Back in stock: All genres

Review: Los Angeles based self-described "ecstatic black metal" outfit Agriculture are slowly becoming one the most talked about acts in the extreme metal underground, with near hysteric levels of hype growing for their self-titled debut full-length. Signing to The Flenser, a label known for its championing of the leftfield extremity of artists such as Chat Pile and Mamaleek, it's no real surprise that so many in the scene are gravitating toward the group's euphoric and uplifting re-interpretation of black metal motifs. With tremolo picking, blast beats and howling vocal shrieks all angled in such a sonic manner to feel enveloping and warm as opposed to the traditional frosted machinations of the genre, as well as the vulnerable poetics on display, Agriculture make a strong case for the Venn Diagram intersections which can often occur between the realms of black metal, screamo and post-rock, but they do so in such a nuanced manner as for it to feel blissfully cohesive and utterly natural.

Review: Originally unveiled on 22nd September 2014 on the Infectious imprint, Alt-J's difficult second album certainly proved their worth at the time. Hitting the top spot in the UK album charts, alongside number two spots in Belgium, Australia and Canada, even managing to break the top five in the United States. The holy grail of impending global stardom for British guitar acts.

All of which went at least some way to bagging the outfit a Grammy for Best Alternative Music Album. Skip forward eight years and how fitting is that label now? Well, it's still the triumph it always was, spanning folktronica, pop, indie and art rock in a way that's likely never going to sound by numbers in any way. A great example of exactly why this band deserve every bit of the recognition they now command.

Review: Arp Frique & The Perpetual Singers come together for this most personal gospel funk album which was inspired by the birth of Frique's daughter, Jesamy. It finds the Amsterdam-based multi-instrumentalist mixing up organic funk with obscure synths, bubbly basslines that are always on the move with swirling guitars that add the colour and all make for an unusual and interesting mix of P-funk and gospel-disco. There are plenty of universal messages throughout which all emphasise the need for unconditional love while legendary vocalists like Dennis Bovell, Muriel Blijd, Mariseya, Brandon Delagraentiss and Rocq-E Harrell contribute to the powerful sound. Delagraentiss's choir, The Gospel Experience, also do their bit by adding big, rich, heartfelt vocals. It's quite the listen.

Review: Stockholm-based multi-instrumentalist and composer Art Longo impresses here with Echowah Island, a new album sure to wind its way into your affections. It was crafted over years in his home studio and is "psychotropical pop" drawing deep inspiration from late 80s music and dub. The album's lush soundscape evokes orange sunsets and ocean breezes and is layered with spring reverb, space echo and wah-wah effects that smooth out the edges as the steady pulse of vintage drum machines moves things on down low. A standout feature is Claudio Jonas, whose ethereal vocals recall classic French femme fatale singers of the 60s. Her poetic, kaleidoscopic lyrics add to a nostalgic dream world that gently bends reality and makes his both escapist and thought-provoking.

Review: The legendary Roy Ayers has a wealth of great material to his name but Virgin Ubiquity: Unreleased Recordings 1976-1981 might just be the cream of the crop. It's packed with gold that fuses soul and funk, jazz and disco into a load of killer cuts that never got their own release. There are husky vocal tracks featuring Merry Clayton on "Oh What A Lonely Feeling," "I Really Love You" and "What's the T?", sensual soul stirrers from Carla Vaughn such as "Mystic Voyage" and "Together Forever" and of course liquid synths and rhythm sections underpinning each of the tracks.

Review: The sophomore Bad Brains album, and last before their initial break up (the first of many), is arguably just as essential as their self-titled debut. Not only because it features a hefty amount of its predecessor's cuts, redefined by the late, great Ric Ocasek of The Cars (responsible for manning the boards on several vital punk and alt rock releases, just ask Weezer), but it also made clear that the dynamic melding of hardcore punk fury and deep-rooted understanding of reggae nuance was far from a fluke. If anything, 'Rock For Light', marked the true arrival of what is now commonly considered to be the most boundary-pushing, talented and visionary acts to ever see the beauty within the cacophony.

Review: Beau operates at the sharp end of the UK electronic underground and creates an immersive, dark ambient sound that is influenced by trailblazers like Burial. His soundscapes combine ethereal textures with moody rhythms and that is very much the case here on Lacuna, his new album for Feat PLAtes. It is full of roomy sounds, icy glass synths, smeared pads, late-night moods and evocative atmospheres that draw you in ever deeper, sometimes looking over your shoulder, always lost in deep thought. A real lost tape from the short-lived night bus genre, you could say.

