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Review: The always adventurous Especial label is back on its world travels once more for another cultured EP, this time from Jonne Lyden aka 53X. This is a widescreen bass exploration with trance-tinged steppas looking firmly to the future from the Finnish-born artist. He has a background in punk bands but a trip to Berlin turned his ear and now he makes experimental fusions that draw on everything from industrial to Berghain to Detroit for inspiration. His tunes are mostly started out as live jams and then edited into what we have here - club-ready sounds, rich atmospherics, acid, breaks and hypnotic rhythms.

Review: (Emotional) Especial and Giraffi Dog join forces once more to offer up the second installment of their concept EP series. It is focussed on live and studio collaborations and this one comes in two halves: the first half kicks off with '6th Chakra' (feat DJ Deflektorschild) - a fully live deep house and hi-tek soul exploration with mind-expanding synths and Detroit drum sounds. 'King OTN' is a jack dup acid cut ripped with cosmic synth details and 'DX Metero' has sheet metal synths lashing about next to ethereal synths and busted drum breaks. 'Starfather' is a star-facing closer with elegant piano notes dancing over serene grooves. A vital showcase of this essential live artist.

Notes: Cutting Room Floor V3 Pedal

(Vintage Reel-to-Reel Tape, Echo, and Stutter)

The Cutting Room Floor has been updated and now has separate controls over the saturation of the input signal and tape delay signal. With this change, it's possible to have any amount of emulated tape saturation on the input signal and an adjustable tape delay level.

Housed in a smaller, compact footprint, the Cutting Room Floor V3 provides beautifully marred saturated tape tone and ethereal repeats. Imagine an abandoned factory with a fluttering tape machine left on infinite replay.

The Cutting Room Floor was designed to emulate the sound and functionality of vintage reel-to-reel tape overdrive and echo. This pedal reaches into the 21st century with characteristics that traverse the world of modulation and delay. Other features include a freeze button that traps a tone while still playing, and expression/CV control for time.

Designed and assembled in Seattle, Washington. Includes a limited 1-year warranty, if registered within 30 days of purchase.

- 150ma current draw

New in V3:

- Independent control of the tape saturation and tape delay levels

- High-quality knobs with textured grip

- Tape reel design lights up when the pedal is on

- Better layout of the knob placement

- Smaller 125B enclosure (4.77" x 2.6" x 1.39")

Review: Moving further away from the more direct techno sound he established as part of The Gods Planet, Claudio Prc has shaped out his 012 platform as an engrossing exploration of more experimental realms, even when strapped to snaking 4/4 rhythms. On this latest release, he's left percussion behind altogether in pursuit of an expansive two-part ambient suite which was originally performed at Up To Date festival in Poland last year. Clocking in at 25 minutes on each side, this is a meandering, engrossing journey which evokes the titular (Sardinian) waves Prc takes his inspiration from.

Review: Here is the third and final chapter of the 'Systema Naturae' series on Berlin-based 012, with fresh deep techno visions from newcomers such as Daniel(i) from Belgium (Whispering Signals) who ventures into foreboding and murky territory on the off-kilter journey of 'Carabus', and there's the return of Greek producer Alex Tomb who gets into some hypnotic minimal techno on 'Paradisaea'. Elsewhere, Leipzig-based Kontinum pushes into full mental overdrive on the strobing cut 'Octandria' and finally you have the collaboration between Mary Yuzovskaya and label head Claudio PRC titled 'Marmor' which perfectly nails that ethereal Sound Of Rome vibe.

Review: Confounding critics (and, to a lesser extent, fans) has long been one of Dexy's calling cards, though even by Kevin Rowland and company's standards The Feminine Divine is a surprising set. The surprise lies not in the fact that it exists at all (Rowland publicly exclaimed that he was "done with music" back in 2016), but the sound of the music on show. Alongside the kind of horn-heavy 1970s soul that delighted fans in their early 80s heyday, The Feminine Divine also includes Serge Gainsbourg-esque spoken word vocals, Prince-inspired electrofunk, slow-motion breakbeats, hands-in-the-air house pianos and nods towards the kaleidoscopic, saucer-eyed rush of Ibiza-inspired Balearica. It's hugely entertaining and, for all the welcome musical surprises, still very much a Dexys album.

Review: Eight-piece soul unit Stone Foundation have been turning out their own distinctive brand of soul for a full quarter of a century now. They have dropped plenty of albums in that time and have a new one to mark the occasion on the way - Standing In The Light: 25 Years Of Stone Foundation, which features all of their greatest tunes, including some originals such as this one, which is also getting its own limited purple vinyl 7" release. As always this is all new but with an authentic vintage aesthetic that makes it impossible to date. The noodling guitar work and funky bass is irresistible with fat synths up top and the playful vocals add further layers of funk.

Review: Fresh from delivering a gorgeous and colourful album under his DJ Panthr alias, Hunter P Thompson returns to 100% Silk under his ambient and ambient techno-inspired alias, Akasha System. Dealing in waves of warming electronic colour, 90s ambient nostalgia, mid-80s 'new age' synth sounds, heady grooves and memorable melodies, the Portland-based producer delivers a set that's as sonically vivid as it is loved-up and unashamedly nostalgic. Standout moments are plentiful, with our picks including the delay-laden drums and delightfully drifting synth washes of 'Light Energy', the saucer-eyed Mr YT swell of 'Canopy Song', and the sunrise-ready wonder that is 'Life Cycle'.

