Back catalogue: All genres

Notes: The fastest and most intuitive way to make beats.

A production machine that lets you create using a gigantic array of samples.

The Electribe sampler is a sample-based production machine that lets you construct beats at maximum speed. You can freely edit and resample using waveforms that you've loaded and preset samples. Modulation and effects can be controlled easily just by turning knobs on the top panel. In addition, a variety of input interfaces optimized for inputting rhythm, bass, or melody allow you to smoothly create sequences as fast as you can think.

The sequences that you create can then undergo additional evolution on stage or in your laptop. You can enjoy intuitive live performances that link various devices with the Electribe sampler, or utilize this capability for full-fledged music production by exporting sequence data to Ableton Live for detailed editing and final mixing.

The latest system version 2 adds a much-requested pattern chain function that will be a great asset for live performances or music production. The lineup has also become more colourful with the new metallic red model. And Korg have also provided bonus patterns that reveal even greater sonic potential.

Making your beat-making ideas rapidly take shape. It's the Electribe sampler; a sampler + sequencer that's thoroughly optimized for speed.

The Electribe sampler continues to evolve

A new metallic red model - a nod to the legacy of electribe

Following the dark black unit, the lineup has been joined by a metallic red model that's reminiscent of the previous model, the ELECTRIBE SX. Complemented by the numerous colourfully illuminated LEDs, this unit will energize your playing.

Many new functions added via system update

Updates make the Electribe sampler evolve daily. System version 2 adds support for the much-requested pattern chain function and undo function, as well as support for original value display. Users who already own an Electribe sampler can update their unit and then enjoy playing.

Download over 200 bonus patterns

Electribe artists, sound designers, and beat makers from around the world have created bonus pattern data packed with new sounds, phrases, and sequences. These 237 different patterns are packed with sample sounds, drum kits, and ideas for a wide range of musical styles. They are provided as reference materials for your beat-making or as foundations to give you new inspiration.

Specifications

Sound System
Type: PCM sound engine + Analog modelling sound engine

Maximum Polyphony
24 voices
* The polyphony of the entire pattern varies depending on the Oscillator, Filter, and Insert Fx type.
* Independent parameters for each voice have been simplified; four voices share the parameters of one conventional voice.
Sample: Type (920), Pitch/Glide, Edit
Sample Types: Analog (16), Audio In (2), Kick (37), Snare (44), Clap (12), HiHat (37), Cymbal (8), Hits (33), Shots (44), Voice (31), SE (7), FX (30), Tom (10), Percussion (31), Phrase (15), Loop (22), PCM (31), User Sample (499)
Filter: Filter (Cutoff), Resonance, EG Int, LPF/HPF/BPF (3)
Modulation: Type (72), Depth, Speed
Amp/Envelope Generator: Level, Pan, Attack, Decay/Release, Amp EG On/Off
Scale Types: 35
Gate Arpeggiator Types: 50
Sampling Frequency: 48 kHz
AD/DA Conversion: 24 bit

Sampler
User Samples: Up to 499 samples
Memory
Total maximum approximately 270 seconds (calculated as monaural)
* Regardless of the capacity of the SD card
* Including presets
Edits: Start/End Point, Loop Start Point, Tune, Time Slice, Level, Direction, Resampling

Effect
Insert Effect:One unit (can be used on each of the 16 parts)
Type (38), Edit, Insert FX On/Off

Master Effect:
One unit
Type (32), Touch Pad, Master FX On/Off, Master FX Hold On/Off
Sequencer
Number of Steps: 16 steps x 4
Number of Parts: 16 parts (one part consists of a sound, steps, insert effect, modulation sequence, etc)
Number of Patterns:
250 patterns (150 Presets / 100 Initial)
(one pattern consists of parts, master effect, key, scale setting, etc)
Motion Sequences: Up to 24 motion sequences can be stored (for each pattern)
Groove Types: 25
Pattern Set: Up to 64 patterns can be stored
Pattern Chain: Up to 250 patterns can be chained
Export: Ableton Live project file format, WAV file format (48 kHz, 16 bit)
Event Recording: Up to 100 files can be saved

