New releases last four weeks: All genres

Review: Cult English electronic duo I Monster aka Sheffield based record producers Dean Honer and Jarrod Gosling dropped Neveroddoreven, their second studio album, on 21 July 2003. A little later than first planned, it now gets a special 20th Anniversary re-issue on CD as well as this double gatefold. It incudes the original album plus three new singles and the much loved acoustic version of 'Daydream in Blue' which even if you don't think you know, you will, because ti has been rather ubiquitous in ad campaigns for brands including Ford and Magnum Ice Cream. Also helping to keep this band relevant after all these years was their single 'Who Is She' going viral on TikTok in 2023 and picking up 290M Spotify streams.

Review: The arrival of Il Quadro di Troisi could not have been more ironic. Anything but new faces on the music scene, the Italian electronic partnership of Eva Geist and Donato Dozzy debuted as the reality of living in a pandemic really began to hit home - November 2020. A month that usually calls for their brand of dark, Ital-disco-cold-synth stuff was void of the situations you'd want to hear it in. No parties, no clubs, no concerts - not even an opportunity to stick it on when getting ready to do something. Nevertheless, we've more than made up for it now, and having grown incredibly close betwixt that waking nightmare and today's chaos, the arrival of a new LP is an enticing prospect. As the notes explain, "everything changes, all things evolve, nothing stays the same... La Commedia marks the band's embrace of a more traditional song form, shaped by a very personal and distinctive musical style. The distinguishing elements of Il Quadro di Troisi's music meld into a unique mix that is both seductive and eerie, elegant and earthy, contemporary and timeless."

Review: It's spinbacks, rave stabs and "can't you see"s galore on Injectionz' debut tenth hardcore dubplate, released on their eponymous imprint. Faithful to the form, this is a debut that won't fail to impress even the more seasoned veterans of the scene either; intro track 'Gotta Believe' seems to make light of its debutante's ambition by way of slapstick scat samples and even an "oh my god, I'm a DJ" interjection, then spraying the 'phones with scratches, cutups and repitchings at a blasphemous rate of fire. B-sider 'Rockin' The House' demonstrates a laxer tendency, proving that many different auditory vaccinations are indeed on offer to the would-be fan.

Review: Australian producer Inkswel is back on the Cosmocities label in France with more of his superbly soulful sounds, this time with none other than Chicago legend Robert Owens. The lush 'Space Love' is a playful deep house jam with the sort of cosmic synths that recall early Fingers Inc and Owens's smoky tones only heighten that feeling. Steve Spacek provides a mix that rides on broken beats with elastic bass but just as much cosmic energy and a Fluterumental gets all loose-limbed and seductive. On the flip side are two Yoruba Soul mixes that bring extra rich soul vibes and shimmering pad work. A classy and timeless EP for sure.

Review: Intensified's latest offering, 'Ska Campbell' b/w 'Hamsterdam,' marks their triumphant return after 13 years with a limited edition vinyl release. 'Ska Campbell' pays homage to saxophone legend Dennis 'Ska' Campbell, while 'Hamsterdam' is a funky reggae tribute to the TV series The Wire. The band's authentic 60s ska, rocksteady, and reggae sound shines through, showcasing their undeniable love for the genre. With only 500 hand-numbered copies available in five different sleeves and vinyl colours, this release is a must-have for ska enthusiasts. The band's enduring status are evident in their confident delivery and wide appeal, making this single a welcome addition to their esteemed discography.

Review: Four sides of cavernous, postmodern dub inna year 3000 style from the UK soundsystem circuit's hottest boyband: Mark Iration, Dennis Rootical & Rico O.B.F. The trio combine their years of experience crafting box rattling anthems, bringing a new irreverence, sparkle, and poppy playfulness to the classic UK roots template. This really shines through on cuts such as 'Calling Jahova' where washes of buzzsaw synth and Sheffield-type bleeps call to mind Gregory Isaacs' early 90s proto-grime oeuvre, and more austere bangers like the aptly named 'Serious Time', where trappy hi hat flurries and savage anvil snares offer up a taste of unashamed 00s steppa nostalgia, while also deftly channelling O.B.F.'s hip hop influence. Great cover too!

