Back in stock: All genres

Review: If you dig deep house - hell, electronic music full stop - then you should be rather excited by the arrival of Cerebral Hemispheres, the first Mr Fingers album for 26 years, and the first of any kind by Larry Heard since 2003. As you'd expect, the album is exceptionally good, with Heard's famous musicality and fluid keys-work coming to the fore throughout. While rooted in melodious, huggable deep house, Heard naturally uses the opportunity to veer off in the myriad of different directions, touching on jazz, dub, downtempo grooves, soul, samba, tech-soul, deep acid house and much more besides. It has the feel of a genuine future classic and could well be his strongest album to date. Given his track record, that's a bold claim, but Cerebral Hemispheres really is that good.

Review: It's been more than 10 years since Foals first ignited indie spirits with their Antidotes LP and following Total Life Forever and Holy Fire, the Oxford-founded group have held firm in purporting their fully fledged sound. The band's aesthetic has grown in size and stature over the years with this LP looking at what seems to be the large scale arena. The lighter, melancholic and finger picking techniques of their surf rock and synth subtleties appear nonchalantly in tracks "On The Luna" and "Exits" - with 80s UK synth and George Michael-styled vocals to boot - while its stadium ecstasy for the chorus humming "Sunday".

Review: In 1969, Bootsy Collins and his band were asked to record a demo for James Brown, who was looking for a new backing combo. As history proves, the recording they provided met with the Godfather of Soul's approval and the J.B's were born. This essential CD from Now-Again Records presents that demo recording, "Don't Mess On My Thing", for the first time. It's as heavy and energetic as you'd expect, though if anything the two accompanying unreleased tracks are even better. There's the deeper, jazzier warmth of "The Wedge" - all glistening guitar solos, low-slung grooves and fluid electric piano solos - and the complete take of "When You Feel It, Grunt If You Can", a 22-minute, jammed-out medley of two songs that's little less than incredible.

Review: Morrissey is arguably the most divisive British pop artist working today. Some loathe him, others stand by amid countless controversial statements. Few would deny his place in the pantheons of music, though, even if you feel it's really about The Smiths, creating an unusual quandary for the listener - dividing their own opinion, not just separating that from others who don't think the same way. In many ways 'I Am Not A Dog On A Chain' is the album he needed to make, revealing an artist known for egotism as finally accepting some limitations and realities. 'My Hurling Days Are Done' and 'The Secret Of Music' both lament the passing of time, for example. But then in many ways, musically speaking, what's here is his most bold and striking album in decades. A real testament to the broad understanding of what makes a powerful track powerful, to say the least.

Review: After 3 months holed up in the studio Blair French has emerged to bring you Genes / Space Conductor 7" in support of his forthcoming album The Art Of Us on Rocksteady Disco. The A-side holds the "Loose Fit" mix of "Genes", where Blair channels his inner Tony Allen for an expertly executed modern psychedelic Afrobeat cut featuring a heavyweight cast of Detroit characters including Todd Modes, John Arnold, and Paul Randolph. On the flip is "Space Conductor", a cosmic afro broken beat joint with heavy drums, a huge bassline, kora, and Blair's vocals, exclusively available on this 7" only. Housed in a full color jacket, cut loud to lacquer, and pressed heavy with pride at Archer on Detroit's east side.

Review: House music's ability to make you feel good is part of its appeal, and artists like New Jersey majesty Josh Milan of Blaze fame, and London broken beat astro Kaidi Tatham sure know that. They link here with Patrick Gibin for an EP that brims with summer time soul, joyous keys and funky bass riffs that are impossibly sweet. Jazz funk, house and boogie all colour the tracks here with "Don't Be Rude" brining the cosmic vibes and "Groove On" making you want to move for days with its killer b-line and disco energy. Gorgeous stuff, for sure.

Review: Their chops were already up thanks to their tenure as James Brown's backing band, but this album was the first time The J.B.'s stepped out on their own in 1971. It's enjoyed the odd vinyl repress over the years, but this is the first time These Are The J.B.'s has been released on CD. Any serious funk head should know what to expect here - foundational funk and soul from some of the most seminal architects of the genre, laying the blueprint for a mind-boggling amount of musical culture that was to follow. It doesn't get more seminal than this.