Trigger Pads
Number of Pads: 16 pads (Velocity sensitive)
Modes: Trigger, Sequencer, Keyboard, Chord, Step Jump, Pattern Set, Touch Pad
Modes: Gate Arp, Touch Scale, Master FX

Connectors

Audio:
L/Mono, R Output (Standard phone jack)
Headphones (Stereo mini jack)
Audio Input (Stereo mini jack)

MIDI: In, Out (Use an included MIDI adapter cable)
USB: Type micro B
Sync:In, Out (Stereo mini jack)

External Storage Device: SD Card (512 MB -- 2 GB), SDHC Card (Up to 32 GB)

Power

Power Supply: AC adapter (DC 9V) or AA battery x 6 (Alkaline battery or Nickel metal hydride battery)
Battery Life: Approximately 5 hours (Power Saving: ON, with Nickel metal hydride battery)
Current Consumption: Less than 500 mA
Chassis: Zinc die cast

Dimensions (W x D x H): 339 x 189 x 45 mm / 13.35" x 7.44" x 1.77"
Weight: 1.6 kg / 3.53 lbs
Colour Variations: Metallic Red (electribe2s-RD), Black (electribe2s)
Included Items: AC adapter (DC9V), MIDI adapter cable x 2, Ableton Live 9 lite (License card included)
Accessories: Sync Cables SQ-CABLE-6, Gig Bag DJ-GB-1

Notes: When the classic MS-20 analog synthesizer appeared in 1978, it had a trusted partner in the SQ-10 step sequencer. Now, after thirty years, the MS-20 has been reborn as the MS-20 mini, and the SQ-10 has evolved into the more modern SQ-1.

The SQ-1 is a compact step sequencer with 2 x 8 steps. It's wealth of connection jacks allows it to be connected to the MS-20 and a variety of other synthesizers. Vintage analog synths or the latest compact synths can be controlled from this single unit. You can also switch between a variety of synthesizer modes and use the step buttons to create performances overflowing with spontaneity, just as when using a volca unit.

Liberate yourself from the numerically-bound parameter editing that's typical on a DAW; you'll enjoy truly musical inspiration as you train your ears and concentrate on what your fingertips are doing. Don't miss the experience of music that's driven by your instinct.

Rather than the commonly used V/Oct standard, the CV design of the MS-20 always used the Hz/V standard that provides excellent pitch stability limiting the step sequencers that are able to correctly control the MS-20. As a descendant of the SQ-10, the SQ-1 supports the Hz/V standard, enabling it to perfectly control the MS-20 or MS-20 mini. It goes without saying the V/Oct standard is also supported, and the voltage level of the CV output and polarity of the GATE output can be specified as appropriate for the device you've connected. This versatility will enable you to control a wide variety of other synthesizers as well.

As a connector, the SQ-1 provides two CV/GATE OUT channels, the standard MIDI OUT and USB MIDI, littleBits out (to connect to the littleBits synth kit by littleBits Electronics Inc.), plus the SYNC IN/OUT channel that allows you to connect to the volca series and monotribe. Compact and complete with all the functions you need, the SQ-1 is the ideal hardware sequencer.

The SQ-1 provides two channels (A and B) of 8-step sequencer that can operate consecutively, or be used in a variety of other modes. For example, you can run A and B following each other to function as a 16-step sequencer, ignore the order and make the steps play randomly, or use A and B to control different parameters as they run in parallel. From simple sequences to complex changes, you can choose from a variety of modes to suit your needs.

The 2 x 8 step buttons can be used in the usual way to turn notes on/off, but you can also use the MODE button to switch their function, opening up powerful possibilities such as letting you "perform" the sequence itself, as on a volca unit.