Review: On December 30th and 31st 1978, early demo versions were laid down in Spaceward Studios of what would eventually become the debut EP from future British metal giants Iron Maiden. The three tracks in question ('Iron Maiden', 'Invasion', 'Prowler') were all recorded within the same session, making for a far more primitive and raw offering than the finalised studio versions that would ultimately find their home on the band's self-titled 1980 debut LP. This compilation restores the original three-track The Soundhouse Tapes EP, while including a bevvy of additional demos, alternative takes and live cuts from the formative, (pre-Bruce Dickinson) Paul Di'Anno era.

Review: Wewantsounds press ahead with their hotly-awaited reissue of Japanese piano jazz master Fumio Itabashi's acclaimed album from 1981, Watarase. A seminal document of the history of jazz recorded at the rough moment that the pianist reached his career apogee - the eighties saw him perform several international tours - Watarase is exemplary of Itabashi's unorthodox piano playing for the time. Virtuosic, yet not indulgent of sustained notes or boilerplate consonance, Watarase is keen to wring out the purity of each composition, seeming less interested in style or ornamentation over pure composition. The result is an album which we're not surprised was raised to the heights of jazz standard exalt, with the title track being of most note in this regard; although the less obvious cuts here are also particularly enchanting, such as the rollicking two-chord improvs of 'Miss Cann'.

Review: Itsu Uno's Juke Joint, presented on vibrant orange vinyl, is a nostalgic nod to breakbeat culture. The title track kicks off with a sample-heavy infusion of Public Enemy's iconic 'Security of the First World' beat, later immortalised in Madonna's 'Justify My Love,' layered with ragga-tinged vibes. It's a fun and infectious journey through breakbeat nostalgia, guaranteed to get bodies moving on the dancefloor. Following suit, 'The Splash' continues the onslaught with its own arsenal of sample-heavy urban breakbeats. Clocking in at just over four minutes, it's a concise yet potent offering that is sure to cause heads to turn and trainspotters to ask you "who is this?!"

Review: Jack D's Regional Groove EP, the second record on the Dias De Campo label, kicks off in style with tech house roller 'Magic Pipe' and the title track both boasting a pulsing atmosphere and a nice, upbeat energy. 'Dub Traveller' is also a strong track and 'Congo Experiment', the downtempo addition to the bunch to close things out, both catchy and fun. If you're into 90s tech house, then you'll really enjoy these very much.

Review: It might be one of the most famous hotels in Las Vegas but now the Bellagio lends its name to this new label. The first missive is a delightfully deep and classic house sound from Jacy. 'Sound Of Eleven' is coated in dusty chords and dreamy pads with an early 90s Italia feel, then 'After Dance' adds to the serene sense of hose escapism with more lushness. 'Sometimes' has a nice heavy groove and soft pads that linger in the air with real class. Last but not least is something of a Chicago jacker with 'It's You' layering up the toms. A sophisticated EP with a traditional bent.

Review: For the very first time on vinyl comes Presents The Light Programme, Jah Wobble's extraordinary 1997 descent into downtempo and beat science. Released on his now-defunct 30 Hertz label, The Light Programme showcased an excellent cast of musicians, including Can drummer Jaki Liebezeit, Wire's Clive Bell, conga player Neville Murray, guitarist and synthesist Mark Ferda and the harpist Zi-lan Liao. The Light Programme is an intensely effulgent but at times vitreous record, with Wobble seemingly embracing the worldbeat vogue of the time with a keen, albeit naive fervour. When the tracks aren't so clear cut or obviously mixed, things get more interesting; 'One In 7' is the oddball of choice here.

Review: The 18th album from James, whose career spans over four decades, emerging in the C86 era of indie, coming to prominence as part of the Madchester movement but establishing and holding onto a loyal fan base and critical acclaim with their unique blend of alternative rock and dream pop. The band work in unique ways to keep things fresh and this is no exception, bringing us "the tracks that didn't make it to the next stage" before now. A significant milestone in their musical journey, showcasing the band's continued evolution and creative prowess, it encapsulates a wide range of emotions and themes, exploring personal experiences, societal issues and the human condition. James' distinct songwriting style is evident throughout, with thoughtful lyrics and introspective reflections, while musically, the album features the band's signature atmospheric soundscapes, ethereal melodies and intricate guitar work.