Review: Billy Idol, one of the most iconic figures in British rock history, has returned with his first full-length album in over a decade. Known for his punk roots as a member of Generation X and subsequent MTV-era persona, Idol has constantly evolved, blending his early rebellious spirit with a more reflective, mature approach to life and music. This latest release captures that transformation, offering a blend of punk rock energy and introspective storytelling. Idol's partnership with longtime guitarist Steve Stevens continues to define his sound, while collaborations with rock legends Joan Jett, Avril Lavigne and Alison Mosshart further solidify his place at the forefront of rock's new generation. Having emerged from the early days of British punk, Idol's legacy spans decades, and this new record marks both a personal reflection and a return to form.

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


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Review: Hamilton Bohannon's debut Stop & Go, first dropped back in 1973 and is a raw and essential slice of early 70s funk. Though maybe more known for his later disco hits, here Bohannon delivers something earthier-looser grooves, soulful vocals and inventive arrangements that simmer rather than explode. This album offers a deeper, more nuanced sound compared to his polished, high-energy disco work and highlights include the blissed-out 'Singing a Song for My Mother,' the deep funk of 'Happiness,' and the widely sampled 'Save Their Souls.' A crate-digger favourite and funk connoisseur's gem, Stop & Go is a percussive, spiritual, and downright nasty record that holds up start to finish.

Review: Kurt Cobain favourites and Texan punk outliers Butthole Surfers don't know when or where exactly this live recording was made. But who cares!? The most important thing to know is the recording is gnarly and the band sound out of this world with their blend of noise, punk and psychedelic rock a truly idiosyncratic affair. Highlights on here include 'The Annoying Song' with singer Gibby Haynes' belligerent use of a toy megaphone. The guitar solos are top notch here, too. While 'Human Cannonball' is a thrilling number that you imagine created raucous circle pits at the actual show. It's great to see technology put to good use and cleaning up old live punk shows and getting them sounding this powerful.

Review: Bologna, 1979: Change begins as a studio braintrust linking Mauro Malavasi, Paolo Gianolio and Davide Romani, with production steered by Jacques Fred Petrus. Nearly half a century on from their debut LP The Glow Of Love, cut between Italy and New York - blanketing the mean dancefloor in Euro-import modishness - we're now met by the sweet sonic hug that is Embrace, carrying the group's name after early plans to release it as a solo project of Tanya Michelle Smith, longtime vocalist member of the band. Maruro Malovasi's tender hand is given most productive airtime here, building on but reworking many of the same elements heard on 2018's Love For Love, and enlisting a sneak remix of 'Sunrise Forever' by Michael Gray, already a Traxsource chart-topper. Just 500 copies of this one, so hold tight before it's gone in a neon flash!

Review: Pearl Charles presides over the true with Desert Queen, her most refined work yet: a bittersweet set recorded in Joshua Tree with producer Lewis Pesacov and mixed by Michael Rault. Drawing on the velveteen textures of classic Stax sides, the album drapes Charles's crisp songwriting in brass, strings and soft grooves, caught somewhere in the smoky control of Karen Carpenter and the group swagger of Memphis session royalty. This is west coast country-soul at its most elegant, with a light touch and a lingering warmth.

Review: An unapologetically eclectic body of work from Cimm right here as he spreads his 'Circuit Jam' wide and thick. 'Squeeze' sets the wheels in motion with a switchy, jumpy slab of 140 rollage. It's backed up by a stately stretch of vibes - b-boy electro attitude on the sticky sweet title track, unhurried tension and sparse beatwork on the tech-laced dark garage bumps and slaps of 'Biting Back' and the bouncy electro biz of 'Crush'. Naughty.