"Active Step" lets you skip steps mid-way through a sequence, and "Step Jump" lets you instantly play just the step that you press, producing irregular rhythms or effects that are reminiscent of short loops. "Slide" produces an effect in which steps are connected smoothly; using this to control a synth bass is an easy way for anyone to generate an acid sound.

Packed with carefully selected functionality, the SQ-1 features a compact and very sturdy sheet-metal body. Placed beside the MS-20 series, you'll notice a sense of solidity that gives the impression they were manufactured in the same era. The unit can operate on two AA batteries or on USB bus power.

Sequence step resolution is selectable as quarter notes, eighth notes, or 16th notes.

You can specify the way in which the step knobs control the pitch. The knob values can specify the pitch directly, or they can specify the closest note in a major, minor, or chromatic scale.

Review: After spending last autumn working alongside Rampa and Adam Port (see the trio's excellent "You Are Safe" album on Keinemusik), Andre "&Me" Boadu has enjoyed a quiet 2018. In fact, this outing on Pampa is his first release of 2018. He begins with the atmospheric and undulating delight that is "In Your Eyes", a slightly jazz-flecked rolling deep house excursion that brilliantly builds energy throughout. Boadu accomplishes this using two contrasting melodic elements: fluid piano solos and a foreboding electronic motif that increases in prominence and intensity as the track progresses. Over on side B, "As Above So Below" is an altogether deeper proposition, with hushed, cymbal heavy percussion, tech-tinged drums and a spacey, undulating synthesizer melody combining to create a hazy late night mood.

Review: London's 1-800 Girls brings cleanly garage and bright breaks to his All My Thoughts label, riffing on the combo of infectious aural hooks and brutalist sonics fashionable among the present chart doyens of UK dance music and techno. 'How I Feel' sounds like an innocent admission of affection in techno-garage form, pairing the flunky inter-jabs of 2-step garage with the cute-aggressive seethes of a repetitious sampled vox; the track centres on a nostalgic, airtight sequence of parapractic phonemes, onto which the listener may project their longings and amours. 'Signal' embraces both big beats and biomech squeaks verging on sports-whistles, while 'Like You Do' returns for a comparatively brooding burbler. Finally, 'Guy's Salmon' rounds things off on a dense sequence of yeahs and ohs, as ever building up a slow-burn of cool wonderment and openness.

Review: Since returning to action in 2016 after a seven-year break, 1990s techno survivor Lee Renacre AKA 100 Hz has released some of the best music of his career. This fine four-tracker marks the long-serving Londoner's first outing on Romanian imprint Amphia, who are best known for serving up sparse, minimalistic tech-house. As you'd expect, there's a slightly fuller sound here, though sonically it's as pleasingly druggy and mind-mangling as much of the imprint's output. Renacre brilliantly flits between trippy, arpeggio-driven, house-tempo techno (the otherworldly 'Machines of May'), dubstep-influenced UK bass/techno fusion ('Gadget', which echoes the ethos of his early 100 Hz releases with James Chapman), intergalactic tech-house ('Dark as Night'), and frankly filthy low-end wobblers ('Swiss').

Review: Four cuts of timeless hardcore jungle from respected and rising Aussie break butcher 12 Bit Jungle Out There. Hugging you like it's 92 but booting you like it's 2032, each track is littered with edits, twists, turns and superb stretches. From the ragga-fronted bubbler 'Dutty Gunman' to the rave-echoed 'Desire & Love', there's a hearty party spirit that's so good for those choppy, blast-em-up mixes. Trust us, he's has been squeezing his Octamed super hard for this one!

Review: Hot Piroski Records have been on something of a hiatus for the last year or so but now make a welcome return with a new EP series. This collaborative affair is the result of an epic journey in an old Mercedes from London to Gunjur and finds label head Robin 12Tree working with The Gambia and Bongo Koi as Gambian Disco Express. 'Enlightenment is Now' marks their first release on Hot Piroski Records and it comes with vocals from Gambian mystic Rev. Joseph N'Gole, recorded on the banks of the River Gambia. This one has already been hammered by Psychemagik, Pete Herbert, and Severino from Horse Meat Disco so it comes quality assured.

