party revisit the work of Baseplate and Danny Dorito here with a remix EP that is pressed up on special gold vinyl. After the brief but scene-setting 90 second opener 'Eagle' (intro skit - HMP Notts VIP), the same cut gets an Epoch remix that is all about the bulbous and gloopy bassline wobble and tight bars up top. 'Eagle' (main Phase remix) is more atmospheric and stripped back with a skeletal rhythm slowly percolating up from below to lift you off your feet then last of all is the Modelle remix which ups the lurch of the drums and layers in percussive details and heavy hist next to screwy synths.

Review: For the legendary label Tresor to put out a breakbeat record is something very rare. The ardent techno label for over 30 years is clearly telling us without saying, how good this music is. Tresor is always in touch with rave music though and it's not fully surprising that Tresor would support any music that is so reminiscent of the old skool days like Digital Entropy is. Datashader rises from the depths to give us their wicked debut. The EP is an audio onslaught that combines blistering breakbeat gems like 'Velocity 04.22' with eerie sci-fi pieces like 'Sync Out Off'. The AFX like 'Fong' and 'Sub Osc" are early favorites from those who have heard samples of this haunting record. It is rare to see the power of rave, breakbeat and IDM presented this well on one record.

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


Conductive Labs have turned complex music theory into a killer synthesizer-jamming MIDI controller with The NDLR.

With four parts that can play up to 8 synths, it's possible to make fantastic electronic music with this device.

These tools we use to compose and produce music are dear to our hearts. Dust, liquid and accidental impact have taken many a good unit down over the years - this is where Decksaver steps in.

Designed exclusively for perfect fit, whilst still accommodating cables, your NDLR arpeggiator can sit ready for operation.

Slides straight into a flight or soft case, or rucksack for maximum protection during transportation.

Shields delicate controls, ports and internal components from damage at home, on the road and on stage.

Dimensions

Weight: 0.399kg
Length: 23.2cm
Width: 15.9cm
Height: 3.4cm

Notes: ***B-STOCK: Without original box, product in perfect working order***


Introducing the Decksaver cover designed specifically for the Pioneer DDJ-XP1 and DDJ-XP2 performance controllers. Engineered with precision and crafted to perfection, this cover is the ultimate companion for DJs who want to protect and preserve their valuable gear.

Custom-molded in the UK, the Decksaver cover is expertly crafted to perfectly fit the contours of your DDJ-XP1 or DDJ-XP2. Made from super-strong polycarbonate, it forms an impenetrable barrier, shielding your controller from dust, spills, and accidental impacts, ensuring its longevity and pristine condition.

With the Decksaver cover securely in place, you can have peace of mind knowing that your DDJ-XP1 or DDJ-XP2 is always protected, whether you're in the DJ booth, studio, or on the road. No more worrying about scratches, liquid spills, or dust accumulation that can affect the performance and lifespan of your equipment.

Designed with functionality in mind, the Decksaver cover allows easy access to all the key features and controls of your DDJ-XP1 or DDJ-XP2. The precision molding ensures that buttons, pads, and faders remain fully accessible, allowing you to navigate your performance effortlessly and without any compromise.

Transportation is a breeze with the Decksaver cover. Its rugged construction and form-fitting design provide a secure fit, allowing you to pack your DDJ-XP1 or DDJ-XP2 into your gear bag without worry. Whether you're heading to a gig, a studio session, or a jam with fellow DJs, your controller will be protected throughout the journey.

Join the ranks of professional DJs worldwide who trust Decksaver for superior gear protection. The Decksaver cover for the Pioneer DDJ-XP1 and DDJ-XP2 is a testament to the brand's commitment to quality and innovation. Rely on its robust build, sleek design, and reliable durability to keep your gear safe and sound.

Elevate your DJ performance and keep your DDJ-XP1 or DDJ-XP2 in pristine condition with the Decksaver cover. Experience the peace of mind that comes with knowing your valuable equipment is shielded from potential hazards. Trust in the industry-leading protection provided by Decksaver and focus on delivering outstanding performances every time.

Fits: DDJ-XP1, DDJ-XP2

Dimensions

Weight 0.62 kg
Length 33.5 cm
Width 23.8 cm
Height 4 cm

Material: Smoked clear polycarbonate.