Notes: A 4 ft Type B MIDI Adapter

This cable enables you to connect MIDI devices that use standard MIDI cables to the stereo minijacks that use the Type B standard. The adapter cable has a male stereo minijack at one end, and a male 5 pin DIN MIDI connector on the other, and is 1.42 meters/4' 8" long. It is also useful as a converter for connecting to other MIDI devices that use a different mapping of MIDI signals to the stereo minijacks.

Early 1010music music products use the Type B mapping of MIDI signals to stereo minijacks. Bitbox mk2 and bitbox micro can use mini TRS Type A or Type B for MIDI inputs. Bitbox micro uses Type B for MIDI outputs.

The diagram to the right shows the numbering of the pins on a MIDI connector and the labels of the connection components of a stereo minijack. Type B products are compatible with cables that use the following mapping of MIDI signals between female MIDI connectors and stereo minijacks.

Notes: The 1010music line of stereo breakout cables are designed to connect 2 mono audio signals to a single stereo TRS 3.5 mm minijack plug. The slim plug caps fit side by side with other cables in compactly spaced input jacks, like those on the 1010music bluebox. These cables may have been designed for the bluebox, but they have a wide variety of uses with other gear as well.

Each of these cables has a male TRS stereo 3.5mm minijack plug on one end and two female TS mono 3.5 mm minijack plugs on the other end. They are 15 cm/6 in long with the 1010music logo printed on the plug caps.

This stereo breakout cable connects two 3.5mm female mono TS minijack plugs to the left and right channels of one 3.5 mm stereo TRS minijack plug. Red and black end caps on the female end differentiate the left and right channels. Each cable is 15 cm/6 in long and has slim metal caps with the 1010music logo.

Specifications:
15 cm / 6 in long
One 3.5 mm male stereo TRS to two 3.5 mm female mono TS
Nickel / 24K Gold plated connector
Highly flexible PVC / TPE Jacket Materials
Rohs, UL, CE, and FCC approved

Notes: The 1010music line of stereo breakout cables are designed to connect 2 mono audio signals to a single stereo TRS 3.5 mm minijack plug. The slim caps fit side by side with other cables in compactly spaced input jacks, like those on the 1010music bluebox. These cables may have been designed for the bluebox, but they have a wide variety of uses with other gear as well.

Each of these cables has a male TRS stereo 3.5mm minijack plug on one end and two male TS mono 3.5 mm minijack plugs on the other end. They are 1.4 m/4.5 ft long with the 1010music logo printed on the plug caps.

This stereo breakout cable connects two 3.5mm male mono TS minijack plugs to the left and right channels of one 3.5 mm male stereo TRS minijack plug. Red and black end caps on the split end differentiate the left and right channels. Each cable is 1.4 m/4.5 ft long and has slim metal caps with the 1010music logo on all plugs.

Specifications:
1.4 m/4.5 ft long
one 3.5 mm male stereo TRS to two 3.5 mm male mono TS
Nickel / 24K Gold plated connector
Highly flexible PVC / TPE Jacket Materials
Rohs, UL, CE, and FCC approved

Notes: Use this cable to connect your Bluebox to a data source and a power source at the same time. This will allow you to stream audio over USB. The cable has a USB B male connection on one end and two USB B female connections on the other end: red for power and black for data.

Stream Audio Over USB with Bluebox

If you bought a Bluebox for desktop before September 2023, this handy adapter will make it easier to connect your device to a computer. New firmware allows you to send audio from the bluebox to the computer and back.

The adapter splits the power from the USB signal to help avoid noise from your computer. It also enables you to power the device separately in case your computer or hub is not suitable for the demanding power requirements of the Bluebox.

Connect the male end to the USB Power port on your Bluebox. Then connect your bluebox USB B power cable to the red female jack, and a USB B data cable to the black female jack and you are ready to stream audio.

Specs

Length: 3.25", 8.25 cm

Weight: 1.2 oz, 34 grams
Dimensions: 6.5 × 2.5 × 0.75 in

Notes: The 1010music line of stereo breakout cables are designed to connect 2 mono audio signals to a single stereo TRS 3.5 mm minijack plug. The slim plug caps fit side by side with other cables in compactly spaced input jacks, like those on the 1010music bluebox. These cables may have been designed for the bluebox, but they have a wide variety of uses with other gear as well.

Each of these cables has a male TRS stereo 3.5mm minijack plug on one end and two female TS mono 3.5 mm minijack plugs on the other end. They are 15 cm/6 in long with the 1010music logo printed on the plug caps.

This stereo breakout cable connects two 3.5mm female mono TS minijack plugs to the left and right channels of one 3.5 mm stereo TRS minijack plug. Red and black end caps on the female end differentiate the left and right channels. Each cable is 15 cm/6 in long and has slim metal caps with the 1010music logo.

Specifications:
15 cm / 6 in long
one 3.5 mm male stereo TRS to two 3.5 mm female mono TS
Nickel / 24K Gold plated connector
Highly flexible PVC / TPE Jacket Materials
Rohs, UL, CE, and FCC approved

Notes: Second-generation version of 1010's outstanding Bitbox sampler module, featuring improved processing power, higher-quality touchscreen and new effects.