Review: A solid four track EP on Step Ball Chain records blending minimal and tech house with a splash of techno. offering a diverse range of sounds for late-night dancefloors. Side-1 starts with 'Do U Want Me', a playful peak-time house track filled with nostalgic old-school samples and a serious grooveiperfect for keeping the energy up during those late-night sets. It's followed by 'Make Me', which shifts gears into a dubby mix of dubstep and liquid drum 'n' bass, offering a bass-heavy, laid-back vibe. On Side-2, 'Bassy Bits' drives things forward with its fast-paced tech house beats and dirty bassline, making it a DJ-friendly gem designed to shake the dancefloor. Then there's 'Lick My Chain', a deeper, moodier track with a wall-shaking bassline and a futuristic, sensual atmosphereia slick, immersive cut for those looking to bring the energy down but keep the intensity up. Rounding off the EP is the 'Lick My Chain' (PSL remix), which adds a techy edge and a sexy vocal, transforming the track into a late-night anthem. Overall, Step Ball Chain Holland is a versatile release for tech house and electro fans alike.

Review: Little is known about this early 1970s psychedelic soul group from Germantown, Philadelphia. However, their record was recorded in 1969 and released in 1970 as one of two releases on Michael Nise's Round Records (Nise Productions INC). Now, remastered from an original pristine vinyl copy in collaboration with Nise Productions, this marks the first official reissue of the album. The group's music captures the essence of the era's soul and psychedelic influences, making this a long-awaited release for collectors and fans of vintage soul.

Review: By their standards, Danish duo 2 Bit Crew enjoyed a very productive 2014, releasing well-received singles on Deso, Luvdancin' and their own self-titled imprint. Here they return to the latter with three more sumptuous chunks of tactile, arms-spread deepness. The untitled A-side arguably hits home hardest, with sweet, delay-laden loops and delicious riding a house tempo Motor City techno groove. The second track, nestled at the beginning of side B, seemingly shimmers with positive intent. The duo opts for Chez Damier style bass and a touch of vintage US house bump, while smothering the groove in darting synths and huggable electronics. Finally, the third track goes even deeper, delivering the dreamy tech-house equivalent of a long, sloppy kiss.

Review: The band 2000 Black, who include 4Hero icon Dego among their number, are masters of the broken beat scene, leaders amongst men who whether working alone or with others are always in top form. This two track outing kicks off with 'Soursop & Mango', a bristling, bustling mix of raw drums and bursts of cosmic synth energy that radiates soul, all with neat guitar riffs stitched into the mix. 'Straight Forward Side Steps' is a dusty jam with lovely scruffy claps and much more well defined synth lines adding colour and soul.

Review: Premium jazzdance from London's 2000Black in collaboration with soulful vocalist Samii; 'Circus Retreat' and its instrumental version both aim squarely for the rond-point of the big smoke's essence, channelling a sense of respite and sense-making of the anxieties of now, the "continuous confusion that surrounds us today". The lyrics affirm the unfairness of modern urban experience with a joyois irony, with lyrics like "it's not fair" and "I can't feel my feet" gliding spiritedly above a sparky broken beat peppered with sunny soul-jazz ornaments. Then, on the B, there's 'London Boogie', which swaps out the swatches to reflect more of a purple tinge by way of rhythmic Rhodeses and cutoff-filtered stabs; and 'Shrug!!', more of a chiptuney retreat into digital dance-space.

Review: 20/20 Soundsystem were a four piece live band fronted by 20/20 Vision boss Ralph Lawson, leaving their stamp on events Sonar Barcelona, Glastonbury, Space Ibiza, EXIT, Love International, Creamfields Argentina, fabric London and Manchester WHP. They released two studio albums, the latter, 2008's Falling, lending its title track to a clutch of new mixes here courtesy of Random Factor and Fernando. The new versions bring a modern touch and fresh dancefloor-ready energy while never forgoing the spirit of the original. Random Factor's offering is a gritty and dubby electro version and Fernando offers a cosmic chugger with plenty of sci-fi sounds and wispy acid details. Sound.