Review: Almost a year to the day on from the release of the first release from their hush-hush Pezzate imprint, dusty-fingered Italian crate diggers Twice and Volcov with more must-have re-edits of suitably little-known gems. Check first the untitled A-side, where one of the two producers (we're not sure who edited what) successfully takes their scalpel to a sparkling slab of synthesizer-heavy jazz-funk brilliance full of two-step drum machine beats, squelchy acid-style electronics, comforting chords and kaleidoscopic lead lines. There's a more deliciously Balearic feel to the flipside edit, which boasts extended jazz guitar solos and elongated synthesizer chords riding a Latin-tinged fusion groove.

Review: This is a special never before released live recording in mono and on heavyweight vinyl from Donald Byrd. In 1958 he moved to Paris for a residency to study with composer Nadia Boulanger. It gave occasion to a band coming together that has a formidable line up of Bobby Jaspar on tenor sax and flute, Walter Davis, Jr. on piano, Doug Watkins on bass and Art Taylor on drums. This concert was played in the early evening at the one and only ever Cannes Jazz Festival in July 1958 and was dedicated to modern jazz sounds.

Review: Keinemusik have made a shocking wave on the international minimal house and techno scene. Two of its core members and executive officers, Adam Port and Alan Dixon, here present a brand new collab single: 'Forms Of Love' is so emotive that its piano, drums, strings and synth flourishes register deep in the gut, the sonic equivalent of a deep bacteria detox. Recalling the slow mournful builds of Rising Sun blended with the of live drumwork Harvey Sutherland or Mim Suleiman, the track is surely our next set-closer go-to.

Review: The classy sounds of Detroit label MotorCity Wine will get any house head hot under the collar. For their latest serving, they turn to DCTL about which we know next to nothing but are already big fans off the back of this one. The smoky deep beats of 'Deep Tannin' (feat Rafael Leafar) kick off with a classic vocal sample drifting up top to add the soul. 'Refugee' is a slow and purposeful beatdown cut with lovely dusty drums and sustained chords while 'Little Dancer' layers up jazzy off-grid chords with disheveled beats to loose-limbed effect. '2 Bottles' is a loungey trip-hop closer with vibes to spare.

Review: The Italian jazz scene of the 1970s turned up many gems but this is one of its lesser known treasures. It's an interesting and unusual collection from Folk Magic Band which was made up of 18 different members. They had their own alt set up in a Rome studio and were inspired by the free jazz movement of the day. As such there are pan-ethnic motifs next to the spiritual jazz of Pharoah Sanders and the wild orchestrations of Sun Ra and his Arkestra. It's intense and hard hitting in its quest to explore new musical ground.

Review: MotorCity Wine out of Detroit looks to the other side of the planet for its next release as Sydney, Australia-based artist Edseven steps up with his Burnin Up EP. It's that title track featuring Oliver Night that opens up with a smooth and seductive sound, leggy drums and warming chords. 'Soul Takes Flight' is another cuddly, deep and late-night lounge sound full of emotive vibes and another amazing vocal from Oliver Night. Things get even more chill on the flip with the mid-tempo sounds of 'If I Let You' featuring vocals from Cinta, all pressed up in a limited picture sleeve 12".

Review: Space is the Place! The classic piece - in a historically early version without lyrics - opens the album Paradiso Amsterdam 1970, which demonstrates how the Netherlands was first introduced to Afrofuturism - a pivotal moment in the Dutch jazz experience. It was always thought that the recordings of the long-awaited first concert that the Sun Ra Arkestra gave in the Netherlands were useless for an album release; after all, the entire Arkestra, booked by Hans Dulfer, marched among the massive crowd at pop temple Paradiso on 18 November 1970. As was their custom, they were rarely on stage where the microphones were neatly set up. Here, the Nederlands Jazz Archief trace the complete set of recorded tapes and compile an album on which the atmosphere of 53 years ago is made tangible once again.

Review: ***B-STOCK: Creasing to outer sleeve & torn spine but otherwise in excellent condition***

Review: Arkajo's seld-titled label rolls out another sophisticated EP as it continues to stand itself apart in its early days. This one kicks off with 'Entwine' which showcases the artist's mastery of deep rhythms that seem to float above the dancefloor. The broken beats are lush and airy, the synths wispy, the vibes uplifting. A Polygonia remix brings a little extra weight to the low end but it remains just as classy. 'Signature' then has a more edgy feel with heavier hits, squelchy bass and a physical feel that is super irresistible. Last of all is the Konduku remix which takes things into tripped-out 5am territory.