Review: On his new album 1LB (One Lucky B**tard) Boldy James collaborates with Belgian producer Your Boy Posca to carve a newly distinctive sonic niche within his already prolific discography. Embracing a refined, relaxed vibe with gritty soul samples and eerie 1980s aesthetics, the project seamlessly unfolds to tell a vivid portrayal of a Midwest drug dealer. Limited to vinyl and cassette formats, this exclusive, limited, numbered, clear orange galaxy vinyl version cannot fail to immerse you in a world of atmospheric storytelling. This is one of those evocative albums that stays with you long after it has finished playing.

Review: Contemporary vocal jazz favourite Jose James makes a staunch return after a long hiatus, following up 2008's The Dreamer with a brand new album, 1978. Combining James' deep love of jazz and hip-hop with songwriting and production nods to R&B heroes Quincy Jones, Michael Jackson and Leon Ware, 1978 is a suavely smooth operation of handclapping funk and organic bossa nova; it's sonically a meeting of the cosmopolitan collective minds New York to Brazil, bringing Afro-Latin sensibilities to the lyrical and productive form that is gritty hip-hop.

Review: Jay Z's cult fav At Studio One is now available for the first time as a very limited vinyl pressing following its huge success as a download since first release more than a decade ago. This unique album combines Jay Z's famous Black Album acapellas with classic Studio One reggae riddims from the very heart of 1970s Kingston. The result is a seamless fusion where killer backing tracks complement Jay Z's vocals perfectly and create an all new and superb listening experience. If you're a fan of reggae-hip hop blends, this LP is a must-have addition to your collection.

Review: While rooted in the quintessential sound of the late 1950s and early 1960s, UK jazz ensemble The Jazz Defenders explore fresh territory while honouring their jazz heritage on their third album, Memory In Motion. Tracks like 'Chasing Fantasies' and 'Fuffle Kerfuffle' showcase their swing jazz finesse, while 'Meanderthal' and 'Snakebite Playfight' infuse soulful grooves akin to 1960s jazz legends. Collaborations with UK rapper Doc Brown on 'Rolling On A High' and the uptempo funk of 'Net Zero' add modern flair, while introspective moments like 'Take A Minute' and the closing 'Enigma' offer a serene balance. Memory In Motion celebrates jazz's legacy and innovation, blending tradition with contemporary influences for an immersive listening experience.

Review: The Jesus & Mary Chain - Peel Sessions 84/86 offers a riveting glimpse into the evolution of the iconic noise pop band across four recording sessions for John Peel's BBC show. These sessions capture the band at various stages of their early sonic development, showcasing their signature blend of classic pop, noise, punk, psychedelia and garage rock. Each track serves as a testament to the band's innovative and influential sound, presenting a raw and unfiltered expression of their musical vision. With its combination of infectious melodies and gritty noise textures, this collection stands as a perfect document of The Jesus & Mary Chain's essential contribution to the alternative music landscape of the 1980s.

Review: Originally a drum & bass, future jazz and downtempo producer, Jimpster has really evolved and showed how excellent of a producer he is with his style of house music. The Freerange sound has helped Jimpster become one of the most looked at deep house producers in the world. The Passion EP features two of his new productions plus a special remix by another deep house hero, Atjazz. 'You're My Ecstacy' is a great example of the work that has brought him so much acclaim. Soulful deep house that stays more linear in the groove and stays in the sweet spot, becoming great moments on the dancefloor. The original of 'The Passion' sends a message to all the fake house music artists out there getting into the business for all the wrong reasons. With King Crowney on vocals, Atjazz's version is a little more techy, which is what we expect from him. All in all, this is right in the wheelhouse of the esteemed Freerange record label sound.

Review: Jinje is a solo project from Lee Malcolm, a founding member of the Leeds-based experimental band Vessels. His music in solo mode is just as singer and hard to categorise as with his band and here on Mesh he veers between electronic, synthetic and organic sound worlds with driving breakbeats topped with gorgeous string sounds, hype-real synths and a shimmering sense of sonic futurism that is awash with melody. These are hugely detailed tracks but the overall picture is never confused as his arrangements ebb and flow with great clarity and make both a physical and emotional impact.