Supplier's Notes:
Next Generation Sampling Module for Eurorack

The bitbox mk2 is a follow up to 1010's successful bitbox module. Do more with bitbox mk2's more powerful processor and improved touch screen. This module has all of the features of the original bitbox and adds effects and mixing capabilities that take advantage of the faster and more powerful processor.

Sample Playback

Play up to 24 polyphonic notes when your samples fit in the 64 MB of internal memory or up to 8 larger samples streaming directly from the microSD card
Configure 16 sample pads per preset as single or multi-samples, clips, slicers, granular or new recordings
Stream long samples from the microSD card with a max sample size of 4 GB, which can be many hours of audio
Trigger samples with the touch screen, CV gate inputs, or MIDI input
Use MIDI for polyphonic playback of samples or slices
Control how samples start and stop by choosing from one-shot, toggle, and gate launch modes
Tweak playback through a variety of sample parameters, including start position, length, pitch, gain, filter, loop mode, launch quantization, ADSR, Exclusive Grouping, clip synchronization, slice placement and sequencing, grain size, grain spread, grain count, and MIDI note and channel mapping

Sample Recording

Record Eurorack level audio straight into the module:

Record samples from a stereo audio input pair
Configure each pad for stereo or mono recording with the option to synchronize the start and stop times to clock inputs
Trigger recording via audio level threshold
Create perfectly sized loops by setting the recording length
Enable immediate playback after recording for live looping capabilities
Make recordings up to 4 hours in length
Store recorded samples as WAV files on the micro SD card then remove the card to transfer them to your computer
Sample Modes

Find creative ways of using your samples with our 5 sample playback modes:

Trigger one shots or launch loops using sample mode
Load a folder of samples into a sample mode pad to improve the quality of the pitch shifting when playing a sample chromatically or to trigger different samples with each note
Play time-synchronized loops with constant pitch time shifting in clip mode
Skip between slices of a WAV using slicer mode
Create rich textures and other worldly sounds with granular mode
External Control and Synchronization
Playback can be immediate or synchronized to internal clock, TRS clock in, or MIDI clock in and out
Trigger each pad independently through a dedicated gate input
Use MIDI to trigger pads via a note per pad
Play a single or multi-sample pad pitch shifted using MIDI notes or CV
Trigger different sample slices using MIDI notes or CV
Modulate a wide variety of sample parameters through the MIDI input and up to 8 CV signals
Quickly set up MIDI modulation using Learn mode - no need to look up CC numbers
Module Features
Use the 3.5" diagonal touch screen to intuitively explore the features of the module
Get more creative with double the processing power of the original bitbox
Fill out your sound with reverb and delay
Import or export WAV files with your Mac or PC using a microSD card
Save and recall multiple presets
Increase your capacity with larger microSD cards
Select Flipped UI mode to mount the unit with the screen on the bottom and use the screen, knobs, buttons, and CV jacks as you normally would

When you purchase a bitbox mk2, you will receive:

a bitbox mk2 Eurorack module
a microSD card with with a bank of demo presets and samples loaded on it
a Eurorack power cable
a bitbox mk2 Quick Start guide
a MIDI Adapter

Technical Specs

Supports 1 and 2 channel WAV files with 16, 24 or 32-bit resolution at any sample rate (48kHz preferred)
26 HP
Module dimensions including knobs: 5.25" x 5"x 1.75"
Depth behind front panel with ribbon cable: 1.25"
+12V: 400mA
-12V: 0mA
5V: 0mA
24-bit ADC and DAC

Inputs and Outputs

Connect up to 8 CV modulators to control numerous sample parameters
Trigger each of the 16 pads with a dedicated gate input
Record through the dedicated stereo audio input pair
Use CV to keep time through the dedicated clock input
Confidently connect with both TRS MIDI Type A and Type B, no adapter needed
Route the audio from each pad out to one of 2 stereo audio output pairs or any of the corresponding single channels
Inputs and outputs are DC coupled so you can record and play out CV signals

Notes: Part of 1010's excellent Nanobox series, the Tangerine is a tiny powerhouse sampler. A fresh new approach to sampling, from one-shots to loops, all the way through to four-hour recordings.

Supplier's Notes:
Sweet and Tangy Sampling

The nanobox | tangerine delivers powerful sampling in an ultra portable form factor. With this nanobox, you can add recording, sample playback, clip launching, slicing, and musically intelligent looping capabilities to your desktop or travel rig. With an intuitive touch screen interface, nanobox | tangerine makes easy work of selecting, editing, and tweaking your samples. You can stream large samples of up to 4 GB file size straight from the microSD card. Interact with other musical components via MIDI. Load multi-sample banks with over 500 samples for amazing instrument reproduction. Tweak your configurations to get them just right, then save them to multiple presets for future reuse.

Top features

Play up to 24 stereo polyphonic notes when your samples fit in the 64 MB of internal memory or up to 8 larger stereo samples streaming directly from the microSD card

Play multi-sample banks with up to 16 velocity layers and 576 WAV files loaded in one preset

Configure 8 stereo sample pads per preset as single or multi-samples, clips, slicers, or new recordings

Stream long samples from the microSD card with a max sample size of 4 GB, which can be many hours of audio

Trigger samples with the touch screen or MIDI input as one shots or melodic notes

Control how samples start and stop by choosing from one-shot, toggle, gate and piano (New!) launch modes

Tweak playback through a variety of sample parameters, including start position, length, pitch, gain, filter, loop mode, launch quantization, ADSR, Exclusive Grouping, clip synchronization, slice placement and sequencing, and MIDI note and channel mapping

Quickly and easily use MIDI mapped controls for more tactile access to common parameters

Record up to 16 sequence layers per preset.

