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Notes: The ZED-12FX is ideal for groups who need to travel light. Even with its small footprint, the 12FX squeezes in 4 auxiliary channels and swept semi-parametric EQ on top of the already impressive feature set including configurable USB audio in/out makes it easy to capture stereo recordings.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED-12FX is super-flexible and super-easy. No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it.

USB AUDIO FLEXIBILITY
Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED is super-flexible and super-easy! No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it! CD quality audio to and from your PC or Mac. Switches and connection through jack socket terminals provide different send/return configurations:-

SEND OPTIONS
1) Main Mix Left + Right (Post-fade)
2) Main Mix Left + Right (Pre-Fade)
3) Auxes 1-2
4) Auxes 3-4

RETURN OPTIONS
1) To Stereo 3 channel

MUSIQ
ZED-12FX features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ - with optimised slope (or Q factor) for equalising individual instruments.

ZED-12FX has an essential selection of 16 time-delay effects, designed for small groups who don't want to carry around an effects unit with their gear but who still want great quality FX at their gigs and on their recordings. Our DSP engineers worked hard, crafting and refining beautiful reverb algorithms to enhance every performance. These effects are available nowhere else at this price point - this quality and integration is only available from the ZED-FX. ZED effects are easily controlled using 3 buttons with 9 display LEDs. For example, the ideal delay time can be quickly tapped-in, or the perfect amount of reverb on the lead vocal can be dialled-in. There is one-stop navigation and editing - in fact, it's just as easy as using effects pedals. To alter effects parameters, the TAP button is held down and the up/down buttons pressed to adjust the specific parameter for that effect, for example, the decay length on PLATE, or the depth on CHORUS.

Based on the proven pre-amps from the hugely successful PA series, ZED-12FX has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a
higher input impedance.

Review: We've been treated to reissues of everything else from PJ Harvey's spectacular catalogue, so it's only right we get a chance to savour the deeper cuts that shape out the persona of the high priestess of alternative rock. Gathering together an exhaustive 59 B sides, demos and previously unreleased tracks, this six-LP box set takes us into the heart of Polly Jean's writing process, showing the raw power in the songwriting when it's just her voice and an overdriven guitar, and showing us the broader possibilities of songs which didn't make the cut for the studio albums. This is a true treasure of music getting the authoritative release she deserves.

Notes: The Zomo VS-Box 200 is a practical way to store your vinyl in a stylish and efficient way.

The VS-Box 200 is made of solid wood and laminated with tough water-repellent decor. This model is easy to install, multi-stackable and can be combined with other VS-Boxes. The Box is also compatible to vinyls in protection covers. The capacity can be various by the thickness of your vinyl.

Notes: Compact phono stage to boost turntable output to line level. Add turntable inputs or upgrade the sound of your DJ mixer. Adjustable capacitance and gain to suit a range of cartridges.

Supplier's notes:
The DJ PRE II acts as an interface between your turntable and your audio recording/playback system. The analog input capacitance can be switched between 100pF and 200pF to optimize your phono cartridge response. A switchable low cut filter removes turntable rumble while leaving the audio pristine. The front gain trim control and signal/clip LED allow you to optimize the preamp's gain for a wide range of input sources. The built-in low noise phono preamp circuitry is highly accurate and precisely conforms to the RIAA standard. The line output jacks are low impedance and can be used with any sound card. Housed in an all aluminum black anodized case, the DJ PRE II can be powered by a wide variety of external supplies. If you need to amplify and EQ your vinyl records to interface with your audio workstation, sound card, home stereo system or main monitor system, the DJ PRE II gives you flawless audio reproduction in a rugged and reliable package.

Review: The second studio album from Yello was added to the pantheons of weirdo electronic pop some time ago. In fact, some 31 years ago to be exact. While not by any stretch the outfit's most famous effort, that belongs to fourth album, Stella, and in particular the 1980s movie anthem 'Oh Yeah', in many ways that track doesn't encapsulate the spirit of the band anything like the tunes here.