Review: This year, 2024, Clannad, the BAFTA and Grammy award winning Irish band, celebrate the 40th Anniversary of Legend, the classic soundtrack to Robin Of Sherwood, the acclaimed 1980s British TV series based on the legend of Robin Hood. Recorded exclusively for the series, the record's much salivated over tracklist actually sparked a ten year search for "extra tracks" after the original reels were "lost" - in a statement posted on their website in 2003, Clannad said of the record: "there were several other pieces of music recorded for the 3rd series of Robin of Sherwood that were not included on the Legend album. Unfortunately no-one has been able to locate the master tapes of this music. The search is continuing and hopefully one day these recordings will be able to be released." Marking the first time that an Irish band would win the British BAFTA award for Best Original Television Music, the mood is one of righteous deservedness: Legend's highlight is 'Robin (The Hooded Man)', that breathy, polished and effects-doused theme tune most people know unconsciously if not consciously, as it has seeped into the popular imaginary. This edition also features the extra "music only" tracks not featured on prior releases, and which were formerly accessible only on the Blu-Ray.

Review: An incendiary, iconoclastic album in the intersection of shoegaze, metal and post-rock, Sunbather by Deafheaven has more or less gone down in recent history as a supreme meme, one of those projects whose popularity on the Internet is more than likely to render it godlike status for decades to come. This remixed version is not a 'remix album' as received ideas of 'remixing' might suggest, but rather a full-blown re-mix and remaster by the band's very own Jack Shirley, who intends to continually bolster its monolithic status by giving a fresh sonic rundown. Most notably, this edition is tailored to spatial audio setups, so that the most obsessively audiophilic among us might bask in its newfound three-sixty-degree washes. That, too, comes with a new coloured vinyl pressing and freshly designed sleeves to boot.

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


An essential investment for this elite-level rotary mixer.

Precision-moulded for an exact fit while accommodating cables, your Radius Four Valve rotary mixer can sit ready for operation.

Each Decksaver cover is rigorously tested before it bears our name, and it is manufactured from thick, premium polycarbonate for extra protection.

It shields faders and controls from dust, liquid, and accidental impact at home, on the road, and in the booth.

Fits the Mastersounds MK1 & MK2 devices and the Union Audio variant of this mixer.

Key Features
Patented smoked/clear transparency, unique to Decksaver.
Protects against dust, liquid and impact.
Shields vulnerable faders, switches and knobs during transportation.
Fits
Radius Four Valve
Linear Four Valve
Radius Four Valve MK2

Dimensions
Weight: 0.9 kg
Length: 35.5 cm
Width: 28.7 cm
Height: 3.7 cm

Review: Talk about taking absolutely no prisoners, Das El Salaam's DJ Travella has definitely learnt a lot from UK hardcore, hardstyle and gabber, and yet Mr Mixondo feels like it could take all of those frenetic and frantic genres to the cleaners if you were wanting to do an intensity comparison. Representing the nascent Tanzanian 'breakneck dance' scene, it's not for the weak of heart.
Starting producing four years ago - when he was just 15 - the man also known as Hamadi Hassani has certainly learnt his craft in that time, and the high nrg, often chaotic nature of what's here does infer an absence of quality or attention to detail. A full blown experience and journey through the heart of a contemporary Africa arguably pushing more electronic boundaries than any other continent right now.

Review: Multi-genre acrobats and 70s American rockers The Doobie Brothers are back with more silky smooth signature harmonies from their home base in California with Walk This Road, a ten-tracker that unites core members Patrick Simmons, Tom Johnston, John McFee and Michael McDonald. It was produced by John Shanks and does a fine job of working each member's unique songwriting style into a cohesive collection. Themes of recovery, reflection and spiritual awakening run throughout, with Simmons describing it as "waking up to see the important things you've been missing." The title track has the legendary Mavis Staples and stands out as a fine soulful anthem of unity and hope that will resonate in any era.

Review: Originally only available as a digital download on Billie Eilish's D2C store, this new vinyl version which features the album's isolated vocal recordings and presents a raw and stripped-back version that highlights the power of Billie's voice. Pressed exclusively for RSD Indie Black Friday, it includes a unique inverted album cover. The original album is some of the cult pop singer's most daring work to date, exploring a blend of genres and defied trends during the creative process with her brother Finneas in Los Angeles. It made for another cohesive and emotionally impactful journey from start to finish.