Get into the groove with a fast, fluid, and intuitive workflow

Make music anywhere thanks to a compact and nearly indestructible design

Recording Capabilities

Configure each pad for stereo or mono recording with the option to synchronize the start and stop times to clock inputs
Trigger recording via audio level threshold
Create perfectly sized loops by setting the recording length
Enable immediate playback after recording for live looping capabilities
Make recordings up to 4 hours in length
Resample the master output without patching
Automate recording of a multi-sample bank via MIDI
Store recorded samples as WAV files on the micro SD card then remove the card to transfer them to your computer

What is Included:
nanobox | tangerine - Compact Streaming Sampler
MicroSD card with 85 presets and over 1500 wav files
Colour matched USB power cord
Type B TRS MIDI To MIDI 5 Pin DIN adapter
Quick Start Guide

Technical Specs:

Power: USB-C connection 5V, 500mA
3.5mm audio input and output
Maximum input and output level: 2Vrms
DAC and ADC resolution: 24-bit
Internal resolution: 32-bit
Sample rate: 48kHz
MIDI Input: 3.5mm Type A/B auto sensing
MIDI Output: 3.5mm Type B
Clock Input: 1,2, 4, 8, 12 or 24 PPQ selectable
MIDI support: Note On/Off, Velocity, Pressure, Mod Wheel, Aftertouch, CC mappings to common parameters, program changes and clock
H x W x D: 1.5" x 3.75" x 3"
Weight: 0.25 lbs.
2" touch screen, 2 knobs and 4 buttons in a 3.75" x 3" x 1.5" package

Additional information

Weight: 0.65 lbs
Dimensions: 7.75 × 4.85 × 2.25 in

Notes: Eurorack version of 1010's superb Bluebox. Vast power in 30 HP, with the ability to mix, record and play back in mono and stereo, hook up to a computer over USB for stereo I/O and run effects, all with CV control.

Supplier's Notes:
The bluebox Eurorack edition is the new Eurorack mixer with effects and multichannel recording/playback based on the award-winning bluebox desktop mixer. With the Eurorack edition's USB-C EXT port, you can send 2 channels of audio to and from your computer. Plus, you can control up to 6 mix settings with the 6 CV inputs. Whether recording your Eurorack jams, using it to play stems as backing tracks, or a combination of both - bluebox Eurorack edition will rock your rack!

Connect your eurorack, sampler, drum machine, and synthesizer outputs to 12 mono, 3.5 mm inputs and map them to 12 mono tracks or 6 stereo tracks - all with independent control for recording and playback. Connect your computer to the USB C port to send and receive two channels of audio.

The bluebox Eurorack edition is the ultimate in compact mixing, effects, recording, and playback for Eurorack. Smack it in your rack and hit the road with a self-contained, electronic music powerhouse!

When you purchase a bluebox Eurorack edition, you will receive:

a bluebox Eurorack edition 30 HP Eurorack module
A microSD card with bluebox firmware and pre-loaded project files
two Eurorack power cables
a bluebox Eurorack edition Quick Start guide
two MIDI Adapters

Technical Specs

Dimensions & Power
30 HP
Module dimensions including knobs: 6" x 5"x 1.6"
Depth behind front panel with ribbon cable: 1.0"
Requires the +5V rail which may not be present
on some older racks.
Uses 500-850mA at +5V (depending
on screen brightness), 320 mA at +12V, and 82mA at -12V
Requires two power connections
Capabilities
12 mono tracks, 6 stereo tracks or something in between
Connect to TRS or USB C MIDI for beat syncing effects
Lots of headroom with support for Eurorack levels up to +/-5V inputs and outputs
3 effects: reverb, delay and compressor
Records and plays back 48k, 24-bit audio WAV files
4 band EQ per track
Durable aluminum faceplate
Stream 2 channels of audio in and out over USB C

Inputs and Outputs
12 mono 3.5 mm TS inputs
2 independently controlled 3.5 mm TS output pairs that can be used as 4 mono outputs
1 stereo 3.5 mm headphone output
6 CV Inputs
1 USB C MIDI Device port
1 TRS MIDI Input
1 TRS MIDI Output
1 USB C Ext jack for streaming audio
3.5" touch screen, 4 knobs, 8 navigation buttons and 3 transport buttons

Notes: The 1010music line of stereo breakout cables are designed to connect 2 mono audio signals to a single stereo TRS 3.5 mm minijack plug. The slim caps fit side by side with other cables in compactly spaced input jacks, like those on the 1010music bluebox. These cables may have been designed for the bluebox, but they have a wide variety of uses with other gear as well.

Each of these cables has a male TRS stereo 3.5mm minijack plug on one end and two male TS mono 6.35 mm plugs on the other end. They are 1.4 m/4.5 ft long with the 1010music logo printed on the 3.5mm minijack plug caps.

This stereo breakout cable connects two 6.35 mm male mono TS plugs to the left and right channels of one 3.5 mm male stereo TRS minijack plug. Red and black caps on the 6.35 mm end differentiate the left and right channels. Each cable is 1.4 m/4.5 ft long and has slim metal caps with the 1010music logo on the 3.5 mm plug.