Review: It's 1990 and Depeche Mode couldn't really be riding much higher in the global music stakes. Having just released Violator, the band had finally debuted an album inside the Billboard Top 10 for the first time in their almost-decade-long history, and pretty much anyone who came into contact with the record was very quickly captivated by its sound. While definitely not a curveball, it marked an expansion of the group's existing style. Some have described it as synth-pop, others alternative rock. In many ways, it's a dance floor album, one that embraces goth and coldwave at its very core. Captured during their tour at that time, Set In Stone features landmark singles from the LP - 'Personal Jesus', of course, and 'World In My Eyes' - it also proves beyond any doubt that a Depeche Mode show is about more than simply playing the hits.

Review: When Dinosaur Jr. were recorded live in Paris the iconic garage punk outfit were undoubtedly at the very top of their game. Three years after adding Jr. to their name, the creative output at this point was incredible, carving out a position for themselves as purveyors of powerful noises that were as raw and gnarly as they were complex and intelligent. A band that could turn rough and ready chords into walls of sound capable of tearing the roof off and lifting us all into the stratosphere. Never before released, this companion piece to 2022's best-selling live-on-MTV EP, Seventytwohundredseconds, is exemplary of the stuff they built that reputation on. From the gnashing riffs of 'Just Live Heaven', to the wasp-in-jar-energy and cacophonous peaks of 'Drawerings', and 'Keep The Glove' erupting into mind-blowing guitar work, and 'Budge' arguably taking that to greater heights, this is Dinosaur Jr. at maximum roar, and it will never not be impressive.

Review: What can you say about this amazing album that has not been said before?! Originally released in 1996 and quickly becoming one of the most important pieces in the history of sampled music, its legacy continues to grow while Shadow remains the archetypal example of a crate digging producer. Everything from jazz, spoken word, hip-hop and more was sampled into this cornucopia of sound - in many ways the zenith of the impressive output of James Lavelle's revered Mo''Wax label - and you wouldn't be surprised if it ended up in the Smithsonian for what it has accomplished and meant to the scene.

Review: Industrial music formed amidst the concrete decay of post-war Berlin, Einsturzende Neubauten emerged as pioneers of genre. Their sonic alchemy fuses unconventional instruments crafted from scrap metal and construction tools with traditional ones, creating a raw and unsettling symphony. Their new double album "Rampen (APM: Alien Pop Music)" showcases their sonic prowess. Despite the abrasiveness of their sound, the group's music is imbued with a sense of theatricality. Blixa Bargeld's stoic vocals narrate surreal tales of urban decay and existential unease, while the band's live performances evoke industrial rituals. Over the years, the band's music has evolved, incorporating elements of ambient and even pop into their sound. Yet, their core ethos remains intact: to challenge musical boundaries and create a sonic tapestry that reflects the harsh realities of the modern world. This album still helps cement the band moving forward but still respecting their past.

Review: Keyboardist Stale Storlokken leads the trio through six stellar compositions, showcasing hypnotic, magical, and razor-sharp polyrhythms. The album - the follow up to their acclaimed album Arrival of The New Elders - maintains the band's signature groovy mix of high-energy rock and power jazz while incorporating more structure and reflection and displaying a more diverse and mature approach. Recorded and mixed by producer Mattias Glava, Mythical River solidifies Elephant9's position as a contemporary, timeless and futuristic band.

Review: Eloi (Eloi Chazelas), a producer based in Paris, France, has released his latest work on the German label LTDBLBL. This 13th release showcases Eloi's mastery of deep house and jazz influences. 'The Great Delusion' sets the tone with its soulful touch and jazzy undertones. 'Foundation's Edge' delves deeper into jazz territory, featuring evocative horn samples. Side two opens with 'A Perfect Misconception,' a perfect blend of house and disco. Finally, 'I Hope It Ends Well' exudes a laid-back cafe house vibe with its jazzy nuances. Through this release, Chazelas demonstrates his versatility and ability to create music that both captivates and soothes. This kind of house music is great for day or night and for a bar or club.

Notes: ***B-STOCK: Without original box, product in perfect working order***


Pico BBD is surprisingly great sounding (we were surprised ourselves), full analogue 4092 stage bucket brigade delay module; the smallest BBD in Eurorack. Besides nice and clean flanger and delay effects, at full CW settings of TIME and feedback knobs it can produce extreme sonic artefacts. Tweak knobs and enjoy!

