All genres charts

Review: Nick Bike makes a fourth - yes, fourth - 2024 Q1 appearance with 'Steady Rockin'', following up the prolific producer and editor's early-year swathe of releases, also including '808 Doves', 'Feels So Good', and 'Rollerskatin''. This is the only one of the four to be released on Bike's very own Chosen Spokes label, which oils the gears, shunts the V-brakes, and whips out the Presta for a veritable pedal-pumping in the medley/breaks/ soul/funk/dance veins. This time, we're in for a treat, with Bike reinterpreting a classic, making for a well-known melange sampled from bits of the Queen Of Soul herself.

Review: Terry Hall's album Home is the archetypal sound of gentle mid-90s pop rock, which is when it was released on Anxious. It was Hall's first solo record and spawned singles 'Forever J' and 'Sense', while much of the album was written with guitarist Craig Gannon and includes features with then-acclaimed musicians such as Ian Broudie of The Lightning Seeds. As such, there are plenty of big jangly guitars, soaring and tender vocal deliveries and post-baggy grooves that might well still get festival crowds swaying along without a care in the world.

Review: Following his impressive debut on Submersive's VA Osmotic Particles in 2021, Toki Fuko returns with his inaugural solo release on the label. His Hues of Movement EP comprises three original tracks and remixes by Anthony Linell and Artefakt, all of which embody Submersive's ethos of deep, hypnotic techno. Fuko impresses as always with his well crafted soundscapes blending electrical pulses with catchy drum sequences. Linell's Train remix fuses his style with Fuko's to make for a dub-influenced journey while Artefakt's 'Warble' remix takes things into darker worlds filled with unrelenting tension.

Review: The Take It Easy label returns with a red hot one and limited edition one-sided 12" that features a Bugsy 'ReDrum' of Wema's 'Kiherehere' cut. The original artists are a five-piece Tanzanian outfit founded on community and they have a global approach to sound that plays out here. In Bugsy's hands, it becomes a club-ready cut that fuses house and techno with the original's traditional Tanzanian instrumentals and Afro-Latin rhythms. Add in a fiery vocal and the sort of unrelenting drum funk that sends crowds mad and you have another standout from this fledgling label.

Review: Before Queen Latifah was a household name as an actress and singer, she was one of the most well-respected and popular names in New York hip-hop, collaborating with everyone from De LA Soul to Coldcut. 'Ladies First' turned out to be her first hit in a long line of successful singles for the queen. Featuring a vocal appearance from another legend in Monie Love and produced by the highly famed but recently passed away Mark Howard James aka 'The 45 King', this release has an even more special meaning. 'Ladies First' went on to be a top five hip-hop track in 1989 and ultimately, catapulting Queen Latifah into the limelight. With the desire for more 7" by the Hip-Hop community growing, Tommy Boy Records gives us a treasured piece of rap history.

Review: Ritual Release, the California-based imprint established by Woolfy vs Projections, have long kept tight-lipped about the identities of synth boogie revivalists Guruku. We have no idea (we suspect it's them, but could be wrong), but we do know that the act's latest EP is superb. There are two original tracks on offer, both featuring vocalist Rojai: the Dam Funk-meets-Dayton brilliance of 'Mesmerized' and the dreamier, sunnier, 80s synth-soul-inspired excellence of 'What It Takes'. Both come accompanied by tasty remixes. Giovanni Damico re-imagines 'Mesmerized' as a thickset electrofunk-goes-jazz-funk workout, while Daniel T stretches out and lightly dubs out the same song in a nu-disco style. Rayko and Woolfy vs Projections join forces on a dubby and club-friendly nu-disco revision of 'What It Takes', before we treated to a dancefloor dubs style 'Bonus Beats' mix.

Review: After a surprise sojourn last year as Sato, an alias he used to explore ambient and dub techno territory, Satoshi Tomiie has reverted to his given name for solo album number five - a thin return given he made his 12" debut way back in 1989. The New York-based Japanese great is in fine form from the start, effortlessly sashaying between hypnotic deep tech-house (the eyes-closed, early morning excellence of 'You Are Here'), spaced-out dub-house ('Number 1'), chunky-but-dubby deep house of the kind that his friend Francois K would love ('Magic Hour'), acid-flecked minimalism ('Blast'), vintage-sounding dub techno ('A52', 'Meditation in an Emergency'), locked-in soundscape house (the shuffling and yearning 'Phase Space') and sub-heavy ambient dub ('Fast Track').

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.

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Review: Tour-Maubourg has been receiving quite a bit of press since their very first release. Often, their records quickly become sought after for their amazing beauty and genre-washing abilities. 'The Panorama Sessions' aims to continue the strong promotion and deliver another home run. Like the name suggests, these are alternate versions of other treasured Tour-Maubourg tracks that were featured on different releases, with this 12" bringing in the talents of the Ismael Ndir on saxophone. 'The Opening' gives us At Les vibes with the brilliant melodic touch, a smoothed out Balearic track that is nothing short of sublime, while 'Ode to Love' is another goosebump creator. These sunset styled interludes expanding into a feeling of light jazz and pseudo house, really work well on our mood receptors. 'Saint The A La Menthe (Panorama version)' is perhaps the most soulful track here, making it a perfect way to close things out. All and all, four unique, terrific new versions of classic Tour-Maubourg material to enjoy.

Review: Chaos In The CBD have quietly been building an impressive reputation for some time, with releases on Hot Haus, Amadeus and Needwant all hitting the spot. Here they transfer to Bradley Zero's Rhythm Section International with what's arguably their most mature and musically expansive EP to date. There's a decidedly dusty, eyes-closed deep house feel throughout, with hypnotic grooves laden with all manner of neat, often jazz inspired touches. This is perhaps most obvious on the St Germain style jazz-house goodness of "Observe" - all skipping cymbals, bouncy grooves and killer pianos - but can also be found on the deeper "Observe". It's there, too, on the lilting brilliance of "Midnight In Peckham" - think yearning trumpets and twinkling piano motifs - and the blissful "Luxury Motivation".

Review: Merci Yaya Bongo: Female Animation Groups In Gabon 1982-1989 offers a spellbinding glimpse into Gabon's vibrant music scene of the 1980s. The compilation showcases the talent and creativity of several female groups and presents a diverse range of styles from Afrobeat to funk and disco. Tracks like 'Abaga Mbouga' and 'Yaya Omar Bongo' exude infectious rhythms and soulful melodies and highlight the unique sound of Gabonese music during this era. With its rare and obscure selections, this compilation serves as a valuable homage to the overlooked contributions of female artists in shaping the country's musical heritage.

Review: Over the last couple of years, we've been treated to numerous reissues of classic cover versions by Japanese reggae/rocksteady combo Inokasira Rangers, including takes on Nirvana's 'Smells Like Teen Spirit', Pharrell's 'Happy' and New Order's 'Blue Monday'. Here we're treated to another, as the band's 2017 take on Underworld anthem 'Born Slippy' gets a fresh pressing. It's certainly a revolutionary revision, with Keichi Sokabe's surprisingly Karl Hyde-sounding lead vocal rising above a lusciously languid, sub-heavy reggae groove. Over on the flip they take on 'Groove Tube', a 1991 indie-pop-meets-acid house single from Japanese outfit Flipper's Guitar, reframing it as a baggy, glassy-eyed rocksteady number.

Review: Danny Krivit's officially sanctioned re-edits of Earth Wind & Fire's "Brazilian Rhyme" and "Runnin" have been sought-after since they first appeared on a Japan-only 12" back in 2004. In fact, such is demand that even later bootleg pressings now go for silly money online. As this reissue proves, though, they're arguably amongst Krivit's strongest scalpel works. Certainly, his three-minute revision of the always too short "Brazilian Rhyme" teases it out to just the right length, in the process delivering a sweltering, sing-along summer anthem. The flipside revision of the equally as summery "Runnin" is every bit as good, with Krivit making merry with the original's life-affirming scat vocals and killer piano solos.

Review: The Alloy Cuts label is back with another sweet 45rpm that collides some of the greats of hip-hop past into two new fusion and mash-up jams designed to do plenty of damage to dancefloors. First up is Jurasoc 5 vs Booty Haul with 'Divided Conformelution' which has some sick low ends and booming kicks overlaid with funky guitar riffs and hard bars. Booty Haul's 'Conformstumental' then appears on the flip side as the original sample source for the a1. It's more physical with the bars stripped away and still has plenty of raw funk.

Review: In keeping with other reissues from the Echospace archives, CV313 have revisited and remastered their 2010 classic 'Infinit-1'. The single leads with some quintessential immersion from Rod Modell and Stephen Hitchell, all metallic chord pulses billowing through steely ambience guided by deep-ploughing rhythms. The 'Remodel' takes a more subliminal approach as the chord becomes a low frequency sonic just below the surface. The B-side is given over to STL, whose singular approach to stripped and sublime dub techno is never better than on this beautifully hazy early morning twist on 'Infinit-1'.

