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Review: Aaron Frazer's Into The Blue is a kaleidoscopic journey through the depths of emotion, blending soul, psychedelia, and hip-hop into a sonic odyssey. Frazer's falsetto soars over cinematic strings and breakbeats, painting a portrait of heartbreak and healing as he ventures from Brooklyn to Los Angeles. Tracks like the haunting title track and the explosive 'Payback' showcase Frazer's mastery of blending raw emotion with intricate production. With Grammy-winner Alex Goose as co-producer, Frazer delves into new sonic territories, incorporating iPhone recordings and samples from unexpected sources like 90s r&b group Hi-Five. The result is a bold and daring album that pushes boundaries while staying true to Frazer's unmistakable style. Into The Blue is not just a record; it's a testament to resilience and the power of music to uplift even in the darkest times.

Notes: Celebrating the 50th anniversary of this truly iconic synth, the 'modern' take on the classic Buchla Music Easel doesn't mess with a winning formula, paring the 208C sound source with 218e touch-sensitive keyboard.

Supplier's Notes:
The Buchla Music Easel was one of the first truly portable electronic music instruments. Fifty years ago, in 1973, only a few dozen were made. Unlike many iconic technologies, the influence was not grown through force of scale, but rather the force of the ideas. The Music Easel made available virtually every musical dimension: timbre, melody, rhythm, and time; how these dimensions intersected was no longer the court of acoustics and material, but signals and voltage. The 208 Stored Program Sound Source engendered "a new functional organization [with a] particularly rapid system of patching and program storage via plug-in cards."

Taking cues from the then-recent discipline of cybernetics, the 218 touch plate was for "real-time communication" to help realize the "potential vocabulary" of the Easel, rather than exploiting existing modes of musical virtuosity. The Stored Program Cards ensured rapid repeatability and repertoire on its own terms. The battery terminals made sure the music was as portable as any acoustic instrument. And the name let you know it was designed for art rather than science.

Buchla is ecstatic to revive the Music Easel for its third run in 50 years. Buchla first released the updated 208 Stored Program Sound Source, dubbed the Easel Command, with expanded MIDI and USB capability. Next came the update of the Easel Program Manager - a complete kit for storing and recalling sounds sources, even more rapidly than imagined in 1973. The new 218 Touch Activated Voltage Source provides the optimal input facility, as originally envisioned. It is now all together in a rugged case and the advanced EMBIO module that unifies all the audio and control inputs and outputs for integration with the rest of your musical world.

More than a retro novelty, the Music Easel still speaks to a future we strive for. A technology that invites conversation, not chats, and controls that engage expression, not work. There are many new worlds to explore in this instrument created at the crossroads of the jazz and computer ages. Designed as "an integrated assemblage of functions", rather than a collection of modules, the Music Easel's colour coding, comfortable access to controls, and solid patch connections allow for satisfying sessions of sonic discovery.

The Music Easel (retro) is available for pre-order starting in June 16 at Buchla.com and your favorite Buchla Dealer with delivery expected in winter 2023.

Stored Program Sound Source Model 208C

The sound source of the Music Easel is the 208C, which includes a complex oscillator and a modulation oscillator (which can also serve as another voice), each with independent switchable waveforms, as well as a noise generator, allowing for rich and intricate sound design. The 208C also features a five-stage sequencer, envelope generator, pulser and modulation source - with switchable triggers - allowing for complex patterns and evolving textures. The dual low pass gate provides dynamic control over the tone and amplitude of the sound, as well as natural-sounding decay and sustain. The 208C has a number of modulation sources, including a random voltage generator, the envelope generator, modulation oscillator, and an envelope detector. These sources can be used to modulate various parameters via the extensive patchfield - creating movement, texture, and complexity. The 208C also includes a mixer section with spring reverb.

Touch Activated Voltage Source Model 218e (v3)