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


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: Much-loved Berlin party wreckers Fjaak have got a brilliant new album on the way soon that traverses every conceivable style of beat and is sure to be of the year's best. But that hasn't stopped them also serving up this 11th EP of hand-stamped goodness on their own self-titled label. It kicks off with some searing acid madness on 'Redemption' then slips into a raw, rib-cracking techno stomper in the form of 'Hustle'. 'Mechanic Love' is pure old-school rave with oversized synth blasts that tickle your inner ear and last of all is a vocal tool, 'Unity' (feat Red Eye - acappella). Very useful indeed.

Review: Fleet Dreams has worked on labels like PPU and All City but now launches the freshly formed Vinezza Records with an aim of putting out into the world "an eclectic tapestry of magnetic rhythms". The first EP comes from the label founder and kicks off with a tom-laced, dusty and muted melodic house affair that bangs pretty hard but also has a soft and gooey heart. 'Tan Gallant' is just as thumping but marbled with vocals and melodies that bring the soul and 'Deep Respire' gets busy with rising synth pads and swirling keys. 'Echoes Of Ego' is the full-throttle tribal closer with a steamy jungle atmosphere.

Review: There are not too many house and techno labels in the United States that can boast quite the discography and international success that the Brooklyn based Scissor & Thread label can. For over a decade now, the busy label has kept the quality up to the high standards the label set when starting. A big part of that quality is having Frank & Tony on board through the label's history. Ethos is their new full-length album that, spread across a double pack of wax, with tracks mostly kept under close guard, except the opener 'Olympia'. Make no mistake though, from the rumours and whispers we've heard already, it looks like being a big hit.

Review: Leading Italian disco outlet IRMA is back with more irresistible and dazzling goodness, this time courtesy of Funky Destination with some pretty standout remixes. 'Take It Down' opens up as a new version by LTJ Xperience that has percolating funk lines and slow, sensuous grooves. 'Mr Bong' (Louie Beat Re-work) is a more percussive number with brilliant drumming and sunny melodies and 'Take It Down' offers a sensuous soul sound and some psyched-out guitar riffs. Last of all is the most streamy and busy of the lot with unresolved drum loops, disco percussion and rousing pads that will fill the floor.

Review: Light In The Attic do the preservative god's work of reissuing the rare Going To My Baby's Place by West Coast funk and soul singer Vernon Garrett. His debut album, released in 1975, this is a dynamic, un-fluffed funk breakthrough, following an extended panhandle of 45s that characterised his rarefied career for almost a decade before he moved onto full-lengths. Expanding the bittersweet mood that had characterised his career until this point in time, we hear the likes of 'Something Went Wrong', 'Don't Do What I Do', 'One Man's Loss' and 'Going To My Baby's Place', across which we hear a consciously stoic Garrett duly acknowledge the natural peaks and troughs of life, through which he recognises that it's all necessary for one well lived. Vernon's wild and powerful songs come backed by incandescent performances by members such as Jimmy Gough and Leon Kittrell, who would later form L.T.D. and David T Walker.

Review: We always feel that a one-sided 12" is a real sign that an artist are label are hugely happy with what they are seeing up. And Adam Goldstone has every right to feel that way frankly as his 'Edge of the Night' is a classic deep house sermon that will bring plenty of emotions to the fore when it is dropped, either in the dead of night or just as the sun is coming up one morning, much like a tune such as Ron & Chez's 'Morning Factory'. The smoky vocals are well-treated, the smeared pads bring the soul and the drums and cuddly and warm. Perfect.

Review: Good Cop Bad Cop's sophomore release, crafted by frontman Joe Carnall and producer Gold Teeth, marks a departure from traditional indie rock. Recorded closer to home, the album embraces synth and hip-hop influences, pushing boundaries while retaining elements of nostalgia. The decision to leave guitars largely untouched results in a sound that feels both timeless and contemporary. Carnall's forward-thinking approach shines through, showcasing his willingness to evolve creatively. While rooted in the present, traces of the band's indie rock origins linger, creating a dynamic listening experience that bridges past and future. The album has innovative soundscapes that journey through Carnall's sonic evolution, offering a refreshing take on modern music.

Review: Guitarist, composer and skateboarder Tommy Guerrero hears several of his earliest albums reissued now via Be With, of which 2008's Return Of The Bastard was his fifth. Still evidently deep in the throes of recording for the pure fun of it, this fifteen-track album reflects a pure lyricless enjoyment that few other of Guerrero's contemporaries could ever hope to share. Perhaps it's the meditative truck of his earlier skate career that course-corrected his frame of mind to pure creative meditativeness; here driving noisy drum machines, lightly-amped two-tones, the occasional kalimba and faint vocals all collide for the perfect accompaniment to an implied visual narrative.

