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Review: This deliberately mysterious outfit hailed from Italy, and this, the first of two previously ultra-rare and highly collectible LPs, is no less than a psychedelic classic, chock full of wild keyboards, fuzz guitar rampage, blissed-out trance states and fearful avant-garde trickery. It's been ascertained that Braen's Machine was the work of heralded soundtrack composer Perio Ulimani, as well as Morricone collaborator Allesandro Allesandroni, and this would make perfect sense, as "Underground" is very much in the metier of Italian soundtrack legends Goblin, and bound to appeal to fans of the widescreen psych sweep of Aphrodite's Child. Bellisima.

Review: Phil Evans' second album follows a series of standout EPs on Blankstate, Sensual, Twig, Vigenere and his own Pager Records; the Frankfurt DJ and producer doubles as the Freizeit Records co-founder of Pager, helping set in e-motion the evolution of his local underground electronic scene. With minimality at its core, we hear on E Motinos a reserved and calculated three tracks per vinyl side, preserving optimal, skipless groove quality: 'Eazin', '<3', 'Hm' and 'Deep' prefer a near nonverbal titular expressivity, resisting any reference to the record's tricky, body-jacking movements in any capacity except through body language.

Review: The third release on Secretsundaze's 9FINITY imprint sees Naarm/Melbourne producer DJ Life return to the fold with another batch of psychedelic club tools, balancing UK bass pressure with trippy minimal finesse. 'Utility' jolts things into motion with snaking low-end and warped FX, slipping in and out of jagged tech shapes. The sparring synth jolts of 'Electrolyte' feel more frenetic, its thwacking groove and dubby vocal chops making for a proper headrush. On the flip, 'Breathe' trades upfront energy for depth, layering smoked-out subs beneath lattices of percussion. 'Stay Playful' edges toward tribal house but keeps its sci-fi freakiness intact. Digital bonus 'Love Sensation' eases the tension with clipped garage swings and pearly padsia welcome curveball.

Review: We'll jump at the chance to talk about anyone affiliated with the mysterious SAULT collective. One of their most prominent voices, Cleo Sol, has here teamed up with her longtime producer friend Inflo for her second album, 'Mother'. This 12-track LP spans neo-soul, jazz and folk, and chronicles Sol's turbulent transition into motherhood. Across solitary ballads like 'Sunshine' and radiant folk dirges like 'Know That You Are Loved' and 'Promises', this album sounds purer in contrast to her debut 'Rose In The Dark'. Watch out for the hidden tracks on this vinyl edition.

Review: Recorded live at Brooklyn's Glasshaus in front of just 100 guests, Live at Glasshaus captures a one-night-only performance from Philadelphia-born vocalist Bilal, reinterpreting material drawn from a two-decade discography. Backed by an ensemble comprising his long-time creative circle, the set revisits early breakthroughs like 1st Born Second, cult favourite 'Love For Sale' (still never officially released), and later highlights from Airtight's Revenge and his collaborations on Common's Like Water for Chocolate and Resurrection. At 78 minutes, the session moves between stripped-down soul and expansive jazz-schooled improvisation, with appearances from Questlove and Common woven in. 'Soul Sista', 'All Matter' and 'Funky For You' get fresh treatment, while interludes lend a loose, intimate feel. First pressing gone; second underway with global shipping across 15 territories.

Review: Paris-based artist Alex infuses his latest 12" with emotional clarity and cinematic weight, charting two personal chapters across a vivid stylistic spectrum. 'Colors in the Rain' unfolds slowly, stretching over nine minutes with plush chords, detuned synth spirals and muted percussion - evoking a kind of romantic unease that teeters between beauty and disorientation. It's club-ready but drenched in feeling, moving with the pacing of a memory. On the flip, 'Drama Major' leans further into a kind of pop-noir introspection: melodies rise, fragment, then reform with aching insistence over blown-out kicks and heavy low-end. Mastered at Dubplates & Mastering and distributed by Yoyaku, the record is technically pristine, but its emotional core is what lingers. Club music, yes, but made from the same raw material as heartbreak. Alex doesn't just score his own past here but offers a blueprint for others to make sense of theirs.

Review: Belgian label Music Man Records continues its deep dive into local club history with a standout 12" drawn from a wider retrospective on Destelbergen's legendary Boccaccio club. This release centres on the early house and techno that defined its Sundays-an alternative narrative to the better-known New Beat story. The A-side opens with Steve Poindexter's 'Computer Madness', all skeletal drum patterns and jacking minimalism, before UK crew Age Of Chance explode with 'Time's Up (Timeless)', a proto-rave anthem remixed into cut-and-paste chaos. On the flip, LFO's self-titled 'Leeds Warehouse Mix' drops like a techno blueprint-bleep-heavy, bold, and unmistakably northern. Closing the set is Alice D In Wonderland's 'Time Problem (Techno Speed Work)', a hyper, squiggly take on acid techno that feels like a high-speed trip through late-80s futurism. With selections curated by Olivier Pieters and Stefaan Vandenberghe, this 12" captures the rawness, friction, and thrill of a scene that still resonates across Europe's underground.