Review: A bumper double LP of hyper modernist techno shrapnel from an all star cast of remixers working with JK Flesh's 2022 debut on KR3 records, 'Veneer Of Tolerance'. Prime cuts include Rrose's snarling, overtone-laden remix of 'Empty Words', with reese bass glissandos lacerated by a clattering percussion and hollow harmonics, London-Detroit superhighway technician Steve Bicknell's stroboscopic, swampy spin on 'Veneer Of Tolerance', and Samuel Kerridge's hotwired amen lengdown of the same track. And that's just the first three tracks! Trust us when we say there's something for every dark techno diehard in this one.

Review: Billy Joel's fifth studio album The Stranger, turned Billy into a household name and a consistent multi-platinum seller for the next decade and more. The album reached number two on the US Billboard and ultimately sold to diamond certification in the United States alone. The album was lauded by critics and fans alike, landing on many people's best of the year lists. Included on Rolling Stone magazine's 500 albums you must hear before you die list, the album branded Billy Joel as one of the best songwriters of his day. This reissue is identical to the original 1977 release.

Review: Having already caused a stir with their various solo releases, old friends Klein Zage (real name Sage Redman) and Joey G (Joe Gillick) have decided to join forces on an EP inspired by their time living together in South London. While the EP is musically varied, there's a sonic coherence to the three original tracks thanks to the presence of Redman's spoken word vocals throughout. We're particularly enjoying the deep, emotive beauty of 'A Little Dissonance', though punchy, shuffling and spacey opener 'Folks Not Guys' pushes it close. Over on the flip we're treated to a trio of remixes: Ariel Zetina's intense, trippy and high-tempo take on 'Folks Not Guys', Local Artist's warming and rolling, Rhodes-sporting 'Disco Dub' of the same track, and DJ Python's pleasingly weird, mind-mangling version of 'A Little Dissonance'.

Review: An iconic soundtrack to a classic blaxploitation flick, JJ Johnson and Martha Reeves & The Sweet Things turned a collective head when they simultaneously composed their core themes for Willie Dynamite, directed by obscure director Gilbert Moses. This ineluctable screen treat stars Roscoe Orman and Diana Sands in a quintessential portrayal of early '70s New York pimping, with the central character's foibles giving rise to a latent conscience when he comes into contact with a young social worker. As is often the case with the blaxploitation genre, Willie Dynamite begins with the lead character cruising down the streets of New York in some kind of fancy car, and 'tracked by the central theme: the theme of Reeves' 'Willie D' is clear as day, lyrically portraying D's hustle as 'magic', "never treating two girls the same", "it's no different from any other industry". 'Keep On Movin' On' contrasts this with a note of modesty, signaling the movie's inevitable tonal shift; nor should you miss the B-side instrumentals 'Willie Chase' and 'Parade Strut'.

Review: The French label Metallic States' first EP sees fellow countryman Joking Sphinx aka Christophe Marcourt take the helm. A veteran of the Goa and psy scenes of the 90s, he infuses those original sounds with different a new level of understanding for this timeless sound. Take 'Rainbow Nation' for example that chugs along at a more reasonable 124 beats per minute, showing a new maturity, while side two, 'Chasing Invisible Man', sticks to a more classic trance meets progressive house sound and finds a great balance. A label to watch, for sure.

Review: Presenting two previously unreleased tracks from the late Queen of modern soul, Sharon Jones, and her Dap-Kings. 'Don't Wanna Lose You,' penned by sax stalwart Neal Sugarman, exudes soul sophistication with its infectious groove and vibe. Sharon's powerful vocals soar over the track, showcasing her unparalleled talent. On 'Don't Give a Friend a Number,' the mood shifts to a haunting, r&b-infused atmosphere. Sharon delivers a commanding performance as she confronts an unfaithful lover, with eerie background vocals adding depth to the track.

Review: Dwell Time II is the second part of a three-part project on Past Inside The Present from T.R. Jordan. Each of the albums was made using the same material in the same time frame, and they are all part of one overarching and coherent suite that he refers to as "musical composting." This is the cassette tape version and it is full of grainy, fluttering howls, soft warbling pads, pastoral references like flowing streams and mossy rocks and plenty of grand spatial elegance that harks back to the likes of Hiroshi Yoshimura and early Brian Eno experiments. Another immersive offering from this fine label, then.