Review: Shockingly, it's been almost three years since we last heard new material from Chaos in the CBD aka London-based Kiwi brothers Ben and Louis Helliker-Hales. This two-tracker is not only well overdue, but also as quietly impressive as you'd expect. Title track and A-side 'Sirena Deep' lives up to its name, offering a subtly summery shuffle through lightly dubbed-out, organ-rich deep house goodness complete with an expressive and tasteful flute solo from fellow New Zealander Nathan Haines. Those looking for a more driving, sub-heavy and late-night focused workout will love flip side 'Outdoor Limit', where creepy, ghostly chords and textures ride tough house beats and a deep, dubby bassline.

Review: Much loved doom monger emo kids Depeche Mode have always been ripe for remixing by new generations of electronic music artists and so it is that there 'My Favourite Stranger' gets a series of re-rubs here on Columbia. Tech house mainstay Boris Brejcha remixes first and elongates the grooves with mournful pads up top. The Ela Minus remix of the same tune brings some extra textured and darker moods and the best is saved till the last if you ask us. The Lond Island Sound remix is high speed and tinged with electro synth work as the moody vocals echo about the mix to trippy effect.

Review: Peggy Gou has long since broken out of niche dance music circles out on to the wider world thanks to her pro and well crafted DJ sets and earned ties with plenty of high-end fashion brands. Including this, she does have some fine music making credentials as her hit single '(It Goes Like) Nanana' shows - its an inescapably catchy house cut with an iconic hook that is easy to sing along to. It now arrives, having first come via her own label, on XL which will only make it reach even higher levels of ubiquity. All hail the Gou!

Review: Along with the likes of Today & Tomorrow and Untitled (God), Sault are giving their five-deep album drops from late 2022 a more ceremonious release now. The music is too deep and rich to vanish into the melee of digital data streams, and each album's distinct qualities benefits from its own space to inhabit. On a mission from God and steeped in a raw, 70s kind of sound which shirks studio slickness in favour of absolute reality, on Earth this British outfit take themselves into realms of spiritual jazz atop their keen instinct for funk. The drums tumble, the chants murmur, and there's just no arguing with the power of the ensemble and their in-the-room vibe.

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: Downtempo maestro Mudd is back with a new album In The Garden Of Mindfulness on the faultless Claremont 56 label. Coming after years of him working with Benjamin Smith, amongst others, it's his first solo album since 2006. His magical touch has not left him here as he explores dubbed out disco, Balearic, cosmic chill out and layers of alluring instrumentation, some of which is provided by Michele Chiavarini. These are widescreen sounds to get fully immersed in as you gaze on at sun soaked jazz guitars, low-lit synths, gently cascading synths hints of psychedelia, funk and soul. Another timeless and sparkling work from the great producer.

Review: Jim (James Baron) is a UK producer making his brand of Balearic, folk and rock music. Generally, pushing the boundaries of Balearic, this double pack compilation houses remixes of tracks from his most debut album 'Love Makes Magic'. The lineup of producers lending their talents to this double pack is quite impressive. Uk house music legends X-press and Chris Coco just to mention two. This release encompasses a wide array of styles including downtempo, dub as well as house music all keeping the folk and Balearic soul of the originals. A true remix packet that brings these originals to different heights.

Notes: The classic SL-1200 is one of the first covers Decksaver ever manufactured. Technics stopped producing the lids for these thoroughbred decks shortly after they were discontinued, meaning that there would be thousands of turntables out there with little or no protection.

Meanwhile, the 1200 (and 1210) has remained an extremely popular item on the second-hand circuit, becoming perhaps one of the most sought-after pieces of discontinued music equipment, especially the limited edition models, which exchange hands for eye-watering amounts.

Despite its rugged and heavy-duty characteristics which earned the turntable it's reliable "workhorse" reputation, it must be noted that the elements of the topside of the device are still relatively delicate, and can be prone to damage if not handled properly.

The tonearm can be damaged fairly easily, and replacing it can be an awkward process. Whilst it is feasible to replace the tonearm, it requires a degree of skill and can be cumbersome. What makes the process even more difficult, is that individual tonearms are increasingly rare, and it is often more economically viable just to replace the entire unit, rendering the old unit useless.

The platter, while sturdy, can also be damaged through enough pressure, which can damage the delicate mechanical components underneath. The switches and buttons, while comparatively tough compared to other models on the market, can also be broken easily through accidental damage.

This Technics turntable cover fits the 1200, 1210 and similar models, such as the Pioneer DJ PLX-CRSS12 and PLX-1000 perfectly. The form fit allows them to fit easily into a gig bag or other ancillary equipment case, whilst the simple push fit design shields the tonearm from accidental damage whilst making allowances for cables, so your turntable can sit ready for operation.