Review: Brian Eno and Beatie Wolfe join forces on a dual release infusing two distinct musical visions rooted in shared environmental concern. Their new joint release unfolds across two sides, with Luminal offering a vocal-led collection leaning into alt-pop ambiances and timbres, before Lateral rears itself in counterpart as a seamless ambient composition, making up a study in contrast and connection. Recorded in London, the project reflects Eno's lifelong exploration of mood and atmosphere, alongside Wolfe's ongoing push to blur the lines of digital innovation and tactile experience. The project builds the activist art works of Wolfe, a British-American concept artist based in Los Angeles, named by WIRED as one of "22 people changing the world," and tracks the expression of music beyond language or form.

Notes: MIDIMATE eX is a convenient USB 2.0 MIDI interface cable with up to 32 input or 32 output channels for PC and Macintosh systems. With MIDIMATE eX you can obtain perfect MIDI timing and performance at an extremly affordable price.

MIDIMATE eX is a simple, stylish and very powerful adapter cable that connects the USB port of your computer to any MIDI Input or MIDI Output labelled connector on an external MIDI device. Two MIDI connectors are provided by MIDIMATE eX and using them with your applications could not be easier. If you connect the MIDI cable to a MIDI Output of an external device, signals will appear via MIDI input in your software. If you connect it to a MIDI Input, you can send signals to the external device via the MIDI playback function of your software. All these functions are provided with perfect MIDI timing and best performance.

Features/specifications

USB MIDI interface with 2 MIDI connectors, each can work as independent input or output
high-speed connection optimized for USB 3.0 and 2.0 port of PC or Mac, downwards compatible to USB 1.1
bus powered, requires no external power supply
no driver needed for Windows XP, Windows Vista, Windows 7, Windows 8.1, Windows 10, Windows 11 and Mac OS X (32 and 64 bit)
optional ESI MIDI Port driver for multi device / multi client operation under Windows available

Review: Celebrating 50 years of Kahil El'Zabar's Ethnic Heritage Ensemble's legacy, Open Me, A Higher Consciousness Of Sound And Spirit is their new full-length LP, ever-shifting the many gears and tempos of the jazz-blues continuum, in a dialectical state of perpetual spontaneity. Billed as an album of both ancient and future music in the same breath, it blends El'Zabar's original compositions with motifs from timeless classics by Miles Davis, McCoy Tyner, and Eugene McDaniels. A healing vision of haphazard improvisations and percussive buildups to sublime peaks, all core members - Kahil El'Zabar, Corey Wilkes and Alex Harding, backed by James Sanders and Ishmael Ali - make for an essential contribution to the spiritual sonosphere.

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


Popstock's latest Fall retrospective Singles Live Vol One 1978-81 captures Smith and his mighty co. in their rawest, fuzz-worthy phase. Whether it's the discordant organ furzes of 'It's The New Thing' or the snarled highway punk of '2nd Dark Age', this one's a great distillation of the Fall's sound at a select interval. Culled almost exclusively from the period spanning their Live At The Witch Trials era to the brink of the Hex Enduction Hour, the album compiles ferocious stage renditions of early singles, delivered by a revolving door of members as usual. Yet it was also born from frustration with how other Fall archival material has been handled, and how more recent lineups have been emphasised and represented as immutable over and above classic, yet more unusual suspects. Steered by ex-Fall members Paul and Steve Hanley, Marc Riley and Craig Scanlon, Popstock exists as a corrective, revisiting a pivotal moment with a twist.

Review: Backdrops of engineered silence and societal distraction inform on this from Fatboi Sharif and Driveby, twin rap verbalisers from the hinterzones of New Jersey. Let Me Out confronts the fractured psyche of a world numbed by noise: a raw, unfiltered dispatch from the underbelly, where six-figure illusions swing pendularly over mirrored truths, and suppressed rage simmers beneath manufactured calm. Tracked at 2ndststudios and shaped by the precision of Steel Tipped Dove, the record is sharpened further by the eerie co-production of DJ Boogaveli on 'We Fought for this Country!?' and haunting backing vocals from Paul Keim on 'Krossroads'. From milk-and-oil confusion to the cracked prayers of trauma survivors, each track on this grittily sculpted noise rap record erodes our psychic Achilles' heels, through emotional debris and soul static.