Specifications:
1.4 m/4.5 ft long
one 3.5 mm male stereo TRS to two 6.35 mm male mono TS
Nickel / 24K Gold plated connector
Highly flexible PVC / TPE Jacket Materials
Rohs, UL, CE, and FCC approved

Review: Whether it be his eighth mixtape or tenth album (as fans, journalists and the interweb often disagree on the categorisations of his myriad projects), endlessly prolific MC and producer Michael Jordan Bonema, better known by his succinct stage-name MIKE, returns with one of his most mature and clearly visualised works to date. Beware Of The Monkey owes somewhat of a debt to Bonema's mentor Earl Sweatshirt; particularly his 2018 album Some Rap Songs, with both projects taking a chopped n' screwed approach to boom bap, intertwined with warped soul and r&b samples, whilst subtly highlighting the modern form of avant-garde outsider hip-hop which is burgeoning from the inside out. Fully self-produced under his dj blackpower alias, the LP is an exercise in abstract simplicity, evoking MF DOOM at his most challenging, yet all the while retaining a welcoming warmth that prevents the material from ever crossing over into impenetrable territory.

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: Ix3m and Denis Andreev made impressive debuts on their 123.ro label last year, and now they're back for volume three as they head deeper into their experimental minimal techno practice. There are steadfast grooves guiding the action on ix3m's A-side cut 'Perfesona', but the emphasis is more on evocative sound design which takes on a three-dimensional quality as it shifts and contorts around the hyper-minimal beat. On the flip, ix3m and Andrew's collaborative track 'Satanic' weaves a subtle invocation in the direction of the dark side, putting an unsettling, whispered female voice in the middle of the mix and creating something clandestine in the process.

Review: Corey Fuller and Tomoyoshi Date are the Illuha duo but for this new Tobira album they link with percussionist Tatsuhisa Yamamoto. He is a skilled drummer who has worked alone on Black Truffle but has also collaborated with Jim O'Rourke, Eiko Ishibashi, Keiji Haino, Phew and Oren Ambarchi among others. This new record focusses on electro-acoustic sounds that are run through with all manner of precise sonic details and are carried by Yamamoto's unique playing style and singular sense of groove which were recorded over two sessions. That playing style finds him playing very lightly with closely mic'ed drums so plenty of softness is captured and then interwoven with layers of Rhodes, piano, distant synths and metallic murmurations.

Review: Will Samson returns with a new album Harp Swells after more than ten years of crafting delicate sounds that are often led by his own tender voice. Now back on Taylor Deupree's experimental label, he fully immerses himself in the ambient world he previously considered only a side project. Thse record is a real meditation that sees him move away from the melancholy of his past and towards more bright and optimistic melodies. His aim is to heal himself through music and this record has six movements, each of which is based around his use of a 70s portable reel-to-reel tape recorder known as the UHER 4200. It makes for a widescreen and mesmeric work that stretches out in all directions around you with glistening melodies and slowly shifting energies that truly uplift.

Review: You've always been able to hear the West Coast in Monocoastal, but it's particularly present when you shut your eyes after 12 months of lockdown stopping you from visiting the region. Less active L.A., and more observing in Oregon, Fischer's career didn't end with this in 2011 and the multi-disciplinary artist has produced great things since, but the album is certainly one of turning points in terms of reputation and note.

The idea of slowly watching time unfold in un-rushed places is also highly appropriate. Among the washes of tape and the waves of refrain that make up this beautiful, meditative outing, you'll hear takes and half-harmonies from found instruments including a piano and xylophone. Overall, it feels like a place removed from linearity. A liminal masterpiece, if you are that way inclined.

Review: ."Post-fluxos 'broken music'" is how the official release information describes this spellbinding outing from Miradasvacas. Made from fragments of recordings by Madrid's Pablo Miron and Juan Vacas, hence the artist name here, the two heads - who some will know from the Real No Real collective and Ediciones Fontenebro label - adopt a collage approach that stops some way short of musique concrete but, at times, is certainly barking up a similar tree. Taking influence from the likes of the Dieter Roth school, Anne Gillis, Leyland Kirby and Henry Krutzen, perhaps what's so technically impressive about this effort is the way tones and sounds and bits and pieces, when heard separately, don't always lay out their stall as complementary. But here, brought together as one, they create what can only be described as a magnificent whole.

Review: Scottish textural experimentors 12th Isle venture across the pond once more, with the label's founder Stewart Brown topping up its exquisite techno-tropical fold for an exclusive look-in to his music made between 2015-2020 (hence the name). A combo of hardware and live-drummed dribblings makes for what might classify as an electroacoustic album but without the usual pretensions, as each track from 'How's Life' to 'Westway' trudge through a million different disparate scrapes and clanks, which each nevertheless retain enough of a similarity to each other, within their difference, to form a part of the same soundbath. The album is also something of an allusion to London living, with many of its rhythmic luminaries (such as multi-rhythmic maestro Pike Ogilvy and fellow 12th Isle affiliate Vague Imaginaries) also in tow.

Review: New York punks Love Child first burst onto the early 90s scene in the same aeonic breath as Pavement, Sebadoh and Beat Happening. But despite the ignition and hype, their debut seven-inch and subsequent releases have remained long out of print until now. Never Meant to Be: 1988-1993 pulls from these releases and some unreleased radio sessions, unearthing a trove of lost gems by the quadrangle of Will Baum, Alan Licht, Rebecca Odes and Brendad O'Malley. The former obscurity is undeserved and the reissue deserved, as the climaxes on this record - from the garbly top-reg guitar solo on 'Know Its Alright' to the tape-warblings of 'Sofa' (through and despite which we can still make out its humourous lyrics) - are full of forceful punk rapace.

Review: When Mick Mars stepped back from touring with Motley Crue, it seemed like the end of an era. Really, it was the beginning of a new one. The legendary guitarist, whose riffs, solos and overall devastatingly heavy sound powered the L.A. icons through four decades of world-conquering, multi-platinum sonic mayhem is, as he demonstrates on his debut solo effort, still a serious force to be reckoned with. Only now, listeners are reckoning with more Mars than ever before. On the aptly-titled The Other Side of Mars, fans get that vision in its full, multifarious glory. To be sure, there are plenty of characteristically riff-tastic, tough-as-nails hard-rock anthems, but The Other Side of Mars also shows the 71-year-old guitarist heading into new and uncharted territory, tearing through caustic, modern metal ('Broken On The Inside"', conjuring gothic-tinged soundscapes ('Undone'), digging into anguished, slow-burning power balladry ('Killing Breed"' and unspooling bluesy, cinematic instrumental workouts (the album-closing guitar showcase, 'L.A. Noir'). The music throughout the ten-track collection, meanwhile, is otherwise studded with slide guitars, violins, violas, keyboards, glitchy freak-outs and all manner of sonic surprises.

Review: 1432 R US could as well be called Tech R US in a nod to the great toy shop as it is known as one of the key labels in the sub-genre. Sami is the artist behind this latest slab having previously appeared on the likes of Random Mind State and World Building. He gets mad busy on the opener, with wires synths, bleeping machines, smeared dub chords and jostling drums all layered up to competing rhythmic effect. 'Way Up' has a darker vibe with heavier drums and more edgy synths. 'Twin' is a percussive jumble that is loose but will lock you in with its freaky vocals and 'Deep Blue' is a stripped-back and more serene deep tech trip that encourages daydreaming.

Review: Following on from the CD version of this reissue, 17 North Prada now follow it up with a welcome vinyl edition. Prince Far I worked with Joe Gibbs's house band The Professionals on Under Heavy Manners, his 1976 full-length recorded at Gibbs's studio in Kingston, Jamaica. His messages throughout his career were always focussed on social and political issues and lend this album its extra lyrical edge on top of the killer rhythms. Gibbs composed all of the tracks bar one from Errol Thompson and it is generally considered one of his finer works. Snap this one up now because it will soon disappear again.

Review: Japanese jazzmasuta Jiro Inagaki is graced by a stunning new tribute album via 180g, Legends, which celebrates his 90th birthday in 16-track compilation form. Made up entirely of works made between 1968 and 1980, and selected by DJ and producer Yusuke Ogawa, this is an album made almost entirely of Jiro's best-known instrumentals, not least a formerly unreleased version of the standout 'Express'. The recordings are impeccable, and this is a standard which does not waver over the entire 12-year period this LP spans.

Review: In the late 1970s and early 80s, disco swept through dancefloors across the world, with musicians, producers and labels in all four corners of the world recording and releasing their own local variations on the New York-pioneered sound. This fine compilation digs into the Japanese interpretation of the sound, offering up a selection of gems pulled from the vaults of the Nippon Columbia imprint. As you'd expect, there are some genuinely soaring and delightfully over-the-top cuts on show (see Godiego's 'The Odyssey Begins - Monkey Magic' and the disco-funk mania of Ikue Sakakibara's bilingual 'This Is Hot'), alongside such forgotten or lesser-celebrated gems as Yumi Moreta's rubbery bass-propelled 'Krishna', the strings-and-synth-drenched brilliance of Pink Parachute's 'Disco Great' and the ridiculously grandiose 'Hazumi De Daitte (A Woman Inside a Man's Body)' by Hatsumi Shibata.

Review: ***B-STOCK: Creasing to corners of outer sleeve, product unopened & in excellent condition***


Minoru Fushimi originally released Thanatos Of Funk in 1985, proving that boogie wasn't exclusive to the US. You can hear his Japanese culture coming through on this incredible album, not least reinterpreting traditional song 'Dompan', but in truth this is a faithful and on-point run at everything electro funk stood for in the mid 80s. There's that necessary streak of humour in tracks like 'Disco Thesis', but primarily this is all about how dope that Moog lines and slick bass slaps sound mixed up with the swathes of vocoder. If you're serious about boogie, you might have had this one in your sights for some time. Finally, your chance has come, so don't waste time snapping up this stellar boogie bomb.

Review: As we write this The Beatles have just managed to put out their last ever, they say, new single. By harnessing the vast powers of AI and feeding it a dusty old clip of him singing back in the day, they have even managed to recreate the voice of John Lennon. It's a reminder of how ahead of their time the Liverpool band always was, even back in the 1960s. And that's when this album London to Manchester was recorded live on October 13, 1963, which marked the point at which the press knew the band was going to be global superstars and features all their biggest hits from this early-on time.