Over the years, these covers have saved tens of thousands of Technics turntables from the scrapyard. Without them, who knows how much rarer the 1210s would be today?

At home, on the road, or in the club, Decksaver has your turntable covered.

Weight 0.63 kg
Length 45.6 cm
Width 35.6 cm
Height 7.5 cm

Material: Smoked clear polycarbonate.

Fits:

SL-1200
SL-1200/1210 MK2
SL-1200 MK3D
SL-1200 MK4
SL-1200/1210 MK5
SL-1200 MK6/MK6KI
SL-1200/1210 MK7
PLX-CRSS12
PLX-1000
SL-1200 LTD/GLD
SL-1200 M3D
Mixars LTA/STA
Gemini PT-1000
SL-1200 G
SL-1200 GR

Review: Emotional Rescue turn their attention to Rare Silk and their sublime cult classic "Storm". It's one of those rare tracks with a wonderful otherworldly quality that manages to be smooth and accessible, and somehow not like anything you've ever heard before. It must be somewhere in the mix, between the dreamy harmonized vocals, lush instrumentation and curious sense of space. The original on the A side is a treat enough, but then throw in a mercurial dubbed out version by Arp on the flip and you've got yourself a 12 inch portal to a most delightful dimension.

Review: It's no wonder Dopplereffekt named their latest EP 'Inifinite Tetraspace'. For starters, a tetrahedron is a 3D triangular pyramid of equal lengths per side. A sine wave, meanwhile, is in auditory form considered the purest, most basic sound - it is also the graph produced by plotting all the ratio points between two sides of a triangle. The logical conclusion is this: infinite tetraspace might be considered the ultimate form of repetitive sound, carrying on forever, triangulating constantly in all directions, never ceasing. For all its vivid imaginings, Dopplereffekt's dualistic, stereo-effected sound carries on in full force on their latest EP for Curtis Electronix, tetra-scribing four icy, unsettling entities that may only be encountered in this special extra-conscious zone.

Review: Nuremberg's Jayl Funk is a true torch-bearer for the art of funked up breaks to start a party anywhere and everywhere. He's back on Danish label Breakbeat Paradise with another sure-shot 7" of feel-good vocal grooves that should appeal to a huge spectrum of cats ready to get down, not least the A-side joint 'Shake & Boogie' with its infectiously sunny demeanour. 'Not Today' is a more disco-styled affair with snappy Philly string stabs and a slippery groove you could just sink your teeth into. Just watch out for that epic piano breakdown, it might just raise the roof off the joint.

Review: Jalen Ngonda is a hotly tipped soul artist who finally unveils his long awaited debut album. Come Around and Love Me was written at Hive Mind Studios in Brooklyn, NY with musicians form the wider Daptone family and producer and arrangers Mike Buckley and Vincent Chiarito from Charles Bradley's Extraordinaires. The result is a modern soul sound tinged with r&b, the harmonies of The Beach Boys and hooks of the Beatles, but all with a timelessness and classic edge that is sure to make it a lasting pleasure.

Review: This massive anthology box set compiles all five volumes of the Stereolab Switched On series: 94 non-album tracks and sought after deep cuts by the group. Beginning with the original Switched On compilation LP from 1992, the series that ensued - though entirely comprised of deep cuts - still makes for a comprehensive jaunt through the Anglo-French auteurs' oeuvre, which never once lets up on quality. Every track here could've appeared on a full-length, so it's a testament to the band's work ethic that they simply had this much material to follow up with. Warp's comprehensive new 8xCD includes experimental highlights such as the original weirdo-chanson 'Plastic Mile', an Autechre remix of 'Refractions In The Plastic Pulse' and the stripped back 'XXXOOO', among many other gemstones.

Review: Kaiserdisco bring some big room techno energy to the one label in the world that is most synonymous with that sound - Adam Beyer's Drumcode. Opener 'In The Music' is a dark and driving cut with an acid tinged bassline over hard, hammering, flat footed drums. Add in a dark vocal hook and you have a real monster. 'Error In The System' on the flip is another moody techno pumper for the main room with hefty drums, eerie siren sounds and of plenty squelchy designs. It's a real headwrecker to close out a big 12".