Review: The irrepressible Past Inside The Present is back with the second in a trilogy of tape loop experiments from T.R. Jordan. This is the limited and hand-numbered CD format and is another cohesive piece of this three-suite puzzle. All of the music was made by the same materials and methods and was all made in "a concentrated period of inspired experimentation with no energy wasted." The artist calls it a form of "musical composting" and the music is full of a sense of musical grace and elegance, peaceful pads and sonic versions of pastoral scenes like flowing rivers and mossy rocks under beautiful wispy clouds.

Review: Offering five tracks of captivating Italian techno and trance, JP Energy's Strano EP, resurfaces with a timeless allure, Originating from 1993 Italy, Side-1 opens with 'Down To The Moon,' exuding early 90s trance and techno vibes, hinting at the emergence of intelligent techno that later evolved into IDM. With celestial undertones, it sets a hypnotic tone. Following is 'Dolphin Dance,' blending techno with shades of darker 80s Italo house, crafting a compelling sonic journey. Flipping to Side 2, 'Alvorada' unfolds as a smooth, ambient techno gem, showcasing melodic intricacies that enchant the listener. The EP concludes with the E-Talking remix of 'Alvorada,' displaying a fresh and updated interpretation of the original. This remix maintains the track's smoothness while injecting
a contemporary flair. Overall, Strano EP is a great example at a timeless sound that is being enjoyed today.

Review: Scaring The Hoes was the 2023 collaborative record by unequivocal avant-hip-hop crown bearers Danny Brown and JPEGMAFIA. The album was almost instantly met with widespread critical acclaim, most notably for its weird use of contemporary political imagery in music videos (frequently Donald Trump and Kim Jong-Un, for some reason) and its staunch defiance of the misogynistic injunction to "stop scaring the hoes" with weird, left-of-centre music. Now comes the 'DLC' and/or 'expansion pack' version of the album, which includes four exclusive new mixes from the album sessions; Brown shines on an ultra-kooky, SFX-laden intro, 'Guess What Bitch, We Back Hoe!', followed by the crackly soul-bap of 'Hermanos' and the crossticking lo-fi of 'Tell Me Where To Go'. Closer 'No! No! No!' presents an incredible gospel timestretch-spaghettification, over which a medley shared between both MCs makes their enduring talents ever more apparent.

Review: Rapper Larry June teams up with the prolific producer Cardo for a fresh dream-teamed, tinted-windowed beguiler, The Night Shift. Decidedly nocturnal in feel, this album spans hip-hop's moodiest, most crepuscular cross-section into r&b and night-drive music; it's also a guided, chauffeured tour of June's early life, taking scenic detours down his many most personal memory lanes. With a laid-back flow acting as a vocal guide through June's native San Francisco, this is one of the vibiest hip-hop releases you're likely to hear all year.

Review: The second solo releases from Edward Ka-Spel to appear on the Lumberton Trading Company label offers eight spectacularly original compositions from the outsider artist. These are tracks that bore their way into the heart and mind through startlingly personal moods and meanings. The atmosphere is often tense, and, when it's not, 'surreal' is the word that springs to mind - albeit more unusual hallucination than comical experiment. 'Platform 5' might be the best example of how unnerving things can get, the low, rumbling synth bassline underpinning spoken word, distant, almost inaudible harmonic refrain and eerie chorus. 'No Show Tomorrow' asks "what if they had a war and nobody showed up' to seemingly disconnected tones, notes and noises. 'They Seek Her Here' ups the tempo with a synth-wave-breaks trip through dystopian spaces.

Review: Kaiserdisco bring some big room techno energy to the one label in the world that is most synonymous with that sound - Adam Beyer's Drumcode. Opener 'In The Music' is a dark and driving cut with an acid tinged bassline over hard, hammering, flat footed drums. Add in a dark vocal hook and you have a real monster. 'Error In The System' on the flip is another moody techno pumper for the main room with hefty drums, eerie siren sounds and of plenty squelchy designs. It's a real headwrecker to close out a big 12".

Review: Son of Todd Osborn (Soundmurderer/Ghostly) Kaito Ian makes a hugely impressing first outing on the Galaxy Sound Co label with a series of lo-fi hip-hop beat-strumentals that cannot fail to get your head nodding. He is a dedicated music lover and skater with a deep knowledge of his craft and that shows here with some refined sounds starting with the soul drenched 'Revert', then on to the warped angelic vocal samples of 'Sequoia' and the percussive jumbled and scratching of 'Trek'. 'Wait Up' is another excellently blissed out joint and 'Sloan' is a sunny, laid back, lazy vibe to close down a superb EP.

Review: South African Warrick Sony is a ground breaking composer who was behind the Kalahari Surfers project which now gets a vital spotlight courtesy of Emotional Rescue. This compilation shows how effortlessly eclectic his sound was - from jive rhythms to jazz, tabla to political speeches and much more in between. A Hindu pacifist who was once conscripted into the South African Defense Force, he founded this group as a way out getting his ides out there, calling on other musicians as and when he needed them. It was the first radical white anti-apartheid pop in South Africa and as this vital collection shows it explored polyrhythms, slow motorik, dub sound collage and even a goofy cover of Nancy Sinatra.

Review: Manchester's Kali returns to White Peach with four delicious dubwise treats. 'Scurvy' dodge the limes in favour of a big squeezy accordion and what it lacks in vitamin C it definitely makes up for in weight. Elsewhere 'Sober' hits on more of an instrumental grime type of vibe, 'Stripey T-Shirt' brings out the squeeze boxes again for another woozy oddity while 'Cop Something' brings the whole experience to emotional conclusion. Stunning.

Notes: Your eyes are not deceiving you! This incredible overdrive used to go by another playful bard-esque name. The new Mk3 Driver - Andy Timmons Full Range Overdrive is an overdrive workstation that allows you to orchestrate everything from a clean boost to a treble supercharger, a chimey tube-amp overdrive to a square-wave, germanium fuzz generator and more.

This Pedal combines a three-control blues driver circuit with two switches for the voicing of Drive and Tone characteristics. Robert and Andy developed these switches to give players a broad range of drive tones. The Drive toggle engages two germanium diodes for a smoother, slightly compressed drive. Switch to Andy's clipping style for a brighter and more articulate attack.

Every part of the circuit has been optimized for tone and the demanding needs of a recording and touring artist such as Andy Timmons. Simply adding the Mk3 Driver to your pedalboard will make your rig sound better. This professional grade overdrive can be switched between true-bypass and buffered bypass at any time.

Andy Timmons - Tone Switch

The Mk3 Driver gives you two tone control circuits to choose from. When the Tone Switch is up and in the AT Position the tone control features Andy's preferred voicing and low-end response. Each note in a chord is clear and articulate. If the Tone Switch is down and in the RK Position that features the legendary Phat Boost providing more low-end frequency response, perfect for pushing up vintage or single coil pickups.

Full Range Overdrive - Germanium Toggle Switch

This pedal's circuit combines JFET saturation, diode clipping, and op-amp clipping in order to create its harmonically rich tone. Drive Switch UP for AT Clipping - this mode features asymmetrical LED and silicon diode clipping and is Andy's Super AT Mod sound. Drive Switch Down for RK Clipping - now the circuit features two germanium diodes for clipping. This mode can sound a bit like a vintage fuzz pedal with a softer, smoother feel.

Buffered Bypass or True Bypass

The Mk3 Driver features our industry leading buffer for noise-free switching. We have developed a buffer which not only makes your rig sound better, it gives you silent switching with no tone loss. Switch between true-bypass and buffered on the fly. Simply press and hold the foot switch for two seconds and the pedal will switch between true-bypass and buffered bypass! You decide what works best in your rig.

Made In The USA

Keeley design, engineer, and manufacture the Keeley Electronics/Andy Timmons Mk3 Driver in Oklahoma City. Everything about the Mk3 Driver is geared towards the professional musician and their quest for an inspiring tone when performance demands it. From the meticulously built circuit boards to the newly fabricated aluminium enclosure; we make guitar effect pedals like finely crafted musical instruments.

Note From Andy Timmons:

'The Mk3 Driver is the ultimate expression of the clean/slightly broken-up tone I've been going for over the last several years. Robert Keeley and his incredible team have once again knocked it out of the park!