Review: Hailed by RA as a "true connoisseur of music" - and so far with a spectacular trail of festival appearances behind them, apparent between Ireland, New York and Vienna - Island Times Deejay has kept up a staggering career so far. His new EP now drops as an inevitable testament to his ability not just to select but craft and cut grooves of his own; the lead track works through an untraceable disco source sample of fiendishly obscure proportions, despite its brilliant hookline: "set your mind free, you can't fight it, you'll be delighted, destiny". The A-sider is equally obscure, though it sounds to be quite a loyal and forgiving redo of an equally graded disco-soul crooner, awash in lyrical reminders of the operant genre: "disco!"

Review: Master drummer and producer Alexander Flood debuts his rhythmic first record on Atjazz, following up the sumptuous first single 'Life Is A Rhythm'. A truly exciting record on foliate green vinyl, this LP packs a production paradox, bringing both boomy bodyweight and a shape-cutting, 2-stepping sense of ease at the same time. With extra layers of perc in the rhythm section, with Brazilian percussionist Aduni on congas and Cuban percussionist Alexander Scull Castillo on bata, it's actually really the dance-flooring production that grabs us here, heard best in the plum chords and erratic pianos of 'Don't Wait For Me', and/or the live bruk ghost dance 'Sidestep'.

Review: In the early 1970s, Dusty Springfield moved to Los Angeles and signed with ABC/Dunhill Records. Her 1973 album Cameo showcased soulful pop but saw limited success and for her 1974 follow-up, For Longing, Dusty collaborated with producer Brooks Arthur in New York and embraced a 1970s singer-songwriter sound. The album featured material from Colin Blunstone, Melissa Manchester, Janis Ian, and Barry Manilow, with contributions from the star-studded songwriters themselves. Emotional exhaustion led Dusty to shelve the album, but it was later released in 2001. Now, all ten tracks make their vinyl debut, including new mixes and the first solo release of 'Corner of the Sky.'

Review: California producer Space Ghost teams up with South Carolina-based singer Teddy Bryant for a sun-soaked ode to late 80s and early 90s soul. The record opens with the silky swing of 'Some Things Last Forever', giving way to lush, G-Funk-laced grooves like 'Majestic Fantasies' and club-focused cuts such as 'Unconditional (Club Mix)'. Bryant's vocals glide over Space Ghost's plush instrumentation, with tracks like 'Cheer Me Up' and 'Ultimate Love' channelling UK street soul and the balladry of classic r&b. 'Shine' and 'Ultimate Love', both featuring Morgan, add extra emotional weight. The pair clearly draw from a shared love of Teddy Riley, Jam & Lewis and DeVante Swing, but there's a lightness here that feels rooted in the present too-music that remembers the past without ever getting stuck in it.

Review: Spring has sprung into something resembling summer, and perhaps the best record through which to celebrate this transition is Brandee Younger's latest, Gadabout Season. The title - sparked by a word-of-the-day email on tour with longtime collaborators Rashaan Carter and Allan Mednard (gadabout meaning "someone who roves about aimlessly seeking amusemnt") - came to represent the Younger trio's mission to seek spontaneous lightness through movement and music. Writing from a cabin in upstate New York, and later recorded in her Harlem apartment, Younger embraced a slow, intentional process, fine-planing a canny compositional set informed by ancestral, influential sottos of jazz, hip-hop, classical and soul; all are heard to whisper in Younger's ear as she rides each song. It's the first major body of work made almost entirely on her own, and crucially, contains pieces crafted using Alice Coltrane's restored harp, now appropriately left in her care.

Review: We're told that this EP is an archive of encoded human memories made to "survive the AI's purge." Anyone listening back to this years from now will be sure we had a good old time, because it's slick and charming, minimal and tech with real soul. Sweater's 'Front Street Strut' is a kaleidoscope of colours, Reyer's- 'Martian Law' brings some stripped-back but bubbly and rubbery funk and Poten's 'Coming Or Going' layers up whirring machines and pixelated synth sequences into something zoned out and warm. Lukey shuts down with the snappy broken beat tech of 'Spectrum' with its bright, singing leads.

Review: San Fran-born Ben Kweller is a former member of post grunge band Radish, who were signed to Mercury Records in the 90s and count the mighty Nils Lofgren as a fan. His solo output, however, is a lot more prolific: this is his seventh studio album. Poignantly, the album is written in honour of what would have been his late son Dorain Zev's 19th birthday. This is Kweller's first release since Dorian's tragic passing in 2023. The album is blessed to have some incredible guests, Waxahatchee, The Flaming Lips and MJ Lenderman all lend a hand. And musically Kweller's power as a singer-songwriter is in potent condition - 'Dollar Store', which is two vocals and a guitar for the most part needs nothing more to captivate. That it then bursts into a distorted, soaring finale is just a bonus. It's no wonder the most talked about newcomers in America indie wanted to be involved with this album.