Review: Digital Tape Recordings take it al the way back to 1994 here with the timeless early garage sounds of Dub Essentials Part 1 from 24Hour Experience. It captures the essence of UKG at the time and was first released on the definitive Nice N Ripe label. It has a range of sounds from the soothing depths and soulful samples of 'Feeling's Mutual' to the more clipped and bouncy 'Deeper (5am mix)'. 'Scatter' then layer sup jumbled perc and US house styles with rich organ chords and 'Mantra' again keeps it deep and rather sleazy with some filthy bass. Last of all is the slinky sound of 'Gone Loopy' to round out a classic.

Review: Digital Tape Recordings kick out another vital 12" on wax here, this time with a third part of their on going and excellent Deep Dub Essentials series. 24HR Experience is at the helm here with a quartet of house and garage collisions that bring the good times. 'The Heaven Track' is a classic US garage cut with stiff snares and low slung drums, and 'Touch The After World' is just as deep and warm. 'Just A Vibe' is the highlight at the end - nice New Jersey drum with warming organ stabs and a carefree groove that effortlessly sweeps you up off your feet.

Review: Last summer, Soul Clap Records giddily introduced their first ever singings from the UK, 2Fox, via digital-only vocal house number 'Elevation'. Nine months on, that track has finally made it onto wax, accompanied by the best remixes from the expansive digital EP. In its original extended mix form (A2), the track is a sublime slab of warm, tactile, nostalgic and gospel-tinged deep house excellence with superb lead vocals by Laville. Masters at Work man and all-round NYC great Louie Vega delivers a fantastic, lightly tooled-up soulful house take to kick off the EP, label bosses Soul Clap add tech-house style synths and attractive electronics aplenty, and New York veteran Tommy Musto leans further into 'Calling Your Name' style gospel-house joy.

Review: 3 Men Gone Mad were an independent group formed in Blackburn and Darwen in the UK. They fused electronic sounds with rock and were prolific in the 1990s when they became cult favourites amongst those who know. You Try is a much sought-after collection that has been restored by Utopia Records many years after it made its way onto John Peel's 1991 Festive 50. He heard in it a mix of The Clash, Joy Division and Talking Heads and that still rings true. The main mix has a raw energy that captures the angst of Britain at the time - and still today, frankly. A spaced-out dub brings a fresh feeling of euphoria and an extended B-side mix draws out this record's undeniable pleasures.

Review: CFRT's fourth release features early productions from Sven Rohrig under his acclaimed techno and house alias, 3 Phase. These tracks were originally released on Push back in 1996 and offer a window into his innovative approach, even though he was in his formative years. All these decades on, they still bang. 'Moon' is textured, edgy techno with restless drum rhythms and metallic percussive sounds, 'Other Edge' is a psyched-out number with bleeping melodies and thudding drums and 'Magic Edge' strips tings back to deep, pulsing bass, lashings of synth detail and a paranoid mood while 'Stash' shuts down with more slow motion sounds for the post-rave comedown.

Review: Washington D.C's The 3 Pieces initially put this out on their own private pressing on DL Records in 1982. It is a cosmic-boogie-disco-jazz and rap jam with lashings of funk and a curious spoken-word delivery and guest spot from a school aged vocalist that lends it plenty of character. The synths are glossy and harp-like, the bass grumbles are infectious and the whole thing overflows with feel good factor. The Lexx vocal mix is like an early house track with claps straight from a Peech Boys record and the Nad Tyler dub is even more ready for the dancefloor.