Review: Fred P's latest release 'Singular Point of Focus' EP feels like a late-night journey into the heart of the dancefloor, a space where euphoria meets introspection. From the opening track, it's clear that Fred is steering us toward something deeper than a simple collection of club-ready cuts. His use of augmented vocals adds an otherworldly quality, with tones that feel familiar but are impossible to place. The EP is a masterclass in controlled tension, with each track building in intensity without ever losing its groove. Fred's voice, subtly manipulated, dances through the layers of deep house rhythms, creating a sound that's both timeless and distinctly now. There's a sense that this is music for those who know, for selectors and dancers alike who understand the unspoken rules of the floor. The richness of the sound design - thick basslines, textured pads, and sharp percussion - draws you in, while the overall vibe remains firmly forward-thinking. This isn't just an exercise in nostalgia; Fred P has crafted a record that speaks to the future of house music while honouring its roots. Each track offers something different, from the floor-shaking opener to the more introspective closing cut, making it a perfect addition to any discerning DJ's crate.

Review: Before they became ambient titans with a penchant for doing gigs from their studio via ISDN line, the Future Sound of London had already established themselves as a well-regarded house and techno act - albeit one whose love of wavy chords, drifting vocal samples and hallucinatory acid lines put them at the psychedelic end of the rave spectrum. The album that established their reputation, Accelerator, is now 30 years old, which is as good an excuse as any for this reissue. Now stretched across two slabs of wax rather than one for a louder cut, the set still sparkles, thanks in part to the duo's ability to mix and match elements of turbn-of-the-90s ambient house, breakbeat hardcore, bleep techno, deep house and what would then have been called "jungle techno".

Review: There is a great selection of reissues of Future Sound of London's back catalogue going on right now. It goes all the way back to 1988 when they first started chaining the game with their forward facing electronics and mix of rave, breaks, hardcore and ambient into something utterly fresh. It still resonates today, hence these reissues, and this one is a 25th Anniversary edition of Accelerator. This one was, at the time, seen as the group's most "commercially-minded" album but that takes nothing way from its visionary sonics and immersive sonic landscapes.

Review: One of the classics. Repressed due to being the soundtrack Worldwide Sony Vega TV ad. Andrew Weatherall mix.

Review: James Gallardo & Sol released their collaborative debut album in 1975 in a burst of bright colour and next-level musicianship. There's a fiery, rockist spirit running through the over driven guitar cartwheeling through "Maranatha", but there's equal space for measured grooves and Gallardo's expressive horn playing. Mellower moments like "Patrice" let in a more soulful side of the project, while "El Que Se Fue" nods to the Latin roots of Sol. Expansive, bold and inventive, this is a treasure for jazz funk heads, marking the first official repress since the first copies slipped out many moons ago.

Review: Much-hyped Swedish rock band Ghost re-present their fourth studio album, following an original release in 2018. The masked, formerly anonymous supergroup made an initial splash as progenitors of modern heavy and doom metal, amping up the theatrics and rampaging lyrically through such themes as the plague, apocalypse, demon sigils and the antichrist. Prequelle continues the charge, bolstering their Anti-papal image by streamlining their creative process and concluding on a Faustian theme of eternal life.

Review: Following 'Happy Lovers' just over six months ago, Leo Gibbon returns with another inspiring collection. While the last EP flung its arms wide open to embrace the worlds of house, garage and soulful categories in between, this time we find him zoning in on the 140 grime vibe as he links with Trim for two exceptional messages. 'Orbit Step' is a woozy spacious stepper that gives plenty of space for Trim to flow out some ridiculously smart 16s. 'Danny & Darren' carries much more of a harder edge as Trim gets guttural and unleashes his inner yardman wisdom. Complete with instrumentals and acapellas, Leo and Trim have delivered something really special and super versatile right here.

Review: Since bagging the 2014 Mercury Music Prize for sophomore set V.20, GoGo Penguin has become one of the most talked-about outfits around. The self-confessed "very modern piano trio" has succeeded largely due to their far-sighted ability to fuse more traditional jazz and classical music sounds with a surprisingly wide palette of influences, most notably dancefloor-focused 21st century electronic music. On A Humdrum Star, their fourth full length, the Manchester threesome has decided to take a "freer" and more "liberated" approach. The resultant music is every bit as exciting, entertaining and beguiling as you'd expect, with the full-throttle, high-octane dancefloor jazz of "Raven", atmospheric and undulating "Bardo" and gently jazz-funk influenced brilliance of closer "Window" amongst the highlights.