Review: Hotly-tipped South London newcomers Ain't release a limited edition 7" featuring two singles produced by Theo Verney, who is one of Brighton's most celebrated guitar music producers, having worked on records by the likes of Traams, Blood Wizard and Lime Garden. As a group, Ain't cleverly weave shoegaze guitars with emo vocal cadences to create a sound that's likely to do just as well within the burgeoning new wave of American shoegaze scene as it is on the London indie scene, where they are currently among the most talked about new bands.

Review: Anorax Records' motto and hash-taggable suggestion is to #eatsleepcollect, as if we weren't doing so already! This time they deliver on the highly anticipated 'Tighten Up' by Melbourne soul collective The Bamboos. First released in 2006 on Kenny Dope and Keb Darge's Kay-Dee label, this instrumental version of Archie Bell & The Drells' 1968 hit quickly became a favourite in soul and acid jazz circles. Rhythm-made by The Bamboos' leader, Lance Ferguson, this one stands out for its vocal absence, offering a quirky, irresistible take.

Notes: Standalone version of Enjoy's DeFeel module. Inspired by 'fill' effects found on old-school drum machines, the DeFeel is a unique approach to manipulating sequences, designed to 'degenerate the monotony' of rhythmic patterns, creating variations in real time.

Supplier's Notes:
With DeFeel Enjoy Electronics have redesigned and applied the Fill concept to make it usable in the world of modular synthesizers.

This device is designed to break the chain between the sequencer and everything that comes after it, allowing you to intervene at the right time and create unique variations.

A modular device that's not going to generate anything, but is created to degenerate the monotony.

DeFeel isn't about complex button presses or cryptic menus. Here, creativity reigns supreme. Design your rhythmic patterns with an intuitive touch. Simple lines and vectors come to life on the multitouch display, allowing you to experiment and craft unique sequences with remarkable ease.

With DeFeel, Enjoy Electronics offer musicians and performers a powerful and versatile tool to enrich their performances and compositions. With its intuitive programming, sleek design, and innovative translucent panel, DeFeel stands out as a unique device poised to revolutionize the way modular synthesizers are used and perceived.

Review: Secret Soul Society aka Cal Gibson backs up his already assured reputation for being something of an edit maestro here. 'Julians Cabbages' kicks off with dubby downtempo drums and some lovely twinkling arps. 'Make It All True' then refracts a shimmering vocal and some nice musical percussion around a lazy groove and 'Finally Got My Life Together' has a dreamy feeling and widescreen synth architecture. 'Next To You' shuts down with more textured bass and another weird yet wonderful vocal sample.

Review: New York outfit The Budos Band return with their first full-length release on Diamond West, the new label founded by band members Tom Brenneck and Jared Tankel. VII was produced by Brenneck and engineered by Simon Guzman and has plenty of their signature taut, groove-driven tracks that blend Afro-soul, doom rock and 70s psychedelia. They were all recorded in California and feature the percussionist Rich Tarrana, who adds his own fresh texture without detracting from the raw, hypnotic MO of the band. As usual, this is music that is equal parts cinematic and visceral and is perfect for nocturnal drives and deep immersion. Now more than two decades in, The Budos Band are still able to surprise and compel.

Review: South London's Patrick Wolf's seventh album unfurls with the sound of wind buffeting coastal cliffs and gently recedes with a hymn to the sea fog. The intervening tracks chart a course through grief, folklore and ritual, woven with strings, synthesisers, and a vocal timbre that carries the weight of experience. Marking his return with his first full-length in over a decade, Wolf delves into the traditions of East Kent and the pagan Wheel of the Year. He conjures a landscape steeped in liminality, harvest, and mortality, resonating with both personal loss and ancient myth. 'Dies Irae', featuring the poignant vocals of his sister Jo Apps, centres on their mother's passing with devastating clarity, while 'Limbo' (with Zola Jesus) transitions into a stormy, cinematic realm. 'The Curfew Bell' echoes his earlier chamber-pop sensibilities, now imbued with a newfound restraint, while 'Lughnasa' (featuring Serafina Steer) and 'Song Of The Scythe' tap into deeper, more elemental undercurrents. Across all 13 tracks, Wolf navigates confidently between orchestral grandeur and stark minimalism, seamlessly blending field recordings with folk revival elements. The result is a record that feels simultaneously ancient and futuristicias if unearthed from the soil, blessed by the moon and cast out to sea.

Review: Curtis Mayfield's tender falsetto and political lyrical activations made him one of soul's most distinctive and influential figures of the 70s. Addressing civil rights, urban life, and Black identity with rare grace, it's little wonder that his catalogue has since proved a goldmine for reinterpretation, where 'Move On Up', 'The Makings of You' and 'People Get Ready' continue to inspire covers over generations. Here, howsoever the decision was made, do Soul Shepherds reshake a less-known Mayfield favourite in dub, 'Give Me Your Love', a dark-horse ode to good lovin', originally track 6 on the soul star's great soundtrack to the pimpin' 70s film Superfly. "It's true, you're such a gun / Make my lungs sigh" go the brusque lyrics, proving the sensuousness of Mayfield's broadly applicable approach to love.