At times low slung ('Ballet Mecanique') and occupying a space somewhere between roots and fairground, in other moments tragically epic and approaching New Romanticism ('Quad El Habib'), while the music itself is wildly varied and unarguably original, the overall magic is still found in how much fun it sounds like they were having, and how much fun we have hearing it.

Notes: The Zomo VS-Box 100 is a practical way to store your vinyl in a stylish and efficient way.

The Zomo VS-Box 100 is made of solid wood and laminated with tough water-repellent dekor. This model is easy to install, multi-stackable and can be combined with other VS-Boxes. The Box is also compatible to vinyls in protection covers. The capacity can be various by the thickness of your vinyl.

Review: One of the greatest things to happen to the vinyl industry, the beloved Australian rock collective are a force to be reckoned with in terms of releases. For all their conceptual and experimental releases however, 'Omnium Gatherum' works exactly as prescribed - a latin phrase roughly translating to "just a bunch of stuff". The double LP is a collection of reworked unreleased material, as well as original music tacked on to boot - King Gizzard fans never have to worry about getting bang for their buck. Expect frenzied shredding, nu-metal cuts and the occasional synth-pop banger. The real highlight here is 'The Grim Reaper', a fusion of hip-hop and medieval instrumentation if you can believe it. Kenny-Smith's flow is no doubt influenced by the Beastie Boys era of hip-hop, a style being repopularised by the likes of Joey Valence & Brae. The album is a crazy patchwork of genres that feels not unlike watching your favourite movie in the form of a highlight reel.

Review: French label Wagram is a go-to when it comes to quality compilations that take a broad look at certain sounds and scenes, and this one is an on-going series that focuses on house sounds with an Afro undertone. The grooves are lively and often come with plenty of percussion. The drums hit hard but with funk, the vocals are Afro-centric and plenty of irresistible hits come thick and fast from the jazzy tribal swagger of 'Imbalaye' to the big steel drum party sounds of 'Viet Dao' (Klement Bonelli & Yann DL remix). Another great collection of colourful Afro house sounds.

Review: Purple Disco Machine is the alias of Tino Piontek, a German DJ and producer who has become quite the staple of Aussie label Sweat It Out! in recent years. Exotica is his third album to date, and features a bunch of scorching disco numbers all delivered in his renowned style; from the infectious vocoder funk of 'At The Disko' with Lorenz Rhode, the neon-lit Italo euphoria of 'Dopamine' (feat Eyelar) as well as a collaboration with Italian deep house heroine in the form of 'Loneliness' and bonus track 'Twisted Mind' featuring Agnes.

Review: Contemporary spiritual jazz maestro Muriel Grossmann is a sax player, singer and composer who has already released plenty of well regarded albums, but is nowhere near done yet. Universal Code is her latest and is a bumper double that again finds her offering her own unique take on the spiritual jazz template. She once again recalls her recent band mates Radomir Milojkovic on guitar, Llorenc Barcelo on keyboards and Uros Stamenkovic on drums and Gina Schwarz on double bass and they slide into soul jazz sound with straight ahead sounds that soon soothe with breezy soprano motifs and bluesy walking basslines.

Review: Masayuki Takanayaga was a pioneering Japanese free jazz player who started his career in the early 50s. More than just a skilled guitarist, he boldly pushed into noise and free improvisation realms, perhaps best captured with the New Direction Unit group on this landmark album from 1975. Eclipse is a formidable experience in which Takanayaga and his group wrangle an incredible spectrum of tones from their instruments with a seemingly unbound attitude. It sets the tone for groups like No-Neck Blues Band and beyond - a masterful statement from a fearless innovator.

Notes: The Zomo VS-Box 50 is a practical way to store your vinyl in a stylish and efficient way.

The Zomo VS-Box 50 is made of solid wood and laminated with tough water-repellent dekor. This model is easy to install, multi-stackable and can be combined with other VS-Boxes. The Box is also compatible to vinyls in protection covers. The capacity can be various by the thickness of your vinyl.