The first design appeared in the 1973 release of the Buchla Music Easel and named for the spacecraft that delivered astronauts to the moon. Providing the familiar piano key layout for this early mobile music machine, the additional controls and capabilities were an interface for exploring uncharted musical territory. With the new version 3, it's been elevated with a new foundation of stable, modern electronics with incredible sensitivity and accuracy - the lightest touch will produce triggers and control voltages. The adjustable sensor has the dynamic range and durability to handle your playing. The new texture not only improves the sensing, but provides a satisfying tactile experience. As always, pressure is an expressive output, adding an extra dimension to the control. MIDI outputs velocity and polyphony, as well as channel pressure, making the 218e a uniquely expressive controller. The 218e includes portamento and an arpeggiator, which can be driven by external inputs and are allowed to interact with the automated notes to make patterns more complex. Additional controls allow you to blend different patterns and randomness to easily change from the expected to the surprising. The classic preset voltage knobs offer several possible ways to shift your sounds into new territory. Not only can the knobs be used for quick access to voltages for your patch, they can control arpeggiation modes and octave shifting. Pads output pulses for additional control. The 218e also gives you a unique interface to playing your existing MIDI gear and soft synths. Each touch outputs note name, channel pressure, and velocity for every note, along with sustain controls from a pedal. Polyphonic MIDI mode lets you play chords. The touchstrip can act as a pitch bend control, or as a mod wheel for additional expressive control. Easily configured using the front panel controls, you can send notes and controls on any MIDI channel.

Electric Music Box Input/Output (EMBIO)

Maintaining the spirit, sound, and process from the original, the new Music Easel adds a variety of new features. Buchla's latest renditions of the Stored Program Sound Source and Touch Activated Voltage Source are tied together with the Electric Music Box Input/Output (EMBIO) module. This of course provides MIDI out (mini jack and USB) and CV out from the 218, MIDI in to the 208, and the audio out from the 208C. Additional creative control comes from the Audio Mixer, for integration with other Buchla modules and systems, and the CV conditioners and controls. The slew control can turn your sequencer into a wavy modulator, or soften up a square LFO. The attenuator and crossfader gives you the opportunity to find new levels and combinations of voltages from existing ones. The pulse converter offers new rhythms to trigger. And a simple LFO provides another valuable modulator when you just can't quite let yourself flip that Mod Osc switch from "high" to "low."

Review: Heavy duty stuff in all senses, The Residents channelled feeling following the September 11, 2001 terrorist attacks on the US into this three-part concept album. Divided into 'Loss', 'Denial', and, finally, 'The Three Metaphors'. It's as powerful a listen now as it was back in 2002, when it landed on the ears of art rockers and others shellshocked by one of the most significant political events of the post-Cold War period. While there's always been a melancholy to The Residents, this is particularly audible here, although it's delivered through fascinating juxtapositions - the 1980s funk-esque of 'Wolverines', the Parisian pop of 'The Weatherman', the eerie soundscapes on 'Ghost Child', the Broadway balladry of 'The Car Thief'. A fantastic, dense listening experience, which is only elevated by the true meaning and message.

Review: If you read these pages at all often, and specifically those dedicated to Peoples Potential Unlimited, you will know we're fully signed-up fans of this superb DC-based label. Lo-fi funk, soul and disco both new and old is its main trade and here we get another such gem from Dwight Sykes. 'Rock Steady' is a passionate sound with listing hi-hats cutting through the murky analogue airwaves as jumbled drums, bass guitar twangs and epic falsettos all tug at the heart. 'One Night Stand' (feat Jahari) is a slow and seminal soul sound full of yearning and romantic pain.

Review: Jan Jones' 'Independent Woman,' originally released in 1980, is a rare soul and funk treasure highly sought after by vinyl enthusiasts. This 7" gem exudes a classy, summery vibe, with beautifully sung lyrics and stunning string arrangements. Ahead of its time, the track incorporates subtle disco elements, creating a unique downtempo disco feel. Its depth surpasses the often sterile lyrics of typical disco music, enriched by a soulful flute that adds an extra layer of charm. 'Independent Woman' reissue is here so grab a copy before they're gone.

Review: A pivotal moment for this label, Easy Going marked a milestone in Italian disco culture. In the late 1970s, nestled in Rome's Piazza Barberini, a vibrant gay club thrived as a meeting place for cultural icons and DJs. Founded by Claudio Simonetti, the group paid homage to this iconic spot with their eponymous debut album, originally released in 1978, which is now remastered and reissued on glossy white vinyl by FullTime Production. The album's standout track, 'Baby I Love You,' with its hypnotic keyboards and captivating melody, epitomises Italian disco brilliance. Other tracks like 'Do It Again,' a dancefloor anthem reminiscent of Studio 54, and covers like Creedence Clearwater Revival's 'Suzie Q' and the ballad 'Little Fairy,' are sure to ignite parties around the world once more.

Review: Jimi Tenor's collaboration with Cold Diamond and Mink on Is There Love In Outer Space made for a superb album that plays out like a transcendental trip. Now come two of the best tunes from it on this special limited edition yellow 7". The title track captivates with its galactic balladry, while 'Orbiting Telesto' is a super sweet cosmic voyage with celestial keys and warming vocal coos that add extra soul. This is music that takes you off the blue planet and up amongst interstellar bodies for a smooth and seductive excursion.

Review: There'll Never Be Another You, recorded live in Zagreb, Croatia, in 1985, features Chet Baker on trumpet, piano, and vocals, accompanied by guitarist Philip Catherine. This album captures the essence of Baker's intimate, melancholic style, showcasing his talent across four duos. The duo's chemistry shines through on tracks like 'Beatrice,' 'Leaving,' and the title track, 'There'll Never Be Another You.' Catherine's guitar complements Baker's performance beautifully, adding depth and texture to the music. Now available on vinyl for the first time!

Review: It's been a wee while since we last heard from Rory Hamilton AKA Hammer, whose formative releases on Bicep's Feel My Bicep label were special to say the least. This is, we think, the Northern Irish producer's first solo EP for almost five years. He starts in style with 'Swerve', a pulsating slab of house-powered body music rich in sequenced bass, shimmering chords and saucer-eyed melodies, before opting for a deeper, tech-tinged and analogue-rich Italo-disco-goes-deep-house sound on 'Swivel'. Over on side B, 'Tbilisi' is a hushed, warehouse-ready affair full of sweat-soaked cymbals, restless square wave bass and vocal stabs, while 'Push Repeat' sees him pepper another sturdy house beat with melodic motifs and quietly moody pads.

Review: Benny On Steroids marks the true debut of Benny The Butcher, showcasing his talent over dark, hardcore boom bap beats entirely produced by DJ Green Lantern. This project stands out as one of the best Griselda releases, demonstrating Benny’s skill and improved beat selection. The album delivers a gritty street-level narrative of Benny’s past, painting vivid scenes of harsh street life with tough, gutter beats that exemplify true Hip-Hop. Benny’s flow is effortless, punctuating every syllable and creating an excellent Hip-Hop album. Standout tracks include 'Benny Vs. Carlito,' 'Fat Dom,' 'Change,' 'Blood Money,' and 'Whole Thing.' These tracks highlight Benny’s ability to balance mafioso themes with laid-back production, slowing his flow to emphasize his lyrical strength. Though the album features few guest appearances, 'Satriale’s' with El Camino and Conway adds solid verses. Overall, Benny On Steroids is a great introduction to Benny’s refined style and Griselda’s gritty nature.

Review: Dylan Henner (AD 93, Phantom Limb) returns to Dauw with Performs Raymond Scott's Soothing Sounds for Baby, an album reinterpreting selections from Scott's iconic 1962 work. Available on limited edition vinyl, featuring artwork by Skrew Studio that references the original releases. Raymond Scott's contributions to music are immeasurable and pioneering, with his records remaining uniquely interesting. Viewed through the lens of modern "ambient" music, the meaning of his compositions has evolved. Once revolutionary, they now serve as archival pieces, preserving an era of early electronic music and its technological constraints. In homage to Scott's foresight and genius, Henner recontextualises these ideas within a 2024 musician's mindset and studio, creating a version that aligns with his perception of Scott's music's purpose: soothing babies. Henner revisited the original records briefly, transcribing melodies and noting timbres, before embarking on his own creative journey. This album honors Scott's legacy while infusing it with contemporary sensibilities.

Review: T-Connection was a late 70s funk and disco band from Nassau, Bahamas that moved to Miami. They had plenty of input into the early disco sound and have long been favourites for remixers. Which is why Dr Packer steps up here with two versions of their 'At Midnight' classic. It has some raw and guttural vocals and majestic horn leads with plenty of neat and funky basslines and loose-limbed percussive layers with hip-swinging claps. The Dr Packer Pianola dubstumental closes out with even more florid trumpets. Both of these are primed and ready for plenty of fun.

Review: Funk Night Records goes global again here with a new double-sider from Russia's The Vicious Seeds. They offer up two gems with different vibes on this 7". The first is 'Cruel Fist ', a perfect bit of busy and dense instrumental funk for some steamy dance floor business. On the flip is 'Cold Pressed Venom' which is a more slow-moving and psyched-out sound for late night hours. This is often the approach this outfit takes on this label and like all previous times, it works a treat once more here.

Review: Drunkenly steamrolling their way out of Indianapolis, Indiana in 1984, punk shithead extraordinaries Sloppy Seconds committed themselves to their "junk rock band" ethos with a bevvy of chaotic, catchy, and most importantly provocative bangers that made light of everything from pornography to homophobia to obesity to drug addiction. Musically indebted to The Ramones (only if they mainlined crack into their eyeballs), and bizarrely inspired by 1976's KISS album Destroyer, the members would begin crