Review: By now, most dedicated househeads should known 2Fox and Laville's debut single, 'Elevation' - an effortlessly soulful chunk of lightly gospel-influenced deep house brilliance that has been bubbling away since the summer of 2024. The regular, full vocal versions were recently released on wax and now we get the alternative dubs. Masters at Work man and all-round NYC legend Louie Vega steps up first with a swirling, deep, hypnotic and extra-percussive take that makes good use of selected lead and backing vocal snippets, before label bosses Soul Clap slap down a deep, groovy, tech-tinged dub straight from the top drawer. Over on the reverse, we get a vocal-free 'Dub-strumental' of Vega's EP-leading take, as well as a more vocal heavy, gospel house style 'Zero Hour' dub by New York veteran Tommy Musto.
California Love (feat Dr Dre & Roger Troutman - original mix)
So Many Tears
I Ain't Mad At Cha (feat Danny Boy)
How Do U Want It (feat K-Ci & Jojo)
Trapped
Changes (feat Talent)
Hail Mary
Unconditional Love
Dear Mama (feat Anthony Hamilton - remix)
Resist The Temptation (feat Amel Larrieux)
Review: Originally released in 2007, this best of compilation returns on vinyl. This selection pulls from all corners of 2Pac's legendary catalogue, offering a powerful mix of iconic hits, deep cuts and rare material, including the long-awaited vinyl debut of 'Resist The Temptation.' Side-A opens with the cannon shot that was '2 Of Amerikaz Most Wanted' and 'California Love (Original Mix)'. These are West Coast anthems that still hit with full force, while 'So Many Tears' digs deeper with introspective pain over a haunting groove. Side-B keeps the momentum with the smooth soul of 'How Do U Want It', the timeless 'I Ain't Mad At Cha' and the early urgency of 'Trapped'. These three tracks are great examples at his trajectory from budding hip-hop solider to a rapper with a purpose and message to an all-time icon. Side-C goes spiritual and anthemic with 'Changes' and 'Hail Mary' which reflect 2Pac's evolving worldview. On Side-D, the Anthony Hamilton-assisted remix of 'Dear Mama' adds new version to the collection while 'Resist The Temptation' closes things with conscience and power. An excellent selection that documents his growth and amazing output of a mere six years' recording.
Review: Stasis Sounds For Long-Distance Space Travel III concludes a five-year journey by unrelenting ambient don zake and 36 as they once again cook up ambient soundscapes with real emotional depth. Inspired by a fan who said, "I was terrified of space travel, until I heard this album," the series explores the tension between isolation and wonder and this third volume shifts from drifting to arrival, where melancholic piano and deep synths mirror descent, landing and the quiet awe of beginning anew. With tracks like 'Final Approach' and 'Blue New World,' the duo crafts cinematic, immersive music for inner and outer voyages that are full of warmth, weight and the haunting beauty of the cosmic unknown.
Review: UK producer Trevor Huddleston aka 36 and the Indiana-based Past Inside The Present label's head Zake return to their Stasis Sounds For Long Distance Space Travel project, a universe that suspends the listener in time across glacial soundscapes and a general sense of cosmic awe. Soft, slow-moving drones and textural washes drift like solar winds through the vacuum, suggesting the boundless calm of deep space. The production is rich, gentle with tonal shifts and barely-there harmonics that evoke both distance and intimacy, wonder and melancholy. It feels like music beamed in from the edges of the known universe. If you fancy a contemplative journey from the edge of Earth's thermosphere into the unknowable beyond, tune into Stasis Sounds on your best headphones.
Review: Hot on the heels of their acclaimed debut album SOUL REViEW, Tokyo pair Sunapanng and Masahiko Kubo aka 45trio, who formed in 2008, return with a fresh new single. The A-side features a smooth, soulful cover of Prince & The Revolution's 1985 classic 'Pop Life' while the B-side reimagines Hall & Oates' mellow 1983 gem 'One On One.' Both tracks are perfect vehicles for their signature blend of rich grooves, tight musicianship and warm analogue feels. Their playful yet respectful arrangements breathe new life into these timeless tunes so do not sleep on a summer delight.
Review: If life is getting you down right now (and there are many reasons why it might) then check this out as The 89th Passenger has arrived to lift you out of the gloom. The latest release is only a sound from this mysterious project, following one back in 2023. It is an acid-soaked ride through celestial frequencies, designed to elevate body and mind. Pulsing with euphoric energy and warped rave nostalgia, this interstellar techno trip offers a heady escape from reality. 'I Can Fly' is all upbeat breaks and sugary pads, 'Hopin It Would Save Me' has a more melancholic undercurrent and 'My Friend Moving Away' then rises up with nimble drum programming and more soul-soothing chords.
Review: Abaete's self-titled 1977 LP remains one of Brazil's deepest cult treasuresian obscure gem of Bahian jazz-funk samba that now sees long-overdue reissue. Recorded during a creative high for Bahia's music scene, this sole full-length from the vocal trio blends masterfully layered harmonies with moody synths, groove-driven percussion and North Brazilian rhythmic signatures. There's almost no background info on the group, but the music speaks volumes. Highlights like 'O Rei Do Calang (Calangotango)' and 'Toca Nicanor' ripple with syncopated urgency, while 'Canto Sul' and 'Por Uma Razo De Amor' float with breezy melodic finesse. Mixed by Waldir Lombardo Pinheiroiknown for work with Tom Ze and Zeca do Tromboneithe album is full of freewheeling arrangements, grainy funk textures and subtle psychedelia. It's no surprise the trio also penned tunes for greats like Clara Nunes and Elza Soares. A rare window into an experimental chapter of Brazilian popular music, rediscovered in all its radiant groove.
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: Berlin-based duo Above The Clouds, the new project of Kidkanevil and Magic Manfred, open their account with a reworked instrumental of MF DOOM's 'Arrow Root', nodding to their shared roots in 90s hip-hop. Having first crossed paths in a Kreuzberg studio, the two bonded over boom bap and basslines, leading to sessions where jazz chops met crisp drum programming. A longtime MF Doom fan, Kidkanevil brings his detailed, samply ill-formatic production style, honed over years split between beat tapes and bleeps, while Manfred - raised in Berlin and shaped by funk, soul and a stint in London's jazz scene - draws harmonic threads across keys and bass. The track also ropes in saxophonist Mario, who laid her parts in one studio take. B-sider 'Tram Delay Beat' hints at more to come.
Review: Wild breaks from the wild west; Welsh beat sculptor Abstract Drumz gets busy on the mighty Over/Shadow. Four cuts heavy, each one designed to slap your rave silly. 'Just A Ride' opens the EP with atmospheric aplomb. Brisk pads and live jazzy breaks set the scene, hitting hard in all the right places. Elsewhere 'I Like The Rain' galvanizes AD's Celtic status with unhurried charm before 'Ethereal Remix' gets a lot more frenetic. Finally 'Culture '24' closes the EP with some of the heaviest chops of the set. Wallop!
Review: UK ensemble Abstract Orchestra is led by producer Rob Mitchell and has built its name through jazz-infused hip-hop tributes to legends like J Dilla and MADVILLAIN. Their latest cut, 'Big Bad Wolf,' features Detroit MC Guilty Simpson, whose booming baritone drives the track's cinematic narrative. Originally shelved and not put out, Mitchell revived the collaboration by rewriting the entire instrumental. The result is a two-part journey: from eerie, dreamlike strings to hard-hitting live drums, textured synths and reverb-heavy vocals. With lines like 'when a good guy becomes a villain' Simpson's in raw vengeance mode and jay lyrical grit meets with tight musicianship for modern hip-hop orchestration at its boldest.
A stereo super saw/square oscillator featuring 4 voices of 7 detunable saw/square waves - 6HP
Notes: Great value from Acid Rain's stereo paraphonic super oscillator, the Ripsaw's name hints at the four-voice supersaw vibes on offer here, ideal for trance leads, lush pads and more.
Supplier's Notes:
Four voice paraphonic
Ripsaw contains 4 voices that can each be individually controlled with 1 volt per octave pitch CV.
Seven oscillator spread
Each of Ripsaw's 4 voices contain 7 waveforms that can be detuned from eachother in pitch to create a lush swarm oscillator sound.
Wave morph
Ripsaw's oscillator waveforms morph smoothly from classic sawtooth to square for a hollow, haunting tone when spread detune is introduced.
Super sync
Ripsaw's shift parameter offsets the pitch of a hard sync oscillator for every one of the 28 waveforms to open up a whole new timbral dimension
Hex platform
Ripsaw is only the first firmware to be released on our new 6hp eurorack hardware platform called HEX. Other firmware options that generate and process sound will be available to download and try out free of charge.
Specifications:
6hp
25mm deep
42mA on +12V, 5mA on -12V, 0mA on +5V
State Of Consciousness (The Black Chamber remix) (6:02)
Coin Of Heaven (Parand remix) (4:55)
Review: Acida Dominga is a newcomer from Berlin who dropped his very first tunes on his debut EP, and now has them reworked by a selection of contemporary talents. 'Imagination Creates Reality' (Italo Brutalo remix) is indeed a brutal collision of Italo and gritty techno. The Kafkactrl mix is more supple and nimble with acrobatic patterns and a lithe acid line endlessly twisting and turning. The Black Chamber remix of 'State Of Consciousness' then brings straight up slamming acid techno and 'Coin Of Heaven' (Parand remix) closes with some funky synth work that has hints of 80s Depeche Mode but all Eed up.
Review: Antwerp's Marius Acke resurfaces via Happiness Therapy with a sharp reissue of four deep cuts from his late 90s Crucial Traxx series-once slept on, now rightly championed by a new wave of selectors. 'Tell Me' opens with dusty MPC swing and warm Rhodes chords, full of space and analogue looseness. 'I Feel So Good' brings a rawer edge, driven by clipped vocal chops and bumping low-end. 'Dance To The Beat' leans into funky organ riffs and tight snares, while 'Everyday Life' closes with hazy pads and a laid-back, hip-hop-adjacent tempo. Carefully remastered, the set captures the soulful, groove-led essence of 90s Belgian house-funky, unfussy, and made for dancers, not algorithms. A reminder that true deep house rarely dates.
Review: PAX-AM is the brainchild ofJacksonville singer-songwriter and author Ryan Adams, originally dreamed up during his high school years as a DIY cassette label for home-recorded genre experiments. Though those early tapes never left his inner circle, the name stuck. It's been a sandbox for Adams' prolific output ever since, blurring lines between alt-country, punk, classic rock and tape-hiss pop, all under his naive yet total creative control. Now, in homage to his favourite ever recording artists - many of whom you will likely recognise from the track titles alone here - Adams sings atop the altar, dirging covetously over the best of the Rolling Stones, Daniel Johnston, Bon Jovi, Oasis and Bob Dylan.
Review: Having celebrated his 50th birthday late last year, Ryan Adams has naturally been in an introspective mood. It makes sense, then, that the long-serving rock/country fusionist should offer up an album made up entirely of covers of songs by other artists that have in some way inspired him over the years. Generally gentle, with string-laden, largely acoustic arrangements, Changes features some genuinely brilliant interpretations - as well as some surprise ones. For proof, check his piano-and-strings wander through 'Panic' by the Smiths, a wonderfully heartfelt rendition of 'Don't You (Forget About Me)' by Simple Minds, a country-folk take on the Rolling Stones 'Sympathy For The Devil' and a lilting, poignant Prince cover ('When Doves Cry', which comes complete with extended harmonica solos and some genuinely lilting strings).