Review: Shut has been busy with a great series of reissues of Sun Ra's historic recordings in Egypt. All good things must come to an end, though, and so it does with The Sun Ra Arkestra meets Salah Ragab in Egypt which was recorded with help from the Cairo Jazz Band and first put out back in 1983 on Greek label Praxis. The Arkestra first met Salah Ragab at the home of Goethe Institut ex-pat Hartmut Geerken when they toured the island in December 1971 and later bonded again in 1983. It was then that they got together for these recordings where they played Ragab compositions, 'Egypt Strut' and 'Dawn' amongst others.

Review: Though his career has taken many turns over the last decade, DJ Koze has remained that most illusive of creatures: a minimal-minded producer with an ear for a melody. This fourth full-length, packed to the rafters with big-name collaborations (Apparat, Caribou, Ada and Matthew Dear all feature), continues his move towards the home-listening sphere. So, while many of the heady rhythms and shuffling grooves hark back to his stripped-back past, Amygdala impresses with its woozy songs, genre-straddling fusions (see the modern soul meets deep house of "Homesick" or the steppy, tropical vibes of "Marilyn Whirlwind") and homely atmosphere.

Review: Remastered at Abbey Road studios, 'Flesh & Blood' saw the first studio album made after the departure of drummer Paul Thompson. With his absence, the British rock group moved to a more accessible and palatable sound that paid off, earning the group their first No.1 Album since 1973 with 'Stranded'. The tone of Brian Ferry's vocal is of melancholy and depression, of unrequited love with a woman who ultimately can't stand the sight of him. The album was a huge hit in the UK but has been lost in the greater discussion of Roxy Music records either due to living in the shadow of the immensely popular 'Avalon' (a la 'Good Kid m.a.a.d City' to 'To Pimp a Butterfly') or thanks to the slamming negative review from Rolling Stone sealing its poor rating with American audiences. 42 years on, the album is finally being given the treatment it deserved on release - 'Oh Yeah!' and 'Rain, Rain, Rain' were arguably a few years ahead of their time and are just a sample of the great instrumental and vocals on this album.

Review: Berlin-based Saturns Drive is a project by New Zealand-born DJ and producer Elfy, and is one that takes its cues from a world of early sci-fi, exotica and library music, as well as coming on thick with cosmic disco synthesizers, Italo grooves and lush arps. His latest outing 'Next Stop Nebula' also brings in slide guitars and retro digital synth sounds over the top of rhythms that owe a debt to the 90s. It's a fresh and new sound that makes for expansive, immersive listening and transports you to an imagery, sun-kissed world where gentle grooves like 'Next Stop Nebula' and 'Bride Of Frankenstein' await for a nice laid-back party.

Review: Muriel Grossman has already serve up her tune fusion album Union this month with the help from some fine talents including Radomir Milojkovi on guitar, Llorenc Barcelo on Hammond and Uros Stamenkovic's tight drums. But now the sax player is back on the same label with Natural Time, a double gatefold album that features some of the cuts off Union - namely 'Happiness' and 'African Dance' - as well as a few more that are just a s spiritual and sensuous. It is hard to pick a favourite between the two albums so you'll be best off just getting both.

Review: Roger Webb was an accomplished composer and songwriter in the 60s and 70s who wrote for the likes of Shirley Bassey, Johnny Mathis, and Bette Davis, but he also turned his hand to some outstanding library works such as this bright and breezy LP from 1971. With vocals from Barbara Moore (also noted for working with Jimi Hendrix, Elton John, Dusty Springfield and Tom Jones), Vocal Patterns is a mixed bag that veers from kitsch 60s pop to melancholic reflections and more besides. If you want a portal back to a different era, this record will sweep you off your feet and land you right back there.

Review: Jupiter were kings of the middle of the road indie sound that dominated back at the turn of the millennium. If you don't remember the name you will remember the music as they topped charts and got heavy TV play, not least for most notable single 'I Wish You Would'. All in all this is an album of heartwarming and emotional indie pop niceness you're likely to fall head over heels for again, hence the fact it has been covered by innumerable stars since its initial release. In many ways, once you know the story the track takes on a very different form - far less amorous and much more about longing and lamentation. This latest reissue comes in red and black marble vinyl.