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Review: Italian label Roof Club aims to raise both ceilings and roofs, and continue to do so with their latest EP from Guile. Mixing a contemporary minimal approach with classic 90s sounds, this one's a neat fusion of progressive house and trance, with sprinklings of cheesy freestyle and acid thrown in for good measure. The jokingly titled '90's Generator' is the real highlight, with its orchestral hits and licky leads.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


Italian singer Elena Ferretti also worked under the monikers Sophie and Helen. She was massively popular on the Italo and Eurobeat scene back at the start of the 80s and was produced by Giacomo Maiolini, Sergio Dall'Ora and Giancarlo Pasquini. She has got plenty of cult tunes to her name (or names) and 'I Love You' is one of them to now get reissued by ZYX. It has a classic synth bassline that sprays across the track like the Donna Summer classic 'I Feel Love', with analogue drum sounds below and magnificent melodies up top. Flemming Dalum remixes with big, bright, shimming retro-future synth chords and Victor Ark brings a more cold and stomping feel.

Review: Hey Cabrera! brings the heat with Italo Void, a vibrant fusion of electro disco, Italo, and house that embodies the essence of summer. Clean drum patterns lay the foundation, complemented by captivating melodies that shimmer throughout the track. Lauer's remix adds an analogue touch with piano keys, infusing a sense of late-night romance. On the flip side, 'Forelskelse' transports listeners to Scandinavia, blending disco and house elements to create an uplifting atmosphere filled with emotive energy. David Bay's remix of 'Forelskelse' offers a measured yet addictive rendition, allowing the instruments to shine while retaining the essence of the original. Together, these tracks comprise a mesmerising soundtrack for the approaching summer season, promising nights filled with dancefloor joy and unexplored passions.

Review: Jack D's Regional Groove EP, the second record on the Dias De Campo label, kicks off in style with tech house roller 'Magic Pipe' and the title track both boasting a pulsing atmosphere and a nice, upbeat energy. 'Dub Traveller' is also a strong track and 'Congo Experiment', the downtempo addition to the bunch to close things out, both catchy and fun. If you're into 90s tech house, then you'll really enjoy these very much.

Review: For the very first time on vinyl comes Presents The Light Programme, Jah Wobble's extraordinary 1997 descent into downtempo and beat science. Released on his now-defunct 30 Hertz label, The Light Programme showcased an excellent cast of musicians, including Can drummer Jaki Liebezeit, Wire's Clive Bell, conga player Neville Murray, guitarist and synthesist Mark Ferda and the harpist Zi-lan Liao. The Light Programme is an intensely effulgent but at times vitreous record, with Wobble seemingly embracing the worldbeat vogue of the time with a keen, albeit naive fervour. When the tracks aren't so clear cut or obviously mixed, things get more interesting; 'One In 7' is the oddball of choice here.

Review: First released in 1970 and now reissued in conjunction with Light In The Attic and Future Days, Pete Jolly's Seasons first manifested on A&M Records as a series of live-composed melodies and textures, recalling the naturalisms of each passing season through their expression in jazz and funk. Starting naturally in spring before segueing into a verdant nature-scape, then briskly launching into a sandstorm, not long followed by an 'Autumn Festival' and an 'Indian Summer', the order of each season in Jolly's remit is not the same as their occurrence in reality; yet this is precisely what makes this early ambient, cool jazz opus so arresting; it's as though it came from another world.

Review: Pete Jolly's Seasons, first released in 1970, is an early example of, one could say,'"environmental' cool jazz and ambient music. Seasons never saw a significant commercial release, though they say that if one successfully articulates the spirit of the time, one is rewarded with fame regardless: the ensuing cult following in the years after felt almost inevitable, and now that its flames are being fanned again, we can say with surety that the West Coast jazz pianist and accordionist's efforts will continue to be rewarded once more. Cycling through each season in a jumbled order, yet revelling in every possible sensory twist and turn characteristic of each season, we're met with an album that not only straddles the jazz and pop worlds in unprecedented ways, but also serves a premonitory rendition of hip-hop; the album is a favourite sample source of such greats as Cypress Hill, Jay Dee and Busta Rhymes.