Review: Greater Manchester art-rock auteurs Elbow return with their highly anticipated tenth full-length Audio Clarity. Known for their "one for the masses, one for the few" dynamic that saw 2019's experimental Giants Of All Sizes offset by 2021's lush, intimate Flying Dream 1; their latest venture appears poised to recapture the avant-garde post-rock machinations of their earliest work, pre-dating the Mercury Prize winning success of 2008's The Seldom Seen Kid, and harking all the way back to their more challenging Cast Of Thousands days. Described by vocalist/lyricist Guy Garvey as "gnarly, seedy grooves created by us playing together in garagey rooms", the mathematic, slow burn of lead single 'Lovers' Leap' twists odd time signatures around interlocked grooves while building towards a post-funk finish, sonically and compositionally highlighting their more involved, frenetic approach as opposed to their recent output's more minimal set-building. In short, Elbow are back for themselves and whoever else cares to follow them yet again down their labyrinthine tapestry of artful ruminations.

Review: The faultless Razor-N-Tape label has long been one to keep an eye on for fans of all forms of house, disco and plenty in between. This new one from Balearic man Max Essa with slow-motion maestro Eddie C is perfectly timed to arrive as days are getting longer and the sun is out more. It features four lush tunes that roll deep with languid chords, deft little funky guitar riffs and laidback vibes that douse you in all the feels. 'We Live In The Hills' is the standout for us with its fleshy synth work and a sprinkling of tropical percussion.

Review: Goettingen's long standing dub techno servant XDB takes us to Chicago At Midnight with this new 12" on Pariter. 'Fenders' is one and is a deliciously elastic rhythm with rolling kick drums setting a hypnotic groove as the bubbly synths rise up through the mix. 'Cagomi', more edgy and amped up with gritty hits and swaying bass, gets a new lease of life after first surfacing on XDB's Metrolux Music back in 2009. The same cut gets a remix from Delano Smith that's more rooted to the floor in the Detroit man's usual textbook style. A classy outing from all, then.

Review: In 2015, Texas & London-based trio Khruangbin's debut album 'The Universe Smiles Upon You' garnered wide critical acclaim and captured attention for its seamless genre-blending and internationally shaped sound - one that evidently has deep roots in Thai-funk cassette culture. Similarly to their debut, sophomore record 'Con Todo El Mundo' is a cocktail of largely instrumental surf-rock, afro-funk, middle-eastern and far-eastern influences, mixed with warmth and soul. As if their pallette wasn't diverse enough, the additions of the pared back boogie on 'Evan Finds The Third Room', the widescreen dream-pop of 'A Hymn' and deeply intricate writing of closer 'Friday Morning', are illustrative of a band who have worked hard to broaden their horizons while keeping their roots in mind and, despite transatlantic bases, clearly remain a stunningly cohesive and well-matched outfit.

Review: Know What I Mean? is a sublime collaboration between two jazz giants. Released in 1961, it showcases the unparalleled musical chemistry between Adderley's exuberant alto saxophone and Evans' masterful piano. With tracks like 'Waltz for Debby' and 'Elsa,' it blends lyrical melodies with inventive improvisation to mesmerise the mind while Adderley's dynamic energy contrasts beautifully with Evans' introspective style. That captivating interplay highlights the best of both musicians and means this album is a timeless gem in the jazz canon that is rightfully celebrated for its sophistication.

Review: Gunjack, one of Planet Rhythm's techno veterans, enchants with his bold, hard techno style in Footprints. The EP opens with 'Fat Lady Sings', a high-energy track that merges intense techno and euphoric house chords over a relentless beat. 'Body Memory', true to Gunjack's prowess, showcases his intricate percussion. It's a dancefloor anthem with a relentless driving force, destined to ignite crowds. The title track, 'Footprints' is a prime-time dancefloor weapon, its infectious stabs and galloping technocracy creating an unstoppable groove. The EP's last track, 'Iceman Cometh', echoes Basic Channel's iconic chord stabs, infusing acid elements to deliver a captivating finish. With its masterful blend of pounding rhythms, exciting movement in the percussion, and relentless energy, 'Footprints' solidifies Gunjack's status as a quality techno producer.

Review: Spanish label MATE host a four track, two artist 12" that stretches across the Atlantic to take in top house music talents from both sides. The Belgian duo Chasse follow their releases on Robsoul and Exploited take on the A-side, with 'Viola' proving a chunky but emotive offering held together by rhythmic sax stabs and suspended strings and 'Deep Link' a jazzier affair, the sax let properly loose as a plaintive piano loops atmospherically. The prolific Detroit producer Javonntte, a regular on the label, offers up the fantastic Moog improv wigout of 'Sunday Brunch Cocktail', registering some impressively original high frequency operations. 'When Music Feels' boasts a spoken word vocal from Javonntte's own sister and a more classic deep house sound with an uplifting, spiritual vibe. Maximum value for money via four very playable tunes.