Review: In celebration of their tenth birthday, Selador marks the occasion in style with a four-track collaborative EP, featuring tracks from 3D, Robert Owens, Olivier Giacomotto, Quivver, Dave Seaman, Hernan Cattaneo, Argia, and Jepe. The opening track, 'Known Love', is a deep, pulasting house tune that feels like an instant classic, perhaps thanks to the soulful, pop-tinged vocals - think LCD soundsystem meets Four Tet. 'Snailblazer', the second track on the EP, takes a much darker turn, with a chugging, EBM-esque feel. Full-bodied and complete with obscured vocals, this is the kind of track to pull out your bag when it's time to really get stuck in. On the B-side, 'Napkin Knowledge' draws on the glistening synths of eurodance, yet still securing the melodies to a grounded bassline and rhythm section. 'Salitre' is the perfect closing track, rising up in a gleaming, ecstatic melody, before delicately returning to ground level. A varied yet firmly cohesive collaborative release - the perfect way for Selador to kick off their 2023 catalogue.

Review: The 4 Masters recorded these tunes in the Sound Plus Studio in Philadelphia, but they have never previously been available on vinyl. They have been officially licensed courtesy of Frank Bendinelli and both the A and B-side were recorded on February 27th, 1965. 'Pretty One' is the slow dance - the sentinel soul sound with impossibly pure falsetto vocal leads and lush string sounds as well as backing harmonies to melt the heart. 'Hearsay' picks up the pace with finger clicks and horns making for something of a Northern Soul feel.

Review: After an absence of a few years, 40 Thieves return to Leng Records with one of their most special releases to date: a hook-up with long-time Patrick Adams collaborator Gary Davis and long serving soulstress Cinammon Jones. What's on offer is a re-make of one of Jones' songs, 'The Gift', whose sweet lyrics celebrate the arrival of a new day. 40 Thieves take, explored first in the A-side 'Disco Mix', sounds like it was designed to be danced to during a San Francisco sunrise - think dub disco delays, hypnotic grooves, bubbly electronics, languid guitar licks and gentle melodies. Over on the flip, they take the track further into 'woozy 6am open air dancing territory' on a superb, stretched out 'Disco Dub' mix, before peppering a killer drum track with spaced-out electronics on the 'Beats' version.

Review: The 45 Kings return with Vol 12, delivering two essential cuts from Nas's legendary Illmatic album. On Side-1, 'N.Y. State of Mind' captures the raw spirit of New York with its darker, jazz-influenced beats, perfectly complementing Nas's gritty lyrical flow. Side-2 features 'Represent'. a timeless track, exuding class with its sharp production and quintessential boom-bap vibe. Both tracks showcase why Illmatic is hailed as one of the greatest hip-hop records of all time. This 45 is perfect for any vinyl collector or fan of classic hip-hop, encapsulating the golden era with two undeniable gems from Nas's breakthrough masterpiece.

Review: 45trio share their first release for Bloom Musi, this time around covering the stone-cold classic 'Am I The Same Girl', co-written by Eugene Record, of Chi-Lites fame, with Sonny Sanders, for singer Barbara Acklin. In '92, Swing Out Sister covered the album, but this latest rendition hears 45trio's Momoko Suzuki and Reiko Oda lend it a sweeter style by comparison. This dainty, vivid young soul morsel is a fine-tuned fine tune, one you'll undoubtedly want to continue humming along to long after its central, unmistakable hook - transposed up at least two octaves here - has played out. The B-side includes a special instrumental version, no less, released under the name of Young-Holt Unlimited - this one brings the hook line to an organ part, demonstrating the written song's potent and versatile instrumental repertoire.

Review: 49ers were the fivesome of Gianfranco Bortolotti, Luca Cittadini, Diego Leoni and Pieradis Rossini and vocalist Ann-Marie Smith and 1989's 'Touch Me' came as their second ever single after 'Die Walkure', which did comparatively less well in the charts. Ingenious of the association now often made between Italo house/disco and lewd sexuality, this was an early experiment in the style and came without vocals from Smith. Instead, it sampled Aretha Franklin's 'Rock-A-Lott' and Alisha Warren's 'Touch Me', producing a nebulously sexual sound, in which the samples songstresses are made to sound much... tenderer. For the more squeamish among us, there is of course an instrumental B-side.

