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Review: The combined talents of pianist-producer Alfa Mist and jazz drummer Richard Spaven have spelt the formation of a new hip-hop act, 44th Move, whose debut album for Black Acre debuts today. Centring on the notion of an "R&D mindstate", the pair bring a tonally lowered, electronicised sound to the table, teaming up with two further confidants - Bristol turntablist Awkward and Detroit rapper Quelle Chris - for an extended jaunt through techno, r&b and rap, arrayed in overarching drapes of moody jazz.

Review: For Record Store Day 2025, Bloom Japan presents a lovely 7" from the 45TRIO, who reimagine Minnie Riperton's classic 'Inside My Love.' This reinterpretation delivers a lush, jazz-infused instrumental take that honours the original's unique sensuality while introducing a fresh, soulful groove for modern 'floors. 45TRIO's tasteful blend of live instrumentation and vintage tones helps breathe new life into this timeless gem while the B-side offers a stripped-down version perfect for late-night spins or sample hunters. This is one to pick up and drop during those loved-up moments.

Review: Los Angeles based self-described "ecstatic black metal" outfit Agriculture are slowly becoming one the most talked about acts in the extreme metal underground, with near hysteric levels of hype growing for their self-titled debut full-length. Signing to The Flenser, a label known for its championing of the leftfield extremity of artists such as Chat Pile and Mamaleek, it's no real surprise that so many in the scene are gravitating toward the group's euphoric and uplifting re-interpretation of black metal motifs. With tremolo picking, blast beats and howling vocal shrieks all angled in such a sonic manner to feel enveloping and warm as opposed to the traditional frosted machinations of the genre, as well as the vulnerable poetics on display, Agriculture make a strong case for the Venn Diagram intersections which can often occur between the realms of black metal, screamo and post-rock, but they do so in such a nuanced manner as for it to feel blissfully cohesive and utterly natural.

Notes: Soft on-ear memory foam cushions covered with PU leather. The thickness and materials gives high isolation and a punchy sound. Strong bass and low end dynamics.

Notes: ***B-STOCK: Dinked corners, but product is in excellent condition and in perfect working order***


The story is about Taina, a nine-year-old, Afro Boricua basketball novice growing up in Brooklyn during a pandemic who learns valuable life lessons from family, friends, and the community, both on and off the court. The narrative seamlessly weaves social-emotional learning with math, arts, social justice, identity, culture, and sports education, all in a fun (and at times goofy) manner!

-Written by Bobbito Garcia and illustrated by Estafania Rivera Cortes.
-58 large full colour printed pages (8.5" x 11"). Hardcover w/matte finish.
-Age range: 7+ and beyond.
-A helpful tool for social-emotional learning as well as math, social justice, identity, culture, and sports education.
-For any store that buys the book, Bobbito Garcia offers to do a personalized video drop to post on their socials and he'd repost it in his stories on IG. He would also add the store to the website of where people can go to buy the book locally (aimhighlittlegiant.com).

-"A brilliant, beautiful and spiritual basketball revelation disguised as a children's book."-Scoop Jackson, author of The Game Is Not A Game
-"A unique reframing of basketball delivered through New York City's diversity, geometry and spirituality."-Max Resetar, editor of SLAM MAGAZINE
-"Yet another achievement for the brilliant Bobbito Garcia who inspires the youth to championship heights! There is a giant in all of us."-Dan Klores, director of Basketball: A Love Story

"Bobbito Garcia's street-smart text and Estafania Rivera Cortes' starburst illustrations make for a buoyant, fun, and thoroughly modern experience. Call 'I got next' on AIM HIGH!" -Alexander Wolff, author of Big Game, Small World: A Basketball Adventure

"I've been documenting hip hop, sneaker, and basketball history in books, films, and magazines since the '80s, so imagine the thrill for me to finally write fiction, and especially for kids! The experience was liberating and allowed me to flex my experiences as a parent, which I haven't shared much of at all publicly. I truly hope the multiple communities I exist in have the opportunity to see themselves in the words and illustrations" -Bobbito Garcia

Brilliantly illustrated by Estefania Rivera Cortes, an artist based in San Juan, Puerto Rico with a compassion for social causes, Aim High, Little Giant, Aim High! is an unprecedented presentation of NYC's unique outdoor basketball culture, created for children of any background to enjoy. The book is published by We Are Little Giants, an independently Black and Puerto Rican owned business.

Review: Contemporary jazz talent Melissa Aldana is back on the legendary BlueNote label with her second album here. Echoes Of The Inner Prophet is, says the great label, "a musical voyage to explore the depth of the spiritual journey" and has been co-produced by Aldana and Lage Lund. The tenor saxophonist is joined three by the talented Lund on guitar, as well as piano from Fabian Almazan, Kush Abadey on drums and Pablo Menares on bass. The eight-track work is a mix of some all-new original compositions that "seek profound truths through introspection, intuition, and self-reflection" and chief amongst them is an opening track dedicated to the great Wayne Shorter.

Review: Originally unveiled on 22nd September 2014 on the Infectious imprint, Alt-J's difficult second album certainly proved their worth at the time. Hitting the top spot in the UK album charts, alongside number two spots in Belgium, Australia and Canada, even managing to break the top five in the United States. The holy grail of impending global stardom for British guitar acts.

All of which went at least some way to bagging the outfit a Grammy for Best Alternative Music Album. Skip forward eight years and how fitting is that label now? Well, it's still the triumph it always was, spanning folktronica, pop, indie and art rock in a way that's likely never going to sound by numbers in any way. A great example of exactly why this band deserve every bit of the recognition they now command.

Review: Blue Foundation returns with another lush and immersive album that deepens their signature blend of dream pop, shoegaze and ambient electronics. Crafted over three years by the much loved Danish duo Bo Rande and Tobias Wilner, Close to the Knife explores themes of melancholy and introspection through layered textures and haunting vocals from Wilner and Nina Larsen. Guest appearances from Scarlet Rae, Helena Gao, and Sonya Kitchell enrich its emotional depth, while contributions from Chinese experimental noise band Wang's Xie Yugang and drummer Federico Ughi add complexity to this shapeshifting soundtrack.

Review: Is Archive's Londinium one of the best trip-hop albums of all time? For some, it is. For many, it's somehow criminally unknown. This reissue 25 years on should change all that. The music of Archive, which was formed by Darius Keeler and Danny Griffiths with singer Roya Arab and young rapper Rosko John, has aged well. The soaring strings, slowly lurching beats and meditative grooves all sit up there with any of their more famous peers, from Tricky to Massive Attack. This anniversary edition includes a 4-page booklet with song lyrics and credits, plus a hidden track.

Review: It's hard to over-emphasize the impact made by Autechre's debut album, Incunabla, on its initial release back in 1993. While they'd ruffled a few feathers already with their 1991 debut 12" - an explosion of off-kilter hardcore and techno - the album was an altogether different beast: a collection of timeless "intelligent dance music" numbers that skillfully fused far-sighted, Motor City electronics, teak-tough drums, metallic percussion hits, spacey ambience, and the kind of intense, off-kilter computer rhythms that would later become their trademark. Should you need persuading of its enduring brilliance, check out the feral thrust of "Basscadet", the bubbly, intergalactic hum of "Windwind", and the icy snap of "Autriche".

Review: The sophomore Bad Brains album, and last before their initial break up (the first of many), is arguably just as essential as their self-titled debut. Not only because it features a hefty amount of its predecessor's cuts, redefined by the late, great Ric Ocasek of The Cars (responsible for manning the boards on several vital punk and alt rock releases, just ask Weezer), but it also made clear that the dynamic melding of hardcore punk fury and deep-rooted understanding of reggae nuance was far from a fluke. If anything, 'Rock For Light', marked the true arrival of what is now commonly considered to be the most boundary-pushing, talented and visionary acts to ever see the beauty within the cacophony.

Review: After over four decades out of print, Henry Badowski's 1981 debut Life Is A Grand finally comes reissued by Caroline True Records. Despite cult status, this is a can't unhear record whose privies are never lost on those who love it. Badowski built a quiet reverence for himself over the years, eluding mainstream rediscovery while gathering admiration from those drawn to its peculiar charm. Though he eventually slipped away from music and began a succession of other jobs - fans often wondered how such a gifted musician could just disappear - Badowski was known to have been a teenage bassist in Chelsea briefly linked to The Damned, later stepping away from punk's sharp edges to craft something far more whimsical and idiosyncratic. Drawing on his affection for Roxy Music, Ian Dury and Jethro Tull, he wrote, arranged and played nearly everything on the album himself, rom the baroque pop of 'Swimming With The Fish In The Sea' to the instrumental strut of 'Rampant'. Rich in synth flourish, sardonic lyricism and melodic invention, and now pulled up by the pinky and thus saved from the gorge of obscurity, Life Is A Grand returns with its sly wit and strange beauty completely intact.