Review: .There's plenty to talk about with The Who's historic show at Fete De L'Humanite, a huge open-air event hosted by L'Humanite, the main newspaper of the French Communist Party. For starters, on the day - Saturday 9th September, 1972 - an estimated 400,000 people were in attendance, a crowd size that dwarves pretty much anything we can think of today, and remains the band's largest ever gig. Taking to the stage as evening set in, they set to with a typically ferocious set, and four of the most standout pieces for the show are immortalised here on record. Unsurprisingly, that timeless anthem of misspent youth, love, rebellion, and hope for change, 'Baba O'Riley', is a dominant factor, although epic finale 'Relay' is perhaps where the might of their rock 'n' roll juggernaut is most felt here.

Review: The Beatles' EP From Us To You #3 captures a 1964 BBC session that encapsulates the band's early charm and infectious energy. Featuring a whopping ten tracks, it was recorded in the BBC's Paris Studios in Regent Street, London and fact fans will note that 'Honey Don't which was later included on the album Beatles For Sale and sung by Ringo, here features John on the vocals. Elsewhere the EP captures the band's irresistible melodies and tight harmonies with three of the tunes originally penned by the band's favourite rockabilly star Carl Perkins. Each song is a testament to The Beatles' enduring influence on popular music and overall serves as a timeless reminder of the band's unmatched creativity which continues to this day with new AI-produced singles that the much talked about one earlier in the year.

Review: Mott The Hoople's original line up were on hand when the band went in to the BBC to record this live show for radio. It was back in 1970 and the set list they went for mixes up their Dylan-influenced ballads with plenty of more does eyed stoner rock sounds. Fans will recognise most of these tunes from various Mott the Hoople long players, although three of them were never actually on any record other than this one. The pressing is of great quality given the age of the recording and is a must for fans with extensive sleeve notes.

Review: Originally released on Sarah Records in 1992, the Sea Urchins' 'Stardust' was the first ever album to be released by the West Bromwich band. Cutting the jib of a 1990s version of Black Country, New Road (there were indeed 7 members, and they were all from the Black Country). Their purview was jangle indie, bowlcuts, and lo-fi. The song 'Pristine Christine', which features here, is widely credited as the cash cow single that launched Sarah, and the band's influences can still be felt nowadays, such as in the cover designs of modern artists such as King Krule. For fans of The Smiths or The Charlatans, the band are a little further down the obscurity iceberg, which should make 'The Stardust' a draw for the most avid collectors.

Review: Around the world in 12 wubs; Alix Perez's superlative 1985 continues to dig deeper and deeper into our psyche with the third volume of their faultless Atlas VA series. As always, the tempos are set to flexible as we slide and glide between the style and speeds courtesy of some incredible names... Cesco brings some proper dark UKG on 'Superstealth', Sir Hiss gets angular with the electro funk of 'Shower Man Time', Visages go all slinky and futurist on 'Margit' while the bossman Perez and GLXY link up for something truly sexy and soulful with 'Green Lane'. All this and so much more, from Rockwell & Scepticz to Settle Down to Eprom, this is yet another exceptional adventure from the 1985 crew.

Review: Prepare to be shocked to your core with this new and electrifying first EP from the freshly launched High Voltage Music label and moonlighting d&b veteran Alix Perez with Headland at the controls. It comes from a production outfit of the same name about whom we know very little. And so to the tunes we turn - 'Feel Love' kicks off with slick and punchy tech house drums overlaid with a yearning vocal to up the emotional intensity levels. It is sure to do a fine job of livening up the floor, while 'NRG' then picks up with raw percussive clatter over a whacked out tech beat. Two top level tools.

Review: 1asia is a label that focusses on Asian artists from a broad array of genres and Caslean is next up with the beguiling Sweet Adventure, a remix EP that finds her work reinterpreted by an array of innovative talents. 'Munir's Bandung First Trip' is serene electronica with lush and dreamy lines and naive vocals floating up above the smooth and uplifting rhythms. 'Meng Que's Yard' brings jumbled percussion and sugar synths to a broken beat jumble and 'Mogwaa's Studio In 07307' is a retro-future cut that pairs bouncy nu-disco with dubby pads. Last of all is 'Knopha's Re-clockwork,' another innocent and pure electronic world of neon synths and intriguing vocals.

Review: Everything Is Alright, says FINN. And it is, frankly, when you're lost in the midst of his new album on 2 B Real. It's a superbly fun and feelgood mix of house from the 90s, UK garage from this revival era and contemporary sound designs. The title track opens up and soon sweeps you off to a good place then there are loose vocals and bright chords on 'AYOYO' while 'Ere U R' sinks into a deeper groove with a heavy sense of plod and more fresh melodies. The B-side picks up the pace with the retro house throb of 'Things, Things, Things!' and 'Big Raver' brings the pianos that will set the club alight.

Review: The fourth full-length from Canadian progressive death metal trio Tomb Mold marks their first full-length since 2019's Planetary Clairvoyance, but in the interim, they offered last year's Aperture Of Body EP, which served as a sonic signalling to the expansive and cosmic direction their next full-length would take. The Enduring Spirit weaves jazz-trio flourishes, prog-rock virtuosity, and dream-pop hues into a head-melting, other-worldly concoction of complex, dizzying and utterly frenetic tech-death, while never falling into the cracks of masturbatory pomposity. Though somewhat impenetrable to the unseasoned ear, what's most surprising is the manner in which many of the cascading compositional elements become regular motifs or "hooks" (if you will), leading to a project that does the unthinkable by crafting a prog-death metal opus designed to welcome and not negate. This isn't your granddaddy's death metal, mind you...