Review: Purple Print's musical universe expands once more here with a ninth outing on wax and a fine various artists selection to mark the occasion, with Minube appearing on each of these collabs. It's a wonky and afterparty-tinged minimal jaunt from him in solo mode to open up with as 'Zaha Zhivai' gets you locked into a slinky groove. He then inks with Rebreanu for the marching bleeps and squeaks of 'Bro Disch Tut' and with D I N he makes 'Wormhole', a dry and dusty final tech shuffler before a fine work with Andrey Djackonda in the form of the abstract funk of 'Can't Stop The Time' shuts down.

Notes: Really smart integration of macro controls for Eurorack, based on the original design by Emblematic Systems. Assign settings to eight CV outputs then morph with the crossfader or record movements to manage presets or set up complex real-time modulation. Can also operate as Catalyst Sequencer.

Supplier's Notes:
The Catalyst Controller is a macro controller with eight precision CV outputs and a responsive crossfader to morph between scenes. A scene is a snapshot of up to eight CV outputs, like a modular preset. Traverse a "pathway" composed of multiple scenes using the crossfader or an external CV signal, or immediately jump using the scene buttons. Record CV and slider movements, and play recordings back via a button or external trigger.

Each output has sub-millivolt precision and a maximum range of -5V to +10V. Channels have an adjustable morphing curve, can be quantized to common scales, restricted to a particular voltage range, or set to output gates.

Whether used as a CV preset manager, seamless transition generator, chord sequencer, CV recorder, or experimental CV playground, the Catalyst Controller puts control of your modular at your fingertips.

The Catalyst Controller can also turn into a Catalyst Sequencer! Hold down a special button combination to change between controller and sequencer modes. If you end up liking the Sequencer more, you can even remove the double-sided faceplate, flip it over, and re-install with the Sequencer artwork visible.

Based on the original Catalyst module from Emblematic Systems.

Specifications:

Smooth, responsive crossfade morphs between scenes
Eight output channels, each can be CV or Gate
Arrange scenes into pathways of up to 64 scenes
Smooth, responsive crossfader morphs from scene to scene along the pathway
Set slew/lag to limit how fast scenes can change
Adjustable Morph time per output
Control crossfading with an external CV
Record and playback up to 20 seconds of CV and crossfader motion
CV outputs can be set to -5V to +10V maximum, or limited to +/-5V, +5V, +3V, or +1V
CV outputs can be unquantized (sub-1mV resolution), or Quantized to common scales
Randomization of channel values/gates
Copy/paste
Based on the original Catalyst from Emblematic Systems

Pairs with: 4ms Catalyst Sequencer

Notes: The Catalyst Sequencer combines a traditional clocked step-sequencer with an unconventional phase-based sequencer to produce a new paradigm in sequencing. Eight precision CV sequencer channels can be simultaneously driven by a clock, a phase CV, or scrubbed manually with the crossfader.

Each of the eight channels has its own sequence length, quantizer, transposition, clock divider, randomization, voltage range (max -5V to +10V), and selectable CV (precise 16-bit resolution) or Gate mode.

Phase-based sequencing is an advanced form of sequencing where each step is selected by CV. The Catalyst Sequencer has a smooth, responsive crossfader that scrubs the sequence, playing it forward or backwards to track your motions. Patching in a CV signal will do the same: a ramp-up CV plays the sequence forwards, a ramp-down plays it backwards, a triangle plays it ping-pong, and complex waveforms generate new interesting rhythmic and melodic patterns.

The Catalyst Sequencer can also turn into a Catalyst Controller! Hold down a special button combination to change between sequencer and macro controller modes. If you end up liking the Controller more, you can even remove the double-sided faceplate, flip it over, and re-install with the Controller artwork visible.

Based on the original Catalyst module from Emblematic Systems.

Pairs with: 4ms Catalyst Controller

Review: Critically acclaimed British jazz pianist, composer and arranger, Greg Foat has been making quite a bit of waves in the jazz scene as well as his groundbreaking albums that feature artists in other genres. His latest album 'Live At Can Rudayla Ibiza ', is an homage to the magical sound of the Mediterranean. Ibiza has long been known for its night life but perhaps not known as well outside the chill out scene sound, that the area has a sound all to itself. Inspired by his highly regarded and recent album with Gigi Masin, Greg Foat explores the themes further. Pool Side parts 1 and 2 shimmer with beautiful soundscapes that set the mood wonderfully. 'Dining Table Grooves' gives a hint at the late-night sounds to come in Ibiza while the sunset tracks close the album out with an almost chill wave sound that we absolutely adore. If you are looking for an album to put on as guests arrive to your beach home, this is the album you want to play. Greg Foat is a beacon of light for the future of jazz fusion.