Review: Pressure Sounds latest essential reissue breathes new life into Yabby You and the Prophets' brilliant 1975 album Conquering Lion, an early roots reggae gem that has long been a favourite of knowledgeable reggae heads. The first record naturally showcases the original EP, offering us a chance to savour such classics as 'Run Come Rally', the intoxicating and pitched-down brilliance of 'Conquering Lion' and the shoulder-swinging skank of 'Jah Love'. The second record, meanwhile, gathers together rare dubs, versions and alternate takes not featured on the original LP. It's almost worth buying the reissue for this alone; 'Tubby's Vengeance', 'Anti Christ Rock' and 'Warning (Dub)', in particular, are spectacularly good.

Review: Currently back at full activity, and most recently releasing their latest album Il Tradimento Silenzioso (The Silent Betrayal) in 2022, Manchester punk pioneers Slaughter & The Dogs first made their name through their connections to former Joy Division manager Rob Gretton, while their opening slot for the Sex Pistols in Manchester on July 20, 1976 (the second of their two Free Tree Hall shows within two months) played a hand in expanding the city's punk movement before extending to a UK-wide phenomenon. Originally released in 1980, Bite Back served as the feral follow up to the band's quintessential 1978 debut full-length Do It Dog Style, and continued their blistering run of playfully chaotic anthems. Back on vinyl for the first time since its original pressing, this newly refurbished reissue comes with the double A-side of 'I'm The One' b/w 'One By One' as bonus tracks.

Review: Amsterdam label Music from Memory are steadily becoming the most interesting archivally minded operation out there, with this retrospective of Mallorcan guitarist Joan Bibiloni following essential issues of work by Gigi Masin and Leon Lowman. On El Sur, MFM founders Tako Reyenga, Abel Nagenast and Jamie Tiller cast their gaze over Bibiloni's work from the more experimental era of his long career (he first released a single in 1967) selecting tracks from a six album run which commenced with the album Una Vida Llarga I Tranquila, originally released in 1984. It was during this time that Bibiloni began to compose with the assistance of tape loops, drum computers and synthesisers and these primitive experiments make for compelling listening across the ten tracks on El Sur.

Review: Estonian-based label RR Gems is on a mission to present music that carries on a rich tradition of "free form, experimental and jazz" sounds. It does that here with dynamic Helsinki sextet, Soft Power, who have a style that ranges from jazz-rock to psychedelic jazz, always with exuberant musicianship and eclectic energy. Raw Bites is another exceptional outing that challenges conventions without ever losing sight of a compelling groove in amongst the cosmic sounds and noodling melodies. Walking bass brings bluesy qualities to some tunes and others are epic sonic adventures a la Sun Ra.

Review: Sonido Verde De Moyobamba feature on the second volume of Analog Africa's Sonic Expedition into the Peruvian Amazon, as well as being behind this brilliant new collection which drops on the same day from the same label. It is a coming together of eight super-rare cuts of guitar and organ inventiveness taken from the five albums the band recorded between 1981 and 1987 for Discos Universal. You would beard pushed to find any Cumbia from the Peruvian jungle that hits as hard as this with its incessant rhythms, mad acoustic guitars and bustling percussion.

Review: Mika Vainio's "Olento" is one of the key albums from his fine discography and now, finally, it is available on vinyl for the first time. The sophomore album first landed in 1996 and laid down a new blueprint for minimal techno that has rarely been bettered since. The album is also a fine summation of the Finnish artist's sublime and singular style - icy ambient tundra that are vast in scale but minute in detail, warped synth oscillations that sound at once futuristic but also somehow like field recordings from a lonely part of the arctic circle, and brain melting sine waves that lock you in a trance. Essential.

Review: The story behind this one is that Vivian Yabby You Jackson once put together a tape that had been labeled The Best Of Patrick Andy but had never been put it out. On it was three unreleased tunes, one unreleased dub, and stereo mixes of several previously mono-only singles. For whatever reason it now sees the light of day and we're glad about it - this forms a fine tribute to a top singer and a legendary producer with some timeless dub. The horns pan, the rhythm tracks are heavy, the studio trickery is impressive throughout.