Review: With a background playing in Swedish punk bands, the potent emotional force distilled within Jose Gonzalez's music suddenly makes a lot of sense. Hearing the ten songs on "In Our Nature" is almost like a palette cleanser. Even more starkly compelling than before, his approach is identifiably patient, methodical and focused on illuminating melodic details at unexpected angles. As a guitarist, he finds accord with players like Geoff Farina, and in the finger-picking style of Cuba's Silvio Rodrigeuz. Having worked on the songs at length on his own, the album was recorded to tape in two weeks in a studio in Gothenburg. Jose (guitar and vocals) is joined by Erik Bodin (percussion), Hakan Wirenstrand (keyboards) and Little Dragon's songwriter/vocalist, Yukimi Nagamo (backing vocals).

Review: Jose Gonzalez (of Argentine origins but living in Sweden) released his debut album in 2006 and received critical acclaim all over Europe. "Veneer" is a striking collection of hushed indie pop bedroom songs that sits elegantly on the hi-fi end of the lo-fi spectrum. This Peacefrog release can't be missed.

Review: Green-House is the handiwork of Olive Ardizoni, who finds a sympathetic ear in Leaving Records for her delicate, pastoral strains of ambient reflection. Rather than being static, these are charmingly alive pieces that quiver with sensitivity and plaintive melodies that suggest some inspiration from the iconic Mort Garson record composed for houseplants. If you enjoyed that wobbly ride through sweet-natured synth refrains, you'll love this album too as it interweaves warm tones around bucolic field recordings. This comes highly recommended - a record that leaves you feeling nourished after listening.

Review: Ruins is the 10th LP from Portland artist Grouper, an incredible set that's found it's home on the inimitable and always on- point Kranky label...and yes, it's another fine outing from the voco-noise head. Tracks like "Clearing", however, show another side to Grouper's usual rough edge. There's an element of smoothness to those sombre keys and far-out vocals. It's basically an ambient album with an extra layer of soul in its core - check "Made Of Air" for a seriously trippy set of soundscapes.

Review: This latest offering is a testament to Guts' curatorial flair, stitching together rhythms from across the globe. Each track is carefully chosen to highlight soulful grooves and infectious melodies, all while maintaining a sense of discovery. The release moves effortlessly between vibrant Afrobeat, laidback funk, and hypnotic Caribbean influences, creating a natural flow that feels like an intimate DJ set. This is music with heart and authenticity, a celebration of the dancefloor's rich diversity.

Review: In The Birthday Party, These Immortal Souls and Crime And The City Solution, Rowland S. Howard set out his stall as not only a rock 'n' roll renaissance man but one of the most startlingly inventive and fiery guitarists of a generation, developing the innovation of players like Ron Asheton and Tom Verlaine in his own jagged and idiosyncratic manner. "Pop Crimes", sadly, marks something of an epitaph for Howard, yet it also stands alone as a dusky, laconic and affecting collection of Lynchian serenades and torch songs. A fine testimony to a unique talent.

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


Start connecting with the world

The original iRig Stream offered ground-breaking features for today's top apps that made it an overnight must-have for millions of creators. Now iRig Stream Solo brings comparable features and connectivity to a new level of affordability.

iRig Stream Solo is an easy-to-use audio interface for iPhone*, iPad and Android that lets you connect up to 3 distinct sources and mix them into your stream. Connect mixers or keyboards, your earbuds or iRig mics, and even audio played right on your device, and mix them together into a signal that's optimized for streaming and sent straight to your favourite apps.

It's all you need to start streaming in a compact and battery-powered format.

Mix and stream up to 3 audio sources

iRig Stream Solo makes it easy to connect all your audio sources and route them to a streaming or recording app. Send the audio output of your smartphone or tablet into iRig Stream Solo, mix it with external audio sources like mixers, DJ decks, keyboards and more. Add your voice from earbuds (or an iRig Mic) and send all 3 signals back to your device to popular apps like Instagram, or just your built-in camera app.

Plug in all your gear

2 line-level RCA inputs are perfect to connect DJ and multi-channel mixers, but are also great for keyboards, synth and drum machine setups, and more. Whether you're looking to stream your DJ set, record band practice, jam along with your favorite song, or even host a podcast, iRig Stream Solo lets you connect a massive range of gear.