Review: Detroit's Robert Hood returns to vinyl with a techno triptych that distils his vision into something sharp, agile and impossibly refined. Though long synonymous with minimalism, he hasn't sounded this raw in yearsi'Art Form' arrives like a jolt, all jacking 909s and acidic flickers that feel urgent and alive. It's his first straight techno release since 2024, and it pulses with a kind of stripped-down euphoria, framed by Hood's ear for clean lines and stark rhythmic discipline. 'Art Class' deepens the tone, winding through heavier acid modulations that buzz beneath a more spacious arrangement, less confrontational but just as potent. On the B-side, 'Art School' leans into the cinematic mode, pairing sci-fi synth washes with grinding low-end pressure, rolling somewhere between introspection and propulsion. Though the tracks first landed digitally earlier this year, hearing them sequenced here offers a deeper read into Hood's blueprintiacid as method, groove as design. In his own words, M-Plant is about "only what is essential", and these three cuts prove just how much feeling can be encoded in that minimal frame. It's a statement of intent, executed with absolute clarity from one of techno's true architects.

Review: Abba's self-titled third album marked a creative and commercial turning point for the group; released in 1975, it was their first full-length following the breakthrough historic romance hit 'Waterloo', and the moment they cemented a sound that would dominate pop for years. Packed with high-drama hooks and refulgent production, the album of course also includes 'Mamma Mia' and 'SOS', both early experiments in the theatrical, harmony-rich style that would define the long-form productions of Benny Anderson and Bjorn Ulvaeus. With newly remastered audio cut at half-speed by Miles Showell at Abbey Road, we've two new inclusions: kitsch singalong gem 'I Do, I Do, I Do, I Do, I Do' and glam-leaning opener 'So Long'.

Review: It's hard to believe ABBA's third album is 50 years old this year and S.O.S. was one of the slef titled LP's most successful and distinctive moments. The song helped solidify the Swedish quartet's exciting blend of catchy pop and disco, as well as - absolutely true - providing the Sex Pistols with the intro for punk classic 'Pretty Vacant'. This period correct picture disc 7" celebrates one of their most iconic singles, backed with beloved album cut Man In 'The Middle' here.

Review: Back by popular demand, this reissue from one of techno's true originators reminds us just how vital these tracks still sound. First released in 1992 and briefly reissued in 2000, these four cuts showcase a unique hybrid of Detroit precision and early European rave energy that continues to inspire. 'The Warning' leads the charge with classic machine-driven Detroit funk. Its rhythm is relentless yet controlled, mechanical yet human. The track feels like a transmission from a future imagined decades ago. 'Ghost' follows with a harder edge. It channels the energy of early Belgium rave with sharp chord stabs and that unmistakable Hoover-style synth. It hits fast and leaves a heavy impression. On Side-B, 'Ex-' is the most cinematic cut. Sci-fi textures, punchy drums and an off-world sense of atmosphere blend the sharpness of UK rave with Detroit's emotional weight. 'Dark Basse' is the banger of the EP with a stripped-back approach. Its minimal but moody framework makes it an instant attention grabber, offering something both haunting and dancefloor effective. These tracks remain timeless and prove once again that true underground techno never goes out of style.

Review: El Buho's (Robin Perkins') influential 2017 debut album returns with its first repress, aiding our reflections on an album that helped define the digital folklorica and "natural cumbia" movements emergent in electronic music in the latter half of the 2010s. Balance weaves a complex darn of naturalism, Latin American rhythms, and modern synthetic percussion design, smudging the lines cordoning off organics and synthesis. Hailed in the press as "the ultimate fusion of nature and music" and for evidencing Mexico's indigenous roots in sound, El Buho helped bridge organic and digital worlds of cumbia Andina and chicha with electronic textures here, presaging and perhaps causing the clamour over cumbia that has since ensued.

Review: A decade after it was first released (credited, back then, to Detroit Swindle), Dam Swindle's 'Figure of Speech' EP returns on vinyl in freshly remastered form. It remains one of the Amsterdam duo's most respected and much-loved EPs, and for good reason. Opener 'Figure of Speech' is an infectious, rolling and impressively groovy workout which combines African vocal samples, layered percussion and tidy house breaks with warming deep house chords and tech-tinged electronics. 'Victoria's Secret' is a woozier and more analogue-sounding deep house groover with deliciously positive synth melodies and fizzing riffs, while 'Live at the Cosmic Carnival' is a more percussion-rich slab of jazz-flecked, Batacuda-inspired Latin house heaviness that could well be the EP's most potent moment.