Review: Archeo Recordings bring us some more Balearic Italian treasure here with some gold initially recorded in Bologna almost two decades ago. It's a collaboration between friends Bottin and Lucio Dalla that has never before been on vinyl. 'Lunedi Cinema' was an ident that played before Monday night movies on of one of the main Italian TV channels for many years. This electronic version includes the Martedi Mix from 2008, a Minibar Bonus Track and also a mix by pioneering Italian dream house dons Leo Mas & Fabrice with a Bottin dub sealing the deal. It's a superb package of real Italo music history.

Review: Some expansive, cinematic, orchestral spiritual jazz for you here, from the trio of talents that Fumio Itabashi, Kuniyiki and Henrik Schwarz. While the latter two are generally better-known for their deep and sometimes tech-tinged house and ambient productions, the original mix of 'Watarese' (featured here on side B) is a dense, immersive jazz soundscape laden with evocative Japanese vocals, improvised piano, moody orchestration and definite nods towards vintage free-jazz. Spiritual Life supremo Joaquin 'Joe' Clausell provides the remix and, somewhat predictably, steals the show. His take is gently rhythmic, sun-splashed spiritual jazz full of hand percussion, fluid piano motifs and rubbery double bass.

Review: Director Max Kestner's documentary film portrait Copenhagen Dreams is a tribute to the Danish capital. That also happened to be the place acclaimed composer Johann Johannsson was living at the time he was asked to score the movie. As always he does so with real aplomb and devastating emotionality. This now classic soundtrack features celestial keyboard sounds, emotive string quartets, clarinet, subtle electronic and plenty of melodic magic that both swells and breaks the heart. Academy Award winner Hildur Gudnadottir plays on the soundtrack with various other of Johann's favourite Icelandic talents.

Review: French label Wagram have pulled together a great compilation here featuring 12 essential funk and soul tracks from the Baxploitation era. Out was a time define, musically, by a groove heavy strain of soul throughout the 70s so makes for a n all killer no filler collection. Incredible Bongo Band kick things off with the high speed funk of 'Bongolia,' All The People bring more raw, soul infused styles on their 'Cramp Your Style' (feat Robert Moore) and Lafayette Afro Rock Band work up a real psyched out sound with 'Darkest Light,' which has an iconic lead riff.

Review: "I would beg listeners both animal and human to allow these beautiful landscapes I've created in collaboration with Mark Nelson to sing and speak and weep for themselves. Please. Forget about words. Just LISTEN," says Kramer of this latest exploration of sounds less familiar. Meanwhile, Nelson quotes the legendary Arthur Russell for his take on things: "If I could convince you these are words of love, the heartache would remain but the pain would be gone". The Chicago-based composer and performer certainly summarises this listening experience. There's pure bliss running through these serene ambient, almost New Age-style tracks, but within that a certain reflective sadness. Crystalline melodies refract and develop, ebb and flow, at times making pure harmonies, in other moments more atmospheric refrains. They make us long for things that were or may be, although there's still space here for taking stock and acknowledging what is.

Review: It goes without saying that 'A Love Supreme' is in the upper echelons of jazz history. A spiritual and emotional proclamation from American jazz saxophonist John Coltrane, the 32 minute runtime is a narrative of strife and struggle with addiction as well as the notable repetition of his riff in all 12 keys throughout the session in 'Acknowledgement'. In many ways you could say Coltrane's playing wasn't improvised at all, and you could argue that the session was better off for it. At the end of the half an hour, the narrative unwinds and Coltrane is declaring a faith to God, a musical thankyou to his faith that kept him true throughout his trials following a spiritual awakening in 1957 - what resulted was an undisputed musical masterpiece.

Review: Ilan Pdahtzur is as obsessive a record digger as any of his more visible peers. His particular niche is early to mid-eighties club music, and now he gets a platform to show off his skills thanks to the Spacetalk label. "Night City Life" is about music to match that exact setting - nocturnal urban metropolises with glowing neon lights shimmering in the darkness. There's a lot to love across four sides of vinyl here, from Italo disco to steamy boogie cuts and iridescent synth jams. It will make you nostalgic for a time and place you've never experienced (at least not as perfectly as this) and no doubt get plenty of dance floors on their feet.