Use a headset or a mic

A unique headphone/microphone jack is wired just like your smartphone so you can listen and talk over the other audio inputs simultaneously. It works with most headphones with a built-in mic and also with IK products like iRig Mic Lav, iRig Mic, and iRig Pre 2, giving you a wide range of options for any situation.
The overall input signal level (line + mic) is controlled with a single thumbwheel and optimized for streaming before being sent to your device and favourite apps.

Mix audio from your device

A special Loopback switch lets you route the audio output of your digital device (iPhone, iPad or Android) back into iRig Stream Solo to be mixed in with the other audio signals. This is perfect to jam or sing along with backing tracks and stream to another app, all on a single device.

Get connected, stay connected

iRig Stream Solo is easy to use with a captive TRRS cable to connect to your iPhone (Requires use of Apple's Lightning to 3.5 mm Headphone Jack Adapter (TRRS), iPad and Android. Its 1/8" mono Thru line output lets you send your audio to additional devices such as cameras, mixers and more. And with two AA batteries, you can enjoy hours of reliable performance anywhere.

Comprehensive compatibility

iRig Stream Solo works with any app that records or streams audio or video, so you'll never stop finding new ways to use it. To get you started, it includes iRig Recorder 3 LE (iPhone/iPad/Android) - an easy-to-use, high-quality audio and video recording app. Record, trim, edit and share, right from your device.

Specifications:

Power: 2x AA batteries
Metering: Battery status LED
Device Connection: captive 1/8" / 3.5 mm TRRS jack - CTIA/AHJ wiring standard
Dimensions: 45 x 105 x 34 mm
Weight (without batteries): 74 g

Line input
Connector: 2x RCA (unbal.) Left/Right
Nominal Input Level: -10 dBV
Head Room: 9 dB
Input Impedance: 15k Ohms
Frequency Response: from 20 Hz to 20 kHz (-3 dB)

Headset/Phones
Connector: 1/8" TRRS jack (CTIA wiring standard)
Supply voltage: >= 2,5 V
Microphone gain: Fixed at 27 dB
Headphone frequency response: from 20 Hz to 20 kHz (-3 dB)
Microphone frequency response: from 50 Hz to 20 kHz (-3 dB)
Headphone Level control: numbered thumbwheel

Thru out
Connector: 1/8" TRS jack
Frequency Response: from 20 Hz to 20 kHz (-3 dB)

Battery Life
50 hours (Alkaline batteries)

Package includes:
iRig Stream Solo interface
2x 1.5V AA battery

Compatibility
iOS and Android Devices
Compatible with iPhone, iPad, iPod touch and Android devices with 1/8" / 3.5mm jack standard headset input (onboard or via adaptor) compliant with the CTIA/AHJ wiring standardformat.

Review: French composer Jean-Michel Jarre, world renowned for pioneering electronic music on a grand scale, emerges here in his formative years, already pushing at the edges of sound. Created in 1972 while working at the Groupe de Recherches Musicales, this early studio project captures a young innovator experimenting with an EMS VCS3 and a Farfisa organ. Tracks like 'Music Box Concerto' and 'Synthetic Jungle' weave eerie melodies into mechanical rhythms, while 'Rain Forest Rap Session' and 'Exasperated Frog' embrace playful abstraction. Jarre himself called it a "pirate record," assembled in his student room and smuggled from GRM's studios after hours. A raw, unfiltered glimpse into his early creative instincts, it foreshadows the expansive, cinematic style that would later define his career.

Review: Next up for BBE is a package of remixes that invites several key artists to add their own spin to Jazzanova's superb reimagining of Sam Sanders's iconic 'Face at my Window'. Kyoto Jazz Massive are first to tackle the single which first appeared on 'Strata Records - The Sound of Detroit - Reimagined by Jazzanova' and bring some intimate jazz clubs vibes. After a Yoshi edit and version with vocalists Sean Haefli, musclecars bring a touch of New York and Chicago house classicism to their version. Both remixers bring new perspective to this timeless classic.

Review: London jazz star Oscar Jerome proves he can bend spoons with jazz on his latest LP 'The Spoon'. Like a red-pilled soothsayer, he reduces all metal to its constituent molten parts, largely through the mode of lo-fi, dreamy pop jazz and neo-soul. Paeans to lockdown ('Sweet Isolation'), flourishingly spiritual harp and guitar interludes ('The Soup', 'Aya & Bartholomew') and impeccably produced singles ('Channel Your Anger', 'Feed The Pigs') make this a thoroughly difficult-to-pin-down yet texturally deep album, reminiscent of the production mastery of electronic fusion greats like Morgan Agren or Burnt Friedman. It's Jerome's best yet by far.