Review: Micky More & Andy Tee's Groove Culture hits the notable milestone of 30 releases with another healthy dose of funky disco fun. Stepping up for this one is Shabi, a new name emerging from Berlin with a sound that defies the city's usual techno moodiness. 'Get Up' rides on big loopy drums with silky chords adding colour to clipped vocals and noodling baselines. 'Dream Funky' is another bouncy jam peppered with diva cries and horns, 'Ghetto Beatz' lands a little more heavy with with plenty of ass-wiggling groove and 'Keep It Burnin' rolls deep with sustained chords and plenty of big licks to energise any party.

Review: ONEGRAM, the cult Japanese reggae band formed in 2011, is back with a new album that takes in everything from their genre-defying journey so far. Though known for blending reggae with lovers rock, they also fold in conscious vibes and disco grooves to their sodden and here the Tokyo-based outfit delivers ten tracks that reflect their unfiltered present. It's their first original album in five years following 2021's cover-focused Random Access Music and highlights include the soulful hit 'After the May Rain,' the groovy 'Crazy For You' (which even got praised by Incognito members) and a dreamy take on Bread & Butter's 1974 classic 'Pink Shadow.'. It's an honest, heartfelt and unmistakably ONEGRAM sound.

Review: Javier Marimon returns with a set of amb-immersers shaped by architecture, memory, and the shifting continguities of sound and physical space. Made during his time in Saigon in 2018, the tracks lean into absence, with subtle, bass-free constructions predominating over a musical space that exists to be inhabited. A further remix from Vand , meanwhile, reinterprets the original material through a thinner lens, offering a contrasting perspective without overwhelming the source. A quiet but affecting punctuation mark in an already rather grand artistic discography.

Review: Zambian psych rock trailblazers Witch - formed in 1971 and led by Emmanuel Chanda - endured decades of dormancy but enjoyed a new lease of life over the past few years. This follow up to their 2023 reunion album, Zango, sees them continue their blossoming relationship with the Desert Daze festival's label arm and Partisan Records, which is the label that broke Fontaines D.C. A notable producer of the album is Finland's Jacco Gardner, who has dabbled in myriad projects including an impressive solo career and what he's been able to oversee here is remarkable. The rabble-rousing garage rock opener, 'Kamusale' sees fuzz-laden guitars intertwine with Chanda's raw, energetic command as a frontman and we are quickly cast into their spell. Another highlight is the eye opening 'Queenless King' where a kraut-funk bass groove sets off a free-spirited psychedelic tapestry, bursting with bright ideas and soulful charm.

Review: End Of Perception welcomes Italian label head and Acquario resident Viels for a first solo outing that is all about peak time techno with a meditative energy and strong mental imagery. These sounds sit well with those from country peers like Nuel and Donato Dozzy in that they are linear, loopy and full of spectacular sound design. 'Sospiri' is a swampy and dubby sound that is always shapeshifting, 'Movimenti Tellurici' is more intense and sounds like being trapped in a factory during peak production hours and 'Incompleti' has a deep space pulse. 'Destino' pairs thudding hits with synths that encircle you and lock you in the here and now.

Review: Rotterdam label Mord is back with a bumper selection of techno treats here from a range of new school producers. Across an incredible eight sides of vinyl, all shades and rhythms are explored, starting with Radial & Bas Moot's loopy, dark, sludgy 'Jacht' and going on through Temudo's silky and stripped back minimal prowler 'Leaving The Old Flesh,' Rommek's industrial and edgy 'Vaporized' and Roll Dann's twitchy, paranoid 'Human Furniture'. Elsewhere Shaney & Zadig offer up unrelenting pressure with 'Downwards' and Mathys Lenne's 'The Road Is Wider Than Long' is all about sparse techno atmospherics from a dystopian world.

Review: Between 1969 and 1970, Elton John recorded a wide range of cover versions as part of his early career as a session musician and budget label contributor, and this new Iceni compilation tracks some of the very best of that era. Working frequently with producer Paul Brooks and arranger Zack Laurence, he lent his vocals to low-cost soundalike records covering contemporary hits. Be these Beatles or Rolling Stones redos, or personal takes on Simon & Garfunkel through Creedence Clearwater Revival, none were widely credited at the time, and yet they reveal John's vocal adaptability and emerging style, revealing a familiarly trodden path for many a musical mega-greats: as did Johnny Cash all the way through to Justin Bieber, you can make a sure start with covers.

Review: British electro pioneer Bass Junkie reactivates his Cybernet Systems alias with a fearsome four-track return that celebrates and retools a thirty-year legacy. Originally dropped in 1995 via Panic Trax, 'We Are Borg' gets rebuilt from the raw data of the original SP1200 session, still driven by that signature low-end pressure and now even more punishing for modern systems. 'Bass Force' ups the intensity with widescreen synths and body-slamming subs, pushing electro bass into cinematic territory. On the flip, 'Electron Spin Resonance' delivers a DMX-fuelled onslaught of chopped edits, dense percussion and martial drive, while 'Proceed' nods back to the 80s machine funk of Pretty Tony and Egyptian Loverigleaming with nostalgia but never stuck in the past. It's a fierce reminder of Bass Junkie's place in the electro continuum, bridging Florida, Detroit and the UK with hardware grit and future shock precision.