The AT/AT setting is exactly my Super AT Mod tone: just the right amount of breakup available at your dynamic command. Every note and nuance is clear as a bell. The crazy thing about this mode is that it also sounds great with the gain turned up, providing an incredibly cool Marshall-esque crunch tone.

Having the original RK modded BD-2 circuit is sheer luxury as that's the circuit that I fell in love with years ago! It still inspires me! The real hidden gem here is Robert's new modification that utilises germanium diodes instead of the original silicon for a new kind of clipping that works insanely well on its own OR as a boost for my lead tone. It has a lovely way of further taming the low-end that I really love.

With the Mk3 Driver and the Halo, I'm in Tone Heaven!'

Review: Albertan experimenter Dylan Khotin follows up last year's full-length with an equally impressionistic two-tracker and logical successor, 'Alterac Acid/Mornings II'. Both tracks here are curious digi-Balearic offerings, with spacious episcopies of sound cast across meandering landscapes once seemingly trawled by space invaders and/or deep-cosmos probes. A nearly aimless acid line unfurls across the A-side, locking things into a nice stasis, before a more subdued, dare say clipped stab-womp drives the action of the B-track, which hardly so much as teases its drum line, nor avails itself of a need to even use drums at all (at points) to compel the listener into a driven, awestruck state of bliss.

Review: Texas-based Thai funk and psychedelic trio Khruangbin are back with another much anticipated new album in the form of A La Sala. The record presents a mesmerizing blend of psychedelic rock, funk, and world music influences that showcases the band's signature hypnotic grooves. Each one is characterized by Laura Lee's funky basslines, Mark Speer's intricate guitar work, and Donald "DJ" Johnson's precise drumming. Tracks like 'Farolim De Felgueiras' and 'A Love International' exude a laid-back vibe, perfect for lazy summer afternoons, while 'Juegos Y Nubes' infuses Latin rhythms with a psychedelic twist. Overall, A La Sala is another rich journey through diverse musical landscapes that reaffirm Khruangbin's reputation as masters of genre fusion and purveyors of sonic bliss.

Review: Desert funkers Khruangbin announce their latest album A La Sala, turning their efforts inward to a more personal recollection of childhood and origination, and to reach a firmer understanding of what exact influences made this troupe who they are today. In contrast to their last record Mordechai (2020), uniquely conceived as a party record from the jump of its making, A La Sala (translation: 'to the room') is the measured, self-reflective morning after; lead singles 'May Ninth' and 'A Love International' pare back the layers even further than we could imagine Khruangbin pulling otherwise, making for emotional ponderings of the external world, inextricably tied to the internal as it is.

Review: Texas-based trio Khruangbin returns with their highly anticipated album, A La Sala. Blending Thai funk, psychedelic rock, and world music influences, the record mesmerizes with hypnotic grooves. Laura Lee's funky basslines, Mark Speer's intricate guitar, and Donald 'DJ' Johnson's precise drumming shine throughout. Tracks like 'Farolim De Felgueiras' and 'A Love International' exude laid-back vibes, ideal for lazy summer afternoons, while 'Juegos Y Nubes' adds a psychedelic twist to Latin rhythms. 'A La Sala' is a captivating journey through diverse musical landscapes, reaffirming Khruangbin's mastery of genre fusion and their ability to create sonic bliss.

Review: Texas-based trio Khruangbin returns with their highly anticipated album, A La Sala, blending Thai funk, psychedelic rock and world music influences. Laura Lee's funky basslines, Mark Speer's intricate guitar work, and Donald "DJ" Johnson's precise drumming define each hypnotic groove. Tracks like 'Farolim De Felgueiras' and 'A Love International' emit a laid-back aura, ideal for lazy summer days, while 'Juegos Y Nubes' adds Latin rhythms with a psychedelic twist. 'A La Sala' offers a rich journey through diverse musical landscapes, solidifying Khruangbin's mastery of genre fusion and their ability to create sonic euphoria.

Review: The eagerly awaited album A La Sala marks the return of Texas-based trio Khruangbin, seamlessly blending Thai funk, psychedelic rock, and world music influences. Laura Lee's groovy basslines, Mark Speer's intricate guitar melodies, and Donald "DJ" Johnson's precise drumming define each mesmerizing groove. Tracks like 'Farolim De Felgueiras' and 'A Love International' exude a relaxed vibe, perfect for lazy summer days, while 'Juegos Y Nubes' infuses Latin rhythms with a psychedelic twist. A La Sala takes listeners on a captivating journey through diverse musical landscapes, showcasing Khruangbin's adeptness at genre fusion and their talent for crafting sonic euphoria.