Review: A unique political story told in 20 chapters, Angola 2 Soundtrack delves deep into the nine year history of recorded music culture that was born out of the live music oppression set in place by Portuguese rule. Between three labels over 800 recordings were released during this fertile period, each one reflecting Angolan folk and distinctive Latin influences. And these are 20 of the most creative highlights. From the frenetic guitar rhythms and harmonic chants of "Mabele" to the psychedelic highlife shimmers of "Avante Juventude" via the insistent, street-bound sermon of "Snipes", this collection is entrenched in a rich musical history. Complete with well researched booklet and powerful imagery, it's an immaculate lesson in modern music history.

Review: Shabaka Hutchings' new label Native Rebel Recordings welcomes understated innovator and educator Chelsea Carmichael for a superb debut album. The River Doesn't Like Strangers is a fresh serving of innovative jazz that finally makes its way to vinyl and features plenty of her hypnotic and warm playing, smart improvisation and subtle sound work. Cultural powerhouse Shabaka Hutchings himself wrote a set of songs for the record which were then perfumed with Chelsea playing alongside Eddie Hick from Sons of Kemet, Dave Okumu from The Invisible and Tom Herbert from The Invisible and Polar Bear.

Review:  Mental Groove offshoot Music Pour La Danse knows a thing or two about tieless techno. And they don't come much more vital than the self titled 1994 debut album from Jonah Sharp (aka Spacetime Continuum) and David Moufang (aka Move D). It never quite got the props it deserved back then and has been an underrated gem ever since but this reissue should put paid to that. It is a holy meeting of lush ambient design, cavernous dub spaces, hints of glistening IDM melody and deeper than deep techno drums that leave you feeling cleansed inside and out.

Review: Like many veteran jazz artists, American pianist Keith Jarrett has amassed a vast discography. The 92 solo and collaborative albums he's notched up since 1968 cover many styles of jazz, making it tricky for newcomers to know where to start. We'd suggest beginning with this 1999 album, which is as pure as you'll get. Made up entirely of solo piano pieces - mostly covers, with a sprinkling of Jarrett's own compositions - "The Melody At Night With You" not only offers a brilliant introduction to Jarrett's trademark playing style, but also the breadth of material he's covered. More importantly, the whole collection is hugely entertaining and enjoyable, with Jarrett putting his own twist on everything from Duke Ellington classics and Oscar Hammerstein show tunes, to Gershwin ballads and traditional favourites.

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Review: Arv & Miljo's new album delves into radical environmental activism and draws from the Swedish Plogbill movement's early 90s actions alongside Earth First! and Earth Liberation Front. Mixing monologues, interviews, protest songs, and site recordings with raw kosmische synth music, the pair crafts a mesmerising audio collage. Chaotic yet harmonious, disorienting yet soothing, the album reflects dedication, passion, and the spirit of change. Originally a limited CDR release in 2021, it quickly became a highlight in Arv & Miljo's discography. Now on, Jorden Forst offers a multi-faceted journey through environmental activism and the human spirit's resilience.

Review: Dark Entries welcome back the inimitable Doc Sleep aka Melissa Maristuen for a superb new album of ghostly and ethereal house and techno. This is a welcome follow-up to last year's ambient and IDM exploration, Birds, and shows another side that draws on Maristuen's years of queer clubbing. It fuses aspects of New York house, Berlin techno and West-coast breakbeats and is "a love letter to the West Coast's magnificent natural landscape, the light of the Pacific sunrise." That is reflected in the sublime synths and silky rhythms which manage to both move your body but also captivate your mind. It's another cracking album from the Doc.

Review: Fela Kuti and Tony Allen are your key starting points when it comes to the wild frenetic Afrobeat fusion Nigeria gave us in the late 60s but dig a teeny bit deeper and you'll find multi instrumentalist Tunji is right behind them. Armed with his band The Benders, Tunji ran a tight ship and perhaps should've done with a little more recognition. Now living and gigging in London, he's curated this essential collection of tracks from Afrobeat's most prolific era.

Review: Brighton based record label, publishers, cinematographers and legendary former London record store Mr Bongo reissue the legendary 1968 album by Pedro dos Santos, entitled Krishnada. Born in Rio de Janiero in 1919, Santos was (according to the label) "a percussionist virtuoso, composer and inventor of instruments.. such as the 'Tamba' (electrified bamboo drum) and the mouth berimbau whistle." He was a very spiritual person apparently and regarded by some as a philosopher of sorts. The album was produced by himself at CBS studios with arrangements by Joppa Lins. It features poetic lyrics in a unique linguistic structure, as well as various percussive instruments and horn arrangements with samba rhythms from Latin styles. Despite the originality of his percussive sound and the influence it has had on musicians, it had little impact at the time. The album had a cult revival in the noughties and began circulating the internet in MP3 format, finally giving recognition to this unusual spiritual Bossanova masterpiece.

Review: After a little trip away to European label Growing Bin, Santilli is back on home label Mad Habitat with a fine new four track EP. The Eora-based multi-instrumentalist is maybe best known as half of Angophora but when working alone he taps into the heritage of electro-acoustic greats like Steve Tibbetts. He always novels with each new release and finds and ever better balance of his own well-defined personal sound and new horizons. Guitar and synth are the backbone of this record with great embellishments from an array of idiophones and membranophones.

Review: The story goes that Donna Summer wasn't t happy when she heard the final version of her most iconic hit 'I Feel Love'. She didn't like how sexualised her vocal had become next to the iconic synths sounds. No such problem with this album which has much morels and orchestra sound on the lavish opener and title cut. It's an epic, 16-minute plus track that takes up one whole side, while the flip side tunes re slow and sentimental ('Full Of Emptiness'), disco-tinged and funky fresh ('Need-a-man Blues') and beautifully tender lullabies ('Whispering Waves'.)

Review: For their 12 year anniversary, Munich's Compost Disco serves up 15 previously unreleased tracks. The variety ranges across the floor from classic soul (Ed Lee's 'You Are The Star' feat Allison David - extended dub) to boogie (Dimitri From Paris & DJ Rocca's 'The Compass Point') to some Italo (Ron Deacon on 'Killersong' or Imperial Porcelain's 'Tulip Moon'), and even a bit of deep disco (as heard on Mark E's playful 'I'm Your Eversion'). 12 Compost Disco Years is what the label best described themselves as tasty, hypnotizing and emotional.

Review: Three years after delivering a stunning debut album that cemented their position as this century's finest fusionists of Middle Eastern music and analogue electronic music, Acid Arab return with a sophomore set that's every bit as impressive. The basic ingredients remain the same - think Arabic vocals, instrumentation and percussion mixed with heavy drum machine rhythms, raw electronics and mind-altering TB-303 motifs - though the resultant tracks arguably draw on a wider range of electronic music influences. So as well as nods towards acid house and techno, the album also contains throbbing, dancefloor-centric workouts informed by EBM, Italo-disco, new wave, synth-pop and industrial. It's a subtle switch-up, but one wholly in keeping with the French quartet's distinctive vision.

Review: For their sixth full length album 'Violence', melancholic Birmingham alt-rockers Editors have adopted a grander synth-pop sound to frame their typically dark songwriting in. This change in direction comes from collaborating with the album's producer Leo Abraham and composer Blank Mass, who helped the band hone their electronic craft. The songwriting pairs grandiose stadium riffs with assertive synth-work; 'Hallelujah (So Low)' goes straight for the jugular with fat synth leads and lo-fi drums, and the chorus of lead single 'Magazine' balances sections of punchy electronic swagger with singalong melodic euphoria. On 'No Sound But The Wind', there's a glimpse of an earlier Editors sound, more atmospheric and spacious than the tracks that surround it - unsurprising as it's a song the band first debuted back at Glastonbury 2008 and have been re-working since. Following 2015's somewhat confused 'In Dream', Editors sound reinvigorated and confident in the direction 'Violence' is taking them in.