Review: The Jesus And Mary Chain mark 40 years of music-making with a new album recorded at Mogwai's Castle of Doom studio in Glasgow. That's where their last album, 2017's 'Damage and Joy', was recorded and it went on to be their highest charting record in more than two decades. With this one they again embrace a new sound that builds on their usual mix of melody, feedback and controlled chaos with sounds inspired by their love of Suicide and Kraftwerk as well as 'a fresh appreciation of the less disciplined attitudes found in jazz.'

Review: Rochelle Jordan's third studio album was a game-changer upon its 2014 release. Showcasing raw self-expression and artistic evolution in true r&b style, it proved she belongs to be mentioned in the same breath as genre greats like Aliyah. With lush, atmospheric production and airy vocals the album includes 'Ease Your Mind,' co-produced with Eric Seats of Rock the Boat fame. Now a major force in r&b and dance after recently collaborating with Kaytranada, 1021's 10th anniversary and first-ever vinyl release is sure to win her many more fans, and rightly so.

Review: It's only been a year since his last release but in that time Stones Throw man Kiefer has toured the USA and Europe, released a mini-album as well as making three beats for Anderson .Paak's last two albums "Oxnard" and "Ventura". "Superbloom" finds him at his best, with invigorating sunny day beats and bright synths soundtracking a lovely afternoon the park. Jazz stylings, introspective chords and plaintive piano playing make this an emotionally stirring record with real depth, and one that reveals more with each listen. It feels like Kiefer's most honest, vulnerable and personal album yet.

Review: King Tubby's Rastafari Dub was mixed at the celebrated studio wizard's own famous self-titled studio and finds him working on tunes by the Striker Lee-produced likes of Wayne Jarret's 'Satta Dread', several tunes from Johnny Clarkes such as 'Crazy Baldhead' and 'Peace & Love In The Ghetto' as well as Leroy Smart's 'No Love' and 'Trying To Wreck Up My Life'. Add in further gold such as Black Uhuru's 'Sun Is Shining' and you have one of the many crucial and essential albums from King Tubby that needs to be in your collection.

Review: American rapper, Ultramagnetic MC founding member and Bronx legend Kool Keith has been brought together with Real Bad Man for Serpent, a new album produced entirely by the latter. It's his first collab of the cat and features some big name guests including Slug of Atmosphere, Ice-T, Edan, Cool Calm Pete and Zeelooperz. Keith says he let the rhymes go where the music took him as he channels Rhythm X and Black Elvis in hard-hitting bars that tap into his deep subconscious. It's a great record that straddles many different times and styles with effortless cool.

Review: Ray LaMontagne, the revered award-winning troubadour, embarks on a new musical journey with his 2024 studio album, Long Way Home. Known for his introspective songwriting and soulful voice, LaMontagne continues to carve out a distinctive niche in contemporary music. Despite his retreat from the limelight to the tranquil hills of Western Massachusetts, his influence resonates deeply. Long Way Home marks his ninth studio effort, showcasing LaMontagne's knack for crafting poignant melodies that reflect on life's journeyifrom youthful innocence to the trials of adulthood. Produced alongside Seth Kauffman (known for his work with Floating Action and Angel Olsen), the album melds folk-rock nostalgia with a contemporary Americana flair. Recorded in LaMontagne's home studio over a few weeks, the album features collaborations with both longstanding and new partners, including ethereal backing vocals from The Secret Sisters. With its nine evocative tracks, Long Way Home is a shinning beacon to LaMontagne's enduring artistry and his ability of storytelling in a modern context.

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


Vick Lavander is a name that has always been a byword for deep house quality. His sound is couched in a classic template but comes with subtle tweaks and plenty of its own musical character. BEYOND is a bumper collection of beats which proves just that. There are silky and cosmically minded sounds like 'Time & Time Again' next to subtly jazzy dancers like 'Sunset BLVD' and dubby, elegant grooves like the life-affirming 'Grace'. The pace picks up with joints like 'Knights' but never at the expense of atmosphere and slows right down with swab-tinged downbeat delights like 'Good Timing'. A magnificently rich work.