Review: Canadian progressive death metal auteurs Tomb Mold have been relatively inactive since the release of their third full-length Planetary Clairvoyance in 2019. Returning last year with the Aperture Of Body EP, and reigniting listener thirst for head-melting, absurdly psychedelic tech-death, September of 2023 saw the trio announce their fourth album The Enduring Spirit, which would see release just a few days after unveiling. Mixed and mastered by Arthur Rizk (Power Trip, Code Orange, Trapped Under Ice), and accompanied by a statement from the band that detailed how they'd spent the past three years "spiraling in the cycle reincarnate necessity" and revealed that the "myriad of consciousness" has now coalesced into one hive mind. In layman's terms, this is avant-garde, complex, hallucinatory death metal far more interested in challenging our astral purpose within the cosmos than displaying macabre tales of viscera and gore.

Review: In 2021 and 2022 respectively, extreme metal label 20 Buck Spin closed out their year of releases with firstly, a full-length from melancholic dream-doom death metallers Dream Unending, and secondly, the complex, blackened prog-death outliers Worm. In a conspiratorial twist to round a trifecta of year-ending projects, Starpath offers a split LP of sorts boasting 20 minutes of new material from both acts. The A-side delivered by Dream Unending imbues gothic post-punk melodies into their cosmic compositions whilst Worm pour their oily, grim malevolence over towering monoliths of cavernous doom.

Review: Los Angeles-based ASHRR are back with a new cut which comes from their forthcoming Sunshine Low album which they have re-interpreted as their ASHRR Soundsystem alter ego, while System Olympia also steps up with a remix on this fine new package from 20/20 Vision. In the hands of the latter, 'What's Been Turning You' is a remix with plenty of hi-fidelity cosmic details over mid-tempo deep nu-disco drums. The version from ASHRR is a chugging and Italo-tinged classic with loose-limbed and jumbled drum funk and plenty of bright, shiny arps. A great collection then.

Review: ***B-STOCK: Slight surface marks and sleeve corner creases ***


Long-cherished underground stalwart Claus Voigtmann finally serves up his long-awaited new album Life Miles after many years of essential sounds on labels like Assemble and Intermission. He really shows his range here with a record that draws on his experiences of playing around the world in all sorts of different settings. 'Pinfire' and 'Transitory Moments' open up and take you to the heart of fabric, a club he has played so often, while 'North of the Sun' heads off into space on sleek electro rhythms while the likes of 'Abundance' bring cosmic melodic fun to a lively and inventive rhythm. Elsewhere there is the high-speed electro-funk of 'Flight Of Fancy' and the introspective downbeat trip 'Send Love To The Future' making this a varied and vital affair.

Review: Exit Planet Earth continues its exploration of the world of electro universe with an expansive, extended six track EP, featuring The Advent x Zein Ferreira, DeFeKT, London Modular Alliance, Konertymi and Zobol. The Advent, whose weekly Gardening Club residency in the mid-90s helped to drag electro out of the realms of the retro and back into the future, team up with Zein Ferreira for a Kraftwerk-on-speed extended mix of 'CarpeDiem', before London Modular Alliance's more moderately paced but still squiggle and bleep laced 'Lump of Coal' plus a 'beats' breakdown for the DJs. The B-side brings us the acid-powered 'Pulssi' by Konerytmi, the bouncy, breakdance-friendly 'Radar' by DeFeKT, and the relatively pure, optimistic sonics of Zobol's 'Data Wars'. Thumbs up all round.

Review: Luther Vine's Fragments Of Reality and its various artists series have been a real doozy for 20/20 but now the sub-label offers up a first solo EP. It is Snad who gets the gig and he is a house producer from Berlin making big waves right now. This one follows outings on Chicago's Kimochi Records, Chez Damier's Courtesy of Balance and the Dungeon Meat label and is another raw, stripped-back offering of tough house. 'Bootlickerz' is a bristling cut ready for the peak time, 'Goobernatorial Candidacy' has a more stripped-back but just as compelling groove and 'Per Savour' goes deep into late-night goodness before closer 'Butt Heads' picks up the pace once more.

Review: Long-cherished underground stalwart Claus Voigtmann finally serves up his long-awaited new album Life Miles after many years of essential sounds on labels like Assemble and Intermission. He really shows his range here with a record that draws on his experiences of playing around the world in all sorts of different settings. 'Pinfire' and 'Transitory Moments' open up and take you to the heart of fabric, a club he has played so often, while 'North of the Sun' heads off into space on sleek electro rhythms while the likes of 'Abundance' bring cosmic melodic fun to a lively and inventive rhythm. Elsewhere there is the high-speed electro-funk of 'Flight Of Fancy' and the introspective downbeat trip 'Send Love To The Future' making this a varied and vital affair.

Review: Random Factor's 'On The Air' EP is a hugely sought-after classic by those who know. It came on Ralph Lawson's ever-reliable 20/20 Vision and now, as it turns 25 years old, he has decided it is the right time to get it remastered and reissued. 'On The Air' is first up on this fine EP from Carl Finlow and it has serene synths that bring to mind Detroit techno soul over pulsing bass and slick drums. 'Lockdown' has a raw vocoder vocal over punchy drums and twitchy synth stabs and 'Undercurrent' is another weapon that has more than withstood the test of time as it bumps along on funky drums and is overlaid with more playful synth patterns. 'Disconnect' is a crunchy and 8-bit closer with pixelated synths and screwy acid lines. Superb.