Review: King's debut album, Steps In Time, is an infectious energy bomb of new wave dance pop. Led by the standout single 'Love & Pride,' the album delivers a vibrant collection of tracks that are sure to delight fans of the genre. While 'Love & Pride' undoubtedly steals the spotlight with its irresistible hooks and infectious energy, the rest of the album holds its own as well. The songs are all well constructed and grow on you with repeat listens like longtime fans of the album have realized. After 40 years, they still hold plenty of entertaining moments for those who appreciate the new wave meets pop sound.

Review: Compton's King Tee is an important name in the genesis of west coast hip-hop. Originally signed to the legendary Techno Hop Records as far back as 1986, King Tee left an indelible mark on the scene still being discovered today. So much so in fact, that RMV Sweden has smartly gathered a few of his earliest and most desired tracks on to one special mini compilation. Hats off to them - those who like early NWA, Ice Cube, Compton's Most Wanted, Spice 1, DJ Quick or MC Ren will be digging this, a snapshot of why he was so revered still today.

Review: KLIM is a producer who hails from Aviv and is based in Ukraine. He grew up on the classic hip-hop of New York and Detroit and it shows in his crisp boom-bap beats. There have been an eye-watering amount of them to date with over 40 albums to his name. Each one comes laden with soul and this new one, Planet SL1200, which no doubt named after the hardware he used to make it, is another doozy. The short, sketchy tracks convey great vibes and ride on compelling beat work that cannot help but encourage you to zone out and daydream.

Review: Believe In You by Knoe1 featuring George JJ Flores is a soulful electro funk track that exudes the essence of the early 80s. The vocal version opens with disco claps and a smooth, sultry vocal, complemented by groovy keyboard work. The instrumental version showcases the track's infectious rhythm and tight arrangements, offering a dynamic and engaging listening experience. Overall, Believe In You captures the essence of boogie and electro funk, showcasing the talents of Knoe1 and George JJ Flores.

Review: Mark Knopfler's One Deep River album from 2023 immerses listeners in a reflective journey through Americana's heartland. It is a typically poignant album from the rock icon that showcases his mastery of storytelling as it weaves together tales of life's trials and triumphs. With his distinctive guitar work and soulful vocals front and centre, Knopfler paints vivid landscapes of dusty highways and riverbanks at dusk on each track, from the introspective 'Beneath a Prairie Moon' to the bluesy swagger of 'Ride On Across.' With its timeless allure, One Deep River speaks of Knopfler's enduring legacy as a guitar troubadour of the modern age.

Review: Mark Knopfler's One Deep River delivers a steady stream of timeless classics, featuring his signature blend of poetic lyricism and exquisite guitar work. As the tenth solo album released on his own label, British Grove via EMI, Knopfler continues to captivate with his warm vocals and masterful compositions. The album's lead single, 'Ahead Of The Game,' sets the tone with a melancholic narrative, possibly autobiographical, over a classic Knopfler riff. Title track 'One Deep River' taps into Knopfler's emotional ties to his hometown of Newcastle, particularly the Tyne River. This connection to childhood memories imbues the album with a sense of nostalgia and introspection, echoed in each meticulously crafted song. Produced alongside longtime collaborator Guy Fletcher, the album exudes sophistication and depth, with Knopfler's guitar textures and evocative storytelling taking center stage.

Review: Mark Knopfler's 2023 album, One Deep River, is a written diary through the heartland of Americana. Demonstrating his mastery of storytelling, Knopfler intricately weaves tales of life's trials and triumphs, evoking a poignant reflection on the human experience. Each track showcases Knopfler's signature guitar work and soulful vocals, transporting listeners to dusty highways and riverbanks at twilight. From the introspective 'Beneath a Prairie Moon' to the bluesy swagger of 'Ride On Across,' Knopfler's ability to paint vivid landscapes through music is unparalleled. 'One Deep River' resonates with timeless allure, embodying Knopfler's status as a guitar troubadour of the modern era.