Review: The reissue of Night Passage by 49th Floor on Vibraphone Records is a testament to the label's commitment to quality deep house music. Originally released in 1992 as an Italian ambient house track, 'Night Passage' has been resurrected with identical tracklist as the original, which should delight fans.The Underground Radio Mix kicks off the release with its deep house rhythm and nostalgic piano melodies, capturing the essence of the original while infusing it with a contemporary groove. 'Fast City' adds a nice touch of Balearic flair to the EP, offering a deeper and more atmospheric vibe. On the flip side, the Magic Club Mix of 'Night Passage' elevates the track to peak-time dancefloor status with its infectious energy and pulsating beats. Finally, the Bongo Mix brings a percussive twist to the proceedings, injecting an extra layer of groove into the mix. Overall, 'Night Passage', is a great example at the ideal style of music that blossoming on the underground that perfectly fit the scenery in the Mediterranean.

Review: Back to 96: The 4th Wave was a producer named Steve Paton. Also operating under aliases such as The Invisibles and Lo-Fi Sensibilities (when he appeared on Mo Wax), Steve didn't remain active for too long outside of the 90s but he left us two killer EPs. One on Planet E in 95 and this one on Kirk Degiorgio's Op-Art in 96. Reissued for the first time, and now featuring the twinkling downtempo delight "Lounge Music" (which was only ever previously available on a compilation), it's a powerful example of the Detroit/UK feedback loop at the time as both techno hubs were influencing each other. "Attention Please" rolls out the breaks, "Mean Streets" bites like a woozy UR record while "Cosmic Dance" whips up a tribal frenzy for the finale. 23 years old and still sounding future.

Review: RNT welcomes Brooklyn-based band 79.5 to the family with the first single from their forthcoming eponymous LP. Soulful and psychedelic, the haunting melodies of Club Level float above a steady strutting rhythm section, punctuated by moaning baritone saxophone and drenched in washy reverb.

NYC mainstay Eli Escobar crafts a masterful remix that leans into 80s nostalgia, with a soundscape and arrangement nothing short of perfection.

Review: The faultless Big Crown label revisits one of its biggest hits from back in 2016. New York City-based collective 79.5 is made up of seven musicians and singers and their gorgeous 'Terrorize My Heart' 45rpm reached some heart aching disco highs. Now it comes with in two new forms - the disco dub with its seductive drums and bass and airy, soulful vocal, and a remix from hip hop royalty Tall Black Guy. He deconstructs the tune and rebuilds it as a smoky, jazz tinged slow motion hip hop beat. The chords are warm and cuddly, the vocal is more meandering but still acts as the perfect icing on a delicious cake.

Review: A special white vinyl edition of a stonker of a UK techno LP. The legendariness of The 7th Voyage's Return Voyage LP is said to outstrip that of others, with the short-lived label and artist moniker of one Joe Smilovitch locking in a "lost album" compiling works by fellows Tactics Of Bass, The Ron Honey Experience and Quadruplex for gem-hunters. That's the cherry on top of two already-wonderful single-EPs from the Smilovitch himself, 'The Predator' and 'The 4 Point', both from 1996. Pariter deem it "an exceptionally rare issue of a highly sought-after classic", and we can vouch for that. Wicked tunes all round.

Review: NY breakbeat craftsman 88 Katanas gets explorative on Silent Force with four outstanding jungle adventures. The brilliantly titled 'The Standard Of The Archipelago' ignites the EP with a brisk drumfunk type of flavour that's comparable to Seba. From there we move inland to brutalist terrains... 'Radiant Energy' is a halftime march through thick swamps and woodland, and 'Bit Rot' takes us onto elevated fields where the air is fresher but the ground is very slippery underfoot. 'Subconscious Emotions', meanwhile, takes us back to a much calmer shore where a good looking ship awaits for voyage home.