Review: Spanish DJ and producer Javi Mula has been delivering top-notch house tracks for over 15 years, consistently maintaining high-quality production while he goes. His latest release, 'Sexy Lady', for the Blanco Y Negro label, is a funky, sleazy house jam featuring a filthy bassline and bold disco melodies and it comes on this black vinyl but also magenta pink. On the flip side, 'Come On' brings chunky drums and squelchy bass, perfect for those who love a kinky house vibe. Both tracks come with a cappella versions, offering DJs useful tools for their sets.

Review: A standout in Rahsaan Roland Kirk's early recordings rep, We Free Kings (1962) snaps the young multi-instrumentalist from Columbus, Ohio in sharp and fitted suited form, striking a confident balance between bop-rooted sophistication and latent warm expression. The album has two rhythm sections - Hank Jones and Wendell Marshall on one, Richard Wyands and Art Davis on the other - with Charlie Persip anchoring on drums throughout. While the majority evidences Kirk's prowess as composer and arranger, his interpretation of Charlie Parker's 'Blues for Alice' curves the ball with a fierce, swinging homage; clearly, there's no peace for this mouthpiece. Part of Verve's Acoustic Sounds Series, this one comes again with all-analog remastering from the original tapes, pressed on 180-gram vinyl and housed in a deluxe gatefold sleeve.

Review: This ten-year anniversary reissue revisits the 2015 release from Brooklyn MC Skyzoo, a deeply reflective and narratively rich project that explores the worldview of a 13-year-old growing up in his neighbourhood. It's a concept-driven record that still stands out for its lyrical clarity and storytelling, with production that balances polish and grit thanks to contributions from Illmind, Thelonious Martin and Seige Monstracity. Guest verses from Black Thought, Elzhi, Jadakiss and Bilal never overshadow Skyzoo's vision, but add depth and texture to his meditative tone. 'Luxury' remains a standout i a sharp, swaggering track that also marked Westside Gunn's first major feature i while cuts like 'The Moments That Matter' and 'Money Makes Us Happy' frame coming-of-age questions within lived detail. Not just a nostalgic reissue, but a reminder of how much weight Skyzoo carries when he stays close to home i thoughtful, precise and full of earned perspective.

Notes: The third generation of the world's most popular wireless microphone, now with 32-bit float recording, intelligent GainAssist technology, improved built-in mics and a host of professional features and enhancements - the ultimate creative companion.

The World's Most Popular Wireless Microphone

The original Wireless GO was the first of its kind, establishing an entirely new category of compact wireless microphone that soon became the go-to audio tool for content creators around the world. Now, the third-generation Wireless GO builds on this legacy, delivering every feature and convenience a creator could possibly need while maintaining the intuitive grab-and-go operation that the range is known for.

State-of-the-art Wireless Audio

Utilising RODE's state-of-the-art Series IV 2.4GHz digital transmission and proprietary near-zero latency codec with 128-bit encryption, the Wireless GO delivers crystal-clear, incredibly stable audio with a range of up to 260m.

Say Goodbye to Clipping

For the ultimate peace of mind, each of the Wireless GO's transmitters feature over 40 hours of 32-bit float on-board recording. This means that your audio is safely backed up every time you record, with the ability to recover any recording in post-production that was too quiet or too loud - even audio that clipped!

Flawless Sound with Every Take

The Wireless GO offers a wide range of features to help you capture incredibly clean and intelligible audio for your content. Intelligent GainAssist technology automatically balances levels on-the-fly, granular gain adjustment and tailored camera presets allow for more refined control over your signal, and the built-in microphones feature the same upgraded capsules and preamps as found in the Wireless PRO. Capture flawless sound with every take.

The Wireless Mic for Every Setup and Every Setting

With both digital and analogue outputs, the Wireless GO is just at home connected to a DSLR or mirrorless camera as it is plugged into an iPhone or Android smartphone - you can even use it as a USB microphone with your computer.