Review: Beau operates at the sharp end of the UK electronic underground and creates an immersive, dark ambient sound that is influenced by trailblazers like Burial. His soundscapes combine ethereal textures with moody rhythms and that is very much the case here on Lacuna, his new album for Feat PLAtes. It is full of roomy sounds, icy glass synths, smeared pads, late-night moods and evocative atmospheres that draw you in ever deeper, sometimes looking over your shoulder, always lost in deep thought. A real lost tape from the short-lived night bus genre, you could say.

Review: Jamaican rocksteady grandstander Keeling Beckford enjoyed a near three-decade hiatus after the release of his second album Stay Tuned, which would have seemed to round out his LPs game for good (though his usual remit of 7"s would carry on strong). So it of course came as a surprise that he might release a brand new record as recently as 2019, on the very same New York reggae and early hip-hop label 12 Star, which Beckford helped found way back in 1978. The label was also graced by Horace Andy and Delroy Wilson over the years. Try Me now hears a reissue through his own Keeling Records sublabel: here, Beckford's stylistic rocksteady rollicks take the form of loving lullabies, where all the tracks seem dedicated to the smitten-sounding voice heard through the wire in the opening sequence. Angelic, intumescent, cloud nine rocksteady, from a real and enduring Kingston great.

Review: Beckie Bell's 1980 debut has long circulated in fragments i a 12" here, a collector's tip there. This full reissue by Strut gathers it all in one place. Recorded after Bell's move from New York to Paris, it offers a studio-built vision of disco shaped by session musicians and arranged with subtlety. 'Super Queen' sets the tone with its patient build and clipped vocal phrasing. 'So Many Ways' and 'Magic Lady' follow a slower logic, driven more by mood than immediacy. 'Music Madness', the record's most played track, draws attention with its syncopated synths and layered percussion, though its energy remains low-slung. Bell's voice rarely reaches for spectacle. Her lines sit just above the groove, steady and self-assured. On 'Johnnies Home' and 'What You Need I Can Bring', there's no need for dramatic turns i the performances work because nothing is pushed. The reissue comes with a clean remaster by The Carvery and includes contributions from Arthur Young, Patrick Cowley and Jacob Desvarieux. What emerges is not a lost classic but something quieter: a well-assembled record with a clear internal logic, shaped by a moment where disco didn't yet need to shout.

Review: Bruno Berle's No Reino Dos Afetos is a stunning example of modern Brazilian pop, blending heartfelt emotion with a wide range of musical influences. Hailing from Maceio, Berle brings the warmth and beauty of his coastal home into every corner of this album. Released in a vibrant blue vinyl repress in 2024, the album is a journey through soft, intimate compositions that explore love, tenderness, and beauty. Berle's smooth, golden voice is the heart of the record, effortlessly gliding over songs like 'Quero Dizer', where the mix of lo-fi production, kalimba, and guitar creates an irresistible, laid-back groove. His raw emotional power shines in tracks like 'O Nome Do Meu Amor', an acoustic tearjerker brimming with sincerity. Berle's versatility is clear, moving from indie rock on 'E Preciso Ter Amor' to the sun-soaked soul of Joao Menezes's 'Ate Meu Violao', which opens the album with a nostalgic touch of 70s MPB. His take on West African highlife in 'Som Nyame' adds even more richness to the mix. Every note feels personal, capturing both simplicity and depth. This album solidifies Berle as one of Brazil's most exciting young talents.

Review: The debut album by Big Hands (aka Andrea Ottomani), is a deeply immersive and dream-born odyssey that blurs the boundaries between electronic and acoustic sound. Conceived during a stormy Mediterranean voyage and built from field recordings, tuned percussion and collaborations with a tight circle of musicians, Thauma is an emotional and textural triumph that takes in Palestinian artist Bint Mbareh’s haunting vocals and Buster Woodruff-Bryant’s serpentine sax lines. Each moment brings real spiritual depth while merging modular synths with bells, balafon and bamboo drums to evoke a mythic, place-bound nostalgia that is organic and otherworldly.

Review: Billy Idol, one of the most iconic figures in British rock history, has returned with his first full-length album in over a decade. Known for his punk roots as a member of Generation X and subsequent MTV-era persona, Idol has constantly evolved, blending his early rebellious spirit with a more reflective, mature approach to life and music. This latest release captures that transformation, offering a blend of punk rock energy and introspective storytelling. Idol's partnership with longtime guitarist Steve Stevens continues to define his sound, while collaborations with rock legends Joan Jett, Avril Lavigne and Alison Mosshart further solidify his place at the forefront of rock's new generation. Having emerged from the early days of British punk, Idol's legacy spans decades, and this new record marks both a personal reflection and a return to form.

Review: An attention-evader even for the most ardent dub reggae fan, Black Jade's Contempo remains a mystery decades after its release. In the act of reissuing the LP, Solid Roots still only partly lift the veil: first set to tape between 1975 and 1976, the album was recorded by a still shadowy cadre of Notting Hill residents, who are said to have freely distributed it during Carnival. Their continued anonymity may form part of a decided effort to mythologise, though it almost certainly also reflects a niche facet of deeper-shades dub. Authenticity abounds: we hear preemptions of the hiss-floored undulations of Chain Reaction in this record as much as we do the busy instrumental imbroglios of Horace Andy, with the manly bass-charges of 'Virulence' polarising the sensitive subby coos of 'Love, Love, Love'.

Review: Out of time or simply timeless? Greater Manchester's most-beguiling quintet are open to interpretations, with their latest long-form perhaps the strongest case in point to date. There's plenty of nods to the 1970s in both their look and the feel of tracks such 'If You Think This Is Real Life', which owes much to disco pop from an age the band are too young to remember.

Elements of David Byrne in Talking Heads party mode are also audible, 'Your Girlfiend' and 'Falling For Someone' are perhaps the strongest examples. And yet Blossoms remain of the here and now. One play of 'Like Gravity', which closes out this collection, exemplifies this, its scope so huge it could only be born in an age when the rise of DIY and resulting rejection of rulebooks has re-opened playing fields of grandiose ideas to both major and minor acts.

Review: Widely regarded as Boards of Canada's finest hour, Music Has The Right To Children finds itself the subject of a well-deserved 2LP gatefold reissue from Warp Records. One of the most defining records of what was known for better or worse as IDM still sounds as timeless as it did in 1998, as the library tones of "Wildlife Analysis", thick downtempo rhythms of "Roygbiv" and out of focus melodies of "Olson" prove. Essential!

Review: Andrea Bocelli's remastered edition of Sogno brings renewed clarity to this 1999 classic. The album showcases his powerful tenor voice across a selection of operatic and pop-influenced tracks that blend emotional depth with exceptional vocal performance. Highlights include the stirring 'Canto Della Terra,' the heartfelt 'Vivo Per Lei,' and the soaring title track. The remastering enhances the lush orchestration and vibrant detail making each note and nuance more vivid while Bocelli's emotive delivery, combined with the refined sound quality, makes this one essential for both longtime fans and new listeners.

Review: Fraud's third full-length of 2024 is another example to his unparalleled consistency in street rap. Partnering with producer Harry Fraud, the album marries Fraud's dynamic, loop-based production with Boldy's gritty, introspective lyricism. Fresh off the success of the The Alchemist and Nicholas Craven, The Bricktionary solidifies Boldy's legacy as a steady force in hip-hop, crafting vivid, haunting street tales with every verse. Fraud's production is a perfect match for Boldy's style, blending chipmunk soul, trap beats and atmospheric soul samples to create a backdrop that's both complex and accessible. Tracks like 'Shadowboxing' show Boldy's lyrical dexterity over airy, 1980s-inspired loops, while 'Speedy Gonzales' pulses with a bouncy drumbeat, driving the track forward with intensity. Guest features like Tee Grizzley on 'Cecil Fielder' and Benny the Butcher on 'Rabies' add flair to the album, but it's Boldy's nuanced storytelling that shines throughout. On tracks like 'Harvey Grant' and 'Fish Grease', Boldy reflects on his journey, blending the mundane with the profound as he recounts struggles and triumphs with masterful clarity. The Bricktionary proves that Boldy James, alongside Harry Fraud, remains a force in the game, offering yet another standout project in a year already brimming with stellar releases.

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

Review: During last year's lockdown in Italy, contemporary dub producer Paolo Baldini was invited by Pressure Sounds to work on Bunny Lee's archive of recordings he made with singer Barry Brown during the mid-to-late 1970s. The results can now be heard on Praises, a set which adds a little more dub-wise spice to classic roots reggae cuts while retaining much of Lee's production and instrumentation. Brown's vocals - effortlessly soulful, hugely evocative and partially improvised - are simply superb, while Baldini's handling of Lee's riddims and musical arrangements is masterful. As a result, the assembled dubs, versions and vocal reworks sound faithful to the period in which they were recorded while adding subtle new touches and 21st century-ready low-end weight.

Review: Kurt Cobain favourites and Texan punk outliers Butthole Surfers don't know when or where exactly this live recording was made. But who cares!? The most important thing to know is the recording is gnarly and the band sound out of this world with their blend of noise, punk and psychedelic rock a truly idiosyncratic affair. Highlights on here include 'The Annoying Song' with singer Gibby Haynes' belligerent use of a toy megaphone. The guitar solos are top notch here, too. While 'Human Cannonball' is a thrilling number that you imagine created raucous circle pits at the actual show. It's great to see technology put to good use and cleaning up old live punk shows and getting them sounding this powerful.

Review: Since debuting on the label 18 years ago, Danny Byrd has become one of Hospital Records most reliable and prolific artists. Even so, Atomic Funk - his fourth album - marks his first full-length outing for five years. It goes without saying that he's in fine form, gleefully flitting between heavyweight 21st century jungle revivalism ("Salute", 'Starting It Over", the piano-laden badness of "Roll The Drums"), sunshine ready disco drum and bass ("IDragon", Patrice Rushen-sampling "Holy Star"), shimmering electro-fuelled rollers ("Supreme", "Atomic Funk") and the kind of soulful, radio-friendly fare that's become a hallmark of Hospital releases in recent years ("Hold Up The Crown", "Money Calling Me").

Review: Caixa Cubo's latest release highlights the trio's effortless blend of samba-jazz, funk and MPB. Rooted in Brazilian traditions, the tracks carry grooves reminiscent of 1970s legends, yet feel distinctly modern. With rich keyboard harmonies, vibrant percussion, and basslines that lock into irresistible rhythms, the group bridges nostalgic warmth with contemporary flair. Each composition reflects a deep understanding of their heritage, drawing from carnaval marches and baiao while infusing experimental touches that keep things fresh.

Review: Chilean-born, Bristol-based Shanti Celeste has always brought a unique colour and emotion to her often bass-heavy sounds. She's a party-starting DJ, too, but delves into whole new realms with her wonderful sophomore full-length. Romance sees her exploring themes of love and friendship through shimmering pop textures and emotionally resonant songwriting. Her vocals take centre stage for the first time and lead single 'Thinking About You' is a heartfelt tribute to a late friend with a glowing groove and airy falsetto. Crafted between Bristol and London, the album features collaborations with Batu and harpist Miriam Adefris, whose delicate touch enhances its celestial tone and following last summer's acclaimed 'Ice Cream Dream Boy,' Romance is a luminous return and smart evolution.

Review: Swedish EBM icon Celldod returns to Electronic Emergencies with a new album pressed on striking transparent magenta vinyl. Pa Liv Och Dod is a superbly emotionally charged release that channels the raw energy of D.A.F. and Front 242 while blending dark electronic beats with intense lyrical themes. It has collaborations with Leroy Se Meurt and Michael Zodorozny, plus Anders Karlsson's haunting Swedish vocals exploring death and life's meaning also appear across tunes that are both urgent and dance floor directed. Pa Liv Och Dod will force you to confront fear and chaos head-on while offering a soundtrack that offers some catharsis from it all.

Review: Lucinda Chua is currently based in South London and is a singer, songwriter, composer, producer and multi-instrumentalist. She crafts elegant and emotive music mainly using her voice and cello, plenty of effects units and draws on ambient for her inspiration. What results is atmospheric and intimate music that is utterly enchaining as this album on 4AD proves across ten tracks that come after she spent an intensive period studying Chinese dance forms. Lead single 'Echo' is a pop song about ancestral trauma that walks a thin line between respect for the past and the hope and freedom of a new future. It's captivating indeed.

Review: An unapologetically eclectic body of work from Cimm right here as he spreads his 'Circuit Jam' wide and thick. 'Squeeze' sets the wheels in motion with a switchy, jumpy slab of 140 rollage. It's backed up by a stately stretch of vibes - b-boy electro attitude on the sticky sweet title track, unhurried tension and sparse beatwork on the tech-laced dark garage bumps and slaps of 'Biting Back' and the bouncy electro biz of 'Crush'. Naughty.

Review: Coco Maria is a widely respected authority on everything good in Latin music right now. Originally from Guadalajara in Mexico, she's now operating out of Amsterdam and she's been enlisted by Bongo Joe to put together a new volume of her Club Coco compilation series after the knockout success of the 2021 edition. Once again Maria takes us into the heart of the sounds coming out of Latin America, running through energies and flavours from the uptempo surrealism of Chupameeldedo's 'Metalero' to the rich, synth-led funk of Guess What's 'Stickle Bricks'. It's as vibrant and versatile as you'd expect, but most importantly you can hear the intrinsic connection to Latin musical heritage in each and every one of these tunes, however far forward they take their sound. Don't sleep if you want to cop this limited edition pineapple yellow version.

Review: "Random, tense, scary and compulsively fascinating". That's how Chris Connelly describes the period in which the tracks on this album were originally written. As the main man behind some of the most iconic and influential industrial bands in history - Ministry, Revolting Cocks, Murder.Inc... - he's definitely well placed to make this kind of judgment. And it comes across even more understandable if you grasp the fact he's meaning all that in a good way. Throbbing Gristle should need no introduction, having pretty much written the blueprint for industrial musick in the nuclear age. A sound that screamed "get us out". Combine that oeuvre with this guy, then, and you have something which is uncompromisingly explosive and effective. Not to mention fitting, given half the people on the street seem convinced we're rushing headfirst into another atomic standoff, if not something much, much worse.

Review: American guitar legend Ry Cooder's 1985 score remains a defining example of minimalist film music, built almost entirely around sparse motifs and slide guitar. Recorded for Wim Wenders' feature set in the American Southwest, the ten-track sequence avoids orchestration entirely, opting instead for open-ended cues that feel improvised but never unfocused. 'Paris, Texas' opens with the recognisable main theme i a slow, resonant guitar line set against silence. 'Brothers' and 'Nothing Out There' follow similar patterns, with minor variations in phrasing and tempo. The inclusion of 'Cancion Mixteca', sung by Harry Dean Stanton, adds one of the only vocal moments on the set, grounded in traditional folk. The remainder of the tracks i including 'No Safety Zone', 'Houston In Two Seconds' and 'Dark Was The Night' i continue the pared-back approach, prioritising tone and atmosphere over melody. Some 40 years since its original release, the material hasn't dated i not because it sounds modern, but because it was never trying to. It remains quietly influential, especially in the way it reframed narrative scoring through reduction.

Review: Karen Dalton is one of the most mysterious and enigmatic but also influential artists of her time. Her 1971 album In My Own Time is a real masterpiece that Light In The Attic now presented on newly mastered vinyl. It was originally recorded over a six month time frame at Bearsville and was crafted by producer and musician Harvey Brooks, a key figure in rock-jazz having worked on Dylan's Highway 61 Revisited and Miles' Bitches Brew. It's a wild and vivid record with walking basslines and manic melodies topped off with the expressive vocals.

Review: Since forming in 2016, The Darts from Phoenix, Arizona have built a fierce global presence with their fuzz-drenched garage rock and high-octane performances, fronted by the ever-driven Nicole Laurenne. The Nightmare Queens compiles the best green lights from the band's first two LPs, both long since sold out, and adds two extra brand-new thrashoffs, recorded on the road during their 2024 Europe Boomerang tour. Gritty melodies, vampy hooks and punk-drunk energy beam like blood moon rays across 'Get Spooky', 'My Heart Is A Graveyard', and 'Love You to Death'.

Review: Following on from 2021's hard left turn into dream-pop territory on Infinite Granite, San Francisco blackgaze legends in the making Deafheaven return with a work that they've always been striving towards. Their sixth full-length, Lonely People With Power, takes lessons from the saccharine shoegaze of their previous outing and injects it directly into the veins of their heaviest material since 2015's New Bermuda, culminating in a deft balancing act that finally combines vocalist George Clarke's shrieking, inhumane howls with his recently discovered crooning lilt, exuded as such on the beautiful warring of styles that is 'Heathen'. Elsewhere, 'Magnolia' provides a cataclysmic beast of proggy black metal akin to latter-day Emperor whereas 'Doberman' goes full euphoric blackened shoegaze reminiscent of 2013's breakout sophomore triumph Sunbather. Striking a unique chord between their equal and effortless understanding of black metal malevolence and the ethereality of cinematic post-rock, the album sees a notable trade off from their their usual smaller collection of lengthy, grandiose tracks that all clock in at over ten minutes a piece in favour of a more varied, yet succinct and instantaneous batch of cuts, 12 in total, marking the most that any Deafheaven project has ever offered.

Notes: ***B-STOCK: Box opened, product in perfect working order***


An essential investment for this elite-level rotary mixer.

Precision-moulded for an exact fit while accommodating cables, your Radius Four Valve rotary mixer can sit ready for operation.

Each Decksaver cover is rigorously tested before it bears our name, and it is manufactured from thick, premium polycarbonate for extra protection.

It shields faders and controls from dust, liquid, and accidental impact at home, on the road, and in the booth.

Fits the Mastersounds MK1 & MK2 devices and the Union Audio variant of this mixer.

Key Features
Patented smoked/clear transparency, unique to Decksaver.
Protects against dust, liquid and impact.
Shields vulnerable faders, switches and knobs during transportation.
Fits
Radius Four Valve
Linear Four Valve
Radius Four Valve MK2

Dimensions
Weight: 0.9 kg
Length: 35.5 cm
Width: 28.7 cm
Height: 3.7 cm

Review: Degs unleashes his second album If We Left This Earth and once again it's an odyssey of soul, sunshine and precision timed savageness. Featuring link-ups with a huge variety of friends and label pals, over the course of the LP we clock names likes of Kimyan Law, NCT, Hugh Hardie, Hoax and many others as Degs lays down stories, thoughts and self-reflective moments over a range of beats. From the beautiful sonic hug 'Don't Be Gone Too Long' to the heavily introspective 'West & Central' to the steaming warehouse demolisher with bandmates Hologram and OG MC brothers The Ragga Twins 'Hang Up The Mic', it's another stunning long player from one of Hospital's most talented songwriters.

Review: Not to be confused with the heavy Dutch electro hero of the same name (he of Klakson Records fame), Dexter was the early-to-mid 2000s alias of UK tech-house producer Matt Royall. Sushitech Records recently released a retrospective of his work, Past Moves, and now German label Repeat has decided to reissue 2004's Size Counts EP. A-side 'Break It Down' is deep, druggy, chuggy and pleasingly off-kilter, with delay-laden spoken word snippets and echoing hand percussion hits rising above a driving bassline and hypnotic, locked-in drums. The pace and intensity increases on flipside 'Once Again', a kind of Hipp-E & Halo style West Coast tech-house workout rich in trippy female vocal snippets, ghostly chords and dubby bass.

Review: For Those Who Understand is a collection of raw dubs as played on the Boom Shacka Lacka Sound System between 1991 and 1995. Eight of the best have been collated for this hard hitting long player which is often spoken about as something of a classic of the genre. Each of the tracks has been twisted, tweaked and laden with plenty of effects so that synths squeal and you can really feel the bass in your chest. Some rumble on like a weighty elephant, others strike you over the head like a hammer, but the impact either way is inedible.

Review: Ultra Point Of Intersection Exist is a landmark album in Japan's noise and industrial scene that was created by Ichiro Tsuji in 1987. All these years on, Dissecting Table still delivers a standout and relentless fusion of harsh electronics and mechanised rhythms that echoes the dystopian intensity of Whitehouse, SPK and Einsturzende Neubauten. Straddling noise, industrial and experimental extremes, the album captures the radical spirit of its era alongside peers like Controlled Bleeding and Ramleh and so has long been a highly anticipated reissue or noise fans. It comes with a new design that respects the artist's wishes to forgo the original layout.

Notes: Add a splash of colour to your setup with six colour options.

USB-C 3.2 Gen 2, 10Gbps data rate with up to 100W Power Delivery

Dual ferrite cores help prevent high-frequency noise from outside sources

1.0m/3.2ft length allows for connecting gear while still maintaining full power delivery and data rates

56kO pull-up resistor to protect your devices

Chroma Tie velcro strap included for easy cable management and storage.

DJ Tech Tools have been making great USB data cables for professional performers and artists since 2011. By popular demand, the cable line has been brought to the USB-C universe, adding a much-needed affordable, good looking, and high quality USB 3.2 cable.

Review: Talk about taking absolutely no prisoners, Das El Salaam's DJ Travella has definitely learnt a lot from UK hardcore, hardstyle and gabber, and yet Mr Mixondo feels like it could take all of those frenetic and frantic genres to the cleaners if you were wanting to do an intensity comparison. Representing the nascent Tanzanian 'breakneck dance' scene, it's not for the weak of heart.
Starting producing four years ago - when he was just 15 - the man also known as Hamadi Hassani has certainly learnt his craft in that time, and the high nrg, often chaotic nature of what's here does infer an absence of quality or attention to detail. A full blown experience and journey through the heart of a contemporary Africa arguably pushing more electronic boundaries than any other continent right now.

Review: Paper Can't Wrap Fire is the third album from Melbourne/Naarm multi-instrumentalist Don Glori, and it is a rich mix of jazz, soul, funk and R&B, but also marks a bold evolution in the artist's own songwriting. The title is based on a Chinese proverb about truth and underpins reflective tracks like the soulful 'Brown Eyes,' satirical 'Disaster,' and introspective 'Flicker' Recorded in Naarm with friends and past bandmates, these sparkling sounds are brimful of the sort of life-affirming harmonies and dynamic musical interplay that makes you smile broadly, while the heartfelt lyrics make this town mark. Influences from the likes Azymuth, SAULT, and Jordan Rakei are all clear, but Don Glori crafts his own take on those sounds that speaks to both emotion and intellect.

Review: Originally only available as a digital download on Billie Eilish's D2C store, this new vinyl version which features the album's isolated vocal recordings and presents a raw and stripped-back version that highlights the power of Billie's voice. Pressed exclusively for RSD Indie Black Friday, it includes a unique inverted album cover. The original album is some of the cult pop singer's most daring work to date, exploring a blend of genres and defied trends during the creative process with her brother Finneas in Los Angeles. It made for another cohesive and emotionally impactful journey from start to finish.

Review: First released in 2004, Eminem's Encore was emblematic of the ultimate white-boy rapper's tasteful blend of social commentary, humour and dejection, and for many it is the childhood-marking moment that brought songs like 'Just Lose It' and 'Mockingbird' to hungry adolescent ears. On new, blue gatefold 2xLP comes a new edition from Shady's own label Aftermath, marking a second encore and ovation for a pivotal point in Eminem's career, which took place over 20 years ago now. His alter ego, Slim Shady, had sparked furious debates at the time about freedom of speech and artistic expression, and the record came after the death of his close friend and fellow artist Proof in 2006. Especially unafraid of his anger, Eminem served as a role model for young and impressionable youth in the early noughts, urging verbal articulation over blind rage.

Notes: MIDIMATE eX is a convenient USB 2.0 MIDI interface cable with up to 32 input or 32 output channels for PC and Macintosh systems. With MIDIMATE eX you can obtain perfect MIDI timing and performance at an extremly affordable price.

MIDIMATE eX is a simple, stylish and very powerful adapter cable that connects the USB port of your computer to any MIDI Input or MIDI Output labelled connector on an external MIDI device. Two MIDI connectors are provided by MIDIMATE eX and using them with your applications could not be easier. If you connect the MIDI cable to a MIDI Output of an external device, signals will appear via MIDI input in your software. If you connect it to a MIDI Input, you can send signals to the external device via the MIDI playback function of your software. All these functions are provided with perfect MIDI timing and best performance.

Features/specifications

USB MIDI interface with 2 MIDI connectors, each can work as independent input or output
high-speed connection optimized for USB 3.0 and 2.0 port of PC or Mac, downwards compatible to USB 1.1
bus powered, requires no external power supply
no driver needed for Windows XP, Windows Vista, Windows 7, Windows 8.1, Windows 10, Windows 11 and Mac OS X (32 and 64 bit)
optional ESI MIDI Port driver for multi device / multi client operation under Windows available

Review: Celebrating 50 years of Kahil El'Zabar's Ethnic Heritage Ensemble's legacy, Open Me, A Higher Consciousness Of Sound And Spirit is their new full-length LP, ever-shifting the many gears and tempos of the jazz-blues continuum, in a dialectical state of perpetual spontaneity. Billed as an album of both ancient and future music in the same breath, it blends El'Zabar's original compositions with motifs from timeless classics by Miles Davis, McCoy Tyner, and Eugene McDaniels. A healing vision of haphazard improvisations and percussive buildups to sublime peaks, all core members - Kahil El'Zabar, Corey Wilkes and Alex Harding, backed by James Sanders and Ishmael Ali - make for an essential contribution to the spiritual sonosphere.