Review: If you were a young production twosome growing up in Cologne, you'd aim high and send your demo recordings to the city's most storied techno label, Kompakt. That's exactly what Mourad Kehalia and Sebastian Fischer AKA 90ASE did, and it led directly to this quietly impressive debut EP. The headline attraction is 'Streetpoet', a dreamy and colourful slab of breakbeat-house gorgeousness smothered in elongated church organ chords, tactile pads and auto-tune enabled Arabic vocals. The mighty Axel Boman remixes, delivering a 'Trancehall' mix that ups the dreaminess levels further while employing squelchy synth bass and pumping, tribal house style beats. To complete a rock-solid package, Kehalia and Fischer offer-up the maximal deep house headiness of 'New Ballad', which is as gorgeous as it is dancefloor-ready.

Review: A aka Mika Vainio's 'Fermionit' is a significant release from the late Finnish producer, who passed away in 2017. Originally featured in a Belgium Detuned 6x12 boxset just before his death, the track received critical acclaim from collectors and fans. Now, it returns to Mika's own Sahko label for a well-deserved 12" release. 'Fermionit' embodies the essence of Finnish techno with its minimalistic, cold and stark sound. The track's passive-aggressive edge showcases Vainio's signature style, blending raw, unfiltered textures with a profound sense of depth. This release not only honors Vainio's legacy but also offers a chance for new listeners to experience the pure DNA of Finnish techno. An essential listen for fans of minimalist and avant-garde electronic music.

Review: Let's face facts, the trilogy of releases that ACR:EPR completes have helped win over a new generation of fans for the band while reassuring established followers that A Certain Ratio can still do the business. They've been heartfelt and honest, truly innovative and - when all is said and done, at some point in the near future - destined to be considered collector's items.

The final chapter is certainly winding things up triumphantly. '$ouls In The City' seems to go straight for the mind's eye, an enrapturing track that chugs its way through layers of funk groove, with acid details just about audible on top. 'Night People' is a far more sticky, treacly affair, while 'Big Boy Pants' ushers in a kind of nocturnal seduction, brass and rolling breakbeats setting the scene perfectly for the ska-infused melodies of 'Downtime Vibes' that follow.

Review: A Certain Ratio have returned with their most tight and funky album, possibly ever, recently, and it is steeped in 40 years of ACR DNA. Now you can grab two of the standout singles on this fine, limited edition white 7" thanks to Daniel Miller's essential Mute. Opener 'Berlin' is the second single from that album, ACR Loco, and has breezy vocals and Trillin riffs over tight drum work. 'Dirty Boy' is riddled with squelchy synth funk, with popping drums and a great vocal performance that will get any party vibing.

Review: Perhaps one of the most important bands to come out of Manchester ever. Up there with Joy Division, their funky post-punk is the very essence of that genre and possibly why a lot of bands like to call themselves post-punk. They're just wishing they sound as good as A Certain Ratio. For this latest release, the follow-up to their album It All Comes Down To This, they've reworked songs from said album - sensationally - and released a Christmas single. 'Now And Laughter' is described as an ode to "the unsung heroes that are on hand when the pressures of the festivities can become too much to bear." It's awash with sumptuous echoing guitar, a somber lead vocal which makes you want to raise your lighter and gently sway. There's a hint of David Bowie in there and the lyrics appear genuinely emotional and appreciative. This is a song of blissful poignance that can help remind us of what really matters in life as it captures a sense of vulnerability and awe in the magic of the moment.

Review: A credible eyewitness is arguably nonexistent; all narrators are unreliable in some way. But the ACEW label boss who bears the name makes a worthy attempt to justify it, laying down four killer downtempo dreams of the tongue-in-cheek, driving kind. 'Hypnotik' was clearly made with the aim to mesmerise in mind: 'Waz Up' and 'Sexy Waz' logically follow each other as snake-charming pendulum-swinging coldwave-chug trances to make up the A-side, while the B's 'Following' and 'Subreal' raise the pace again, deftly working illusory melodies round strangled electro workouts.