Gain the Professional Edge

Monitor your audio in the field with the Wireless GO's high-power headphone output, ensure your lavaliers stay connected on set with 3.5mm locking connectors, and extend your system's battery in the field with plug-in power detect. The Wireless GO has a host of professional features designed to make your creative life a whole lot simpler.
Specifications

Acoustic & Electrical

Acoustic Principle: Pre-polarised pressure transducer
Polar Pattern: Omnidirectional
Frequency Range: 20 Hz - 20 kHz
Maximum SPL: 123.5 dBSPL
Equivalent Noise (A-Weighted): 22 dBA
Signal-to-noise Ratio: 72 dB
Analogue Inputs: 3.5mm locking TRS (TX)
Analogue Outputs: 3.5mm TRRS (RX)
Transmission Range: 260m (line of sight)
Digital Connectivity: USB-C
Operating System Requirements: macOS 11 and above, Windows 10 and above, iOS 14 and above, Android 11 and above
Power Requirements: In-built rechargeable lithium-ion battery, charged via USB-C (5V, 0.4A)
Operating Time: Up to 7 hours

Mechanical

Weight (grams)
TX: 35
RX: 36

Dimensions (millimetres)
TX: 46.5 (W) x 44 (L) x 20 (H)
RX: 46.5 (W) x 44 (L) x 20 (H)

What's in the box

2 x Transmitter
1 x Receiver
1 x SC2
1 x SC21
1 x SC22
1 x SC33
1 x Carry Pouch
3 x Furry

Review: Neil Percival Young. Canada's finest musical export? Buffalo Springfield founder, sometime member of Crosby, Stills and Nash and, as of 2025, the man behind The Chrome Hearts. He's always got something to say, and plenty to play, and whenever a new project is announce it's more than worth getting excited about. And that's before you hear this latest trip into folk-Americana territory. In many ways, this is typical Young. Stories of the journeyman, the everyday people and the struggle - all told by gently bleeding guitars and with an air of reflection. Tracks are personal and yet outward looking, including one which takes a swipe at Elon Musk - targeted within a wider conversation about crappy American cars. But then The Chrome Hearts definitely feel like a fresh chapter, and one that continues the decade-spanning saga with new ideas and energy.

Review: New York glam-metal outfit White Lion carved out a distinct place in late 80s rock with melodic precision, glossy riffs and stadium-sized sentiment. This collection captures their most anthemic highs, with cuts from Pride, Big Game and Mane Attraction laid out in full power-ballad and riff-led glory. The one-two of 'Wait' and 'Radar Love' opens with slick drama, while 'Hungry' and 'Broken Heart' showcase their knack for writing choruses with teeth. Ballads like 'When the Children Cry' and 'Love Don't Come Easy' dial into emotional overdrive, but there's bite too: 'Little Fighter' and 'Lights & Thunder' burn with righteous intent. Two live recordings-'Lady of the Valley' and 'All You Need Is Rock N Roll'-round it off with arena energy. A slick document of their platinum-era peak.

Review: American rapper JPEGMAFIA's latest is a sprawl-furious, funny and brutally confessional. It plays like a barrage of psychic snapshots: voice notes, demos, diss tracks, gospel flips and pixelated trap dreams. The first half (ending with 'ALLAH') forms a pummelling, meticulously sequenced core-'Jordan Rules' and 'JPEGULTRA!' crackle with fury, while 'i lay down my life for you' and 'Don't Put Anything on the Bible' show his growing mastery of melody and space. Vince Staples, Denzel Curry and Buzzy Lee slide into the chaos without diluting it. The second half loosens its grip: raw sketches like 'tour idea feb 1st 2025' and 'JIHAD JOE' stretch the project's limbs outward. It's unfiltered but not aimless-his vision is lucid even at its most erratic. From the title down to the tracklist, this is a record that dares you to look away and dares him to reveal more. It's the most complete JPEGMAFIA has ever sounded-uncompromising, contradictory, and fully locked into his own frequency. A closing chapter that reads like a manifesto.

Review: Throbbing Gristle co-founder and all round British experimental electronic institution, Cosey Fanni Tutti returns with 2t2, a new full-length set for release through her own Conspiracy International label. The new nine-tracker extends the tracked terrains of 2019's Tutti, blurring personal reflections on years of loss and upheaval into prosthetic electronic soundscapes. The record unfolds over two contrasting halves, one beat-driven, the other more introspective, yet it also keeps anchored to a certain ground point emphasising resilience and focus. Lead cut 'Stound' features overtone chanting, which Cosey describes as a way to channel inner strength: "allowing the sounds to permeate and soothe as well as create a sense of power."

Review: One of the most legendary female producers in history of electronic music brings out her sixth solo album - not to mention her numerous seminal recordings as part of Throbbing Gristle and Chis & Cosey - and the first in three years. 2t2 is an intimate yet electrifying statement, a dualistic journey through rhythmic propulsion and meditative introspection across nine tracks entirely composed, performed and produced solely by Cosey herself. With 2t2, she expolores personal loss and global upheavalm transforming them into a defiant sonic odyssey, weaving raw energy and introspective depth together. The beat-driven tracks pulse with kinetic urgency, echoing her industrial and electronic roots, while the ambient passages invite deep contemplation. Lead single 'Stound' exemplifies this balanceiCosey's overtone chanting evokes resilience and catharsis, grounding the record in both personal and universal strength. 'Threnody' pays tribute to Delia Derbyshire and Andy Christian, weaving echoes of past creative dialogues into Cosey's present explorations. Even in its darker moments, there's a lightness, a refusal to succumb to despair, in evidende and Cosey seemingly embraces sorrow as a path to joy, a reminder that resistance and resilience are acts of creation. With 2t2, Cosey Fanni Tutti once again defies convention, crafting an album that is personal and powerful.