Review: While Tony Williams AKA Addison Groove is best known for his sub-bass heavy, rave-igniting workouts, he grew up in Bristol on a diet of funk, soul, hip-hop, electro, disco and early house. That's what his semi hush-hush Groove label is all about: a space for him to rework personal favourites and killer cuts in a re-edit style, rather than a warehouse-friendly rave-igniting one. On this second instalment he focuses on reshaping African dancefloor burners from the 1970s, first successfully dubbing out, extending and rearranging Manu Dibango classic 'Soul Makossa' (as 'Changa'). 'Maruno' is a heavy, percussion-rich take on Afro-disco number smothered in trippy dub-wise effects and smart drum edits, while 'Shango' is a low-down, spaced-out Afro-stomper guaranteed to get feet moving and heads spinning.
The Advent - "Passive Aggressive" (Truncate remix) (4:21)
The Advent - "Remote Viewing" (5:01)
G Flame - "Ignacio" (7:09)
Review: Long-time hard techno champion The Advent is back with more of his mind-melting work on Truncate's self-titled label. Title cut 'Passive Aggressive' opens with a loopy mental workout that is underpinned by nice dubby low ends. Truncate remixes and layers in some icy, fizzy pads and pressured drum grooves, then 'Remote Viewing' brings some uneasy peak time anxiousness with its wonky lines and prickly synths. Also included is a bonus by G Flame, which brings a direct and delicious Detroit house vibe that goes deeper.
Review: Released first back in 1993 by recently reformed The Afghan Whigs, an American rock band from Cincinnati, Ohio, Gentlemen is a classic album blending alternative rock, soul and grunge, all defined by Greg Dulli's raw, confessional lyrics and gritty production. Recorded in Memphis and originally on Elektra who reissue it now, it marked the band's major label debut after two Sub Pop albums. The emotional intensity of tracks like 'Debonair' and 'Be Sweet' captures a turbulent year in Dulli's life and always resonated deeply with fans. The Gentlemen retains its powerful edge as an alternative indie gem.
Review: Makin' Moves dig deep for this one - an unreleased 2005 studio session from Afronaught (Orin Walters of Bugz in the Attic) and Justin Chapman (Kemeticjust), finally seeing the light of day. Born out of a chance meeting in London during the heyday of the broken beat scene, it's a time capsule from an era when nights like Co-op at Plastic People were pushing a fresh, soulful sound that still resonates today. Justin's vocal touches on themes of political oppression in the US, delivered with real feeling and weight. The late, great Phil Asher was such a fan, he jumped on the remix - his 'Restless Soul Dub' strips things back but keeps the warmth intact. Also in the package is a standout Blaktones Mix, a proper bruk workout that channels peak Afronaught energy. Timeless sounds from key players - rough, raw and still hitting hard.
Simple yet effective compressor module with sidechain function - 8HP
Notes: After Later's full featured stereo compressor with threshold, ratio, and makeup gain controls, along with attack and release timing controls. You can also sidechain to help highlight sounds competing in the same sonic space.
Fuzz pedal featuring two channels based on the classic fuzz face circuit.
Notes: After Later Audio's For Fuzz Sake combines two takes on the classic fuzz face into one pedal. Allowing a wide range of classic fuzz tones and effects in one pedal:
Gnarly is an 8 knob beast that will destroy whatever you throw at it. It has many dead zones in the pots that will adjust based on the position of other pots. It's all about finding the sweet spots and living on those fine edges.
Oomph is a 6 knob bass friendly take on the fuzz face and compliments the upper harmonics of the Gnarly section.
A pedal form of After Later's Typhoon granular sampler module.
Notes: Bringing After Later's stereo granular sampler, Typhoon, to pedal format. This removes all of the modulation jacks and replaces them with a set of dip switches that can used with external modulation or the onboard LFO.
Two expression jacks for pedal control:
Modulation - You can send either the LFO or steady voltage to this jack and then use the dip switches to control which parameters the modulation applies to.
Level - Control the input level to allow your reverb tails and effects to taper off naturally.
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