Review: Welsh indie Sub Pop-signees The Bug Club return with their fourth album. Similar to their 2024 LP, On the Intricate Inner Workings of the System, they had the fortune of fellow Welsh indie star Tom Rees of Buzzard Buzzard Buzzard produce the album in Rat Trap Studios in Cardiff, Wales and birthed an incredible new record in the process. The Bug Club's appeal comes in their natural affinity with melody and born sense of humour and the single 'How To Be A Confidante' has an air of The Bonzo Dog Doo-Dah Band. Meanwhile, certain vocal parts in 'Jealous Boy' soar like Brett Anderson of Suede if he had grown up listening to Daniel Johnston. Sounding on the form of their lives, there's no chance of swatting The Bug Club's success.

Review: A shape-shifting force from the American South, Bela Fleck & the Flecktones rerouted genre boundaries with their early 90s experimentations-none more so than this landmark second release. Built around banjo, bass, keys and Future Man's custom SynthAxe Drumitar, the quartet's playing here is deft, joyfully off-kilter, and quietly revolutionary. Their self-coined "blu-bop" style hits full stride, blending bebop's angular shifts with bluegrass warmth on 'Turtle Rock' and the dizzying 'Blu-Bop'. A woozy take on 'Michelle' and a surprisingly reverent reading of 'The Star-Spangled Banner' show off their melodic instinct without sacrificing invention. The telepathic interplay and tonal sharpness-especially in the low-end counterpoint of Victor Wooten's bass-make it clear how this group managed to top jazz charts while looking nothing like a traditional jazz outfit. It's a sound not pinned to any one era or idiom, but to pure creative glee.

Review: We've all been party to solo material by seminal UK shoegaze sorts Ride's guitarist Andy Bell, but what about their bassist? Not so much. Well, that's about to change. Enter the brooding debut solo album from Ride's low-end maestro Steve Queralt. A largely instrumental affair, there's elements of shoegaze and darkly textured soundscapes. Plus there's guest appearances from more 90s legends: Emma Anderson (formerly of Lush and Sing-Sing) and Verity Susman (Electrlane, MEMORIALS) grace the album. Anderson sings on the pummeling lead single 'Lonely Town', which was launched with an aptly monochrome meditative montage of a music video. Given the power of this debut, we suspect this nine-song collection is the first of many solo albums to come, from a musician who has nothing to prove, but plenty to express.

Review: First released three years ago and now receiving a deserved reissue, I Am A Tree I Am A Mouth is undoubtedly one of the most magic albums by Australian-American sprano and composer Jane Sheldon - an artist famed for her unique, voice-based works. While the album is not entirely made up of layered vocals and vocalisations - Sheldon employs long, languid ambient drones and textures throughout - they're naturally the focal point. Most of the lyrics (mostly sung, but some spoken) are taken from Rainer Maria Rilke's 1995 tome The Book of Hours (meaning Sheldon largely sings in German), and these are delivered in all manner of inspired ways. The results are uniformly dazzling, blurring the boundaries between chamber music, neo-classical and ambient music's experimental fringes.

Review: This new split release from French label HT sees Yesca and HATT.D come together for a six-track session of pure dancefloor functionality. It's a brand new drop, and a fitting return to the format that helped launch the label back in 2018 i lean, collaborative and totally focused on club energy. Yesca opens with 'House It Up', a shuffling, feel-good roller that lays out his chunky, loop-driven aesthetic, before 'On My Mind' and its 'Groove Mix' variations push deeper into heads-down, vocal-led territory. There's bounce, but also tension i warm basslines cut against crisp hats and filtered pads, keeping things locked without ever losing swing. HATT.D takes the baton with 'House Party' and 'Aye', two punchy, tool-ish cuts with a distinctly jacking edge, while 'Get Down Like This' brings a looser, funkier swing to the table. A digital bonus version of 'House It Up' closes the set with a twist. Built for peak-time and full of upfront house pressure, this one's ready for summer bags and open-air sets i all killer, no filler from two rising names in the Happy House orbit.

Review: It's a remarkable statistic that Payfone - the long-serving production partnership of Phil Passera and Jimmy Day - have not released an album before, despite building up a killer catalogue of singles over the last 12 years. The vinyl-only Lunch, then, is a genuinely significant release .- and, happily, a rather brilliant one too. Featuring an impressive roll-call of guest vocalists and musicians, it sees them deliver six excellent riffs on their analogue-rich, hybrid house/Balearic/nu-disco sound. The plentiful highlights include the dubbed-out, low-slung and atmospheric opener 'Movin' On', the infectious, spaced-out boogie of 'Joan of Arc' (whose chorus will be stuck in your head for days), sensual jazz-funk jam 'Spend The Night' and the warming, sun-soaked delight that is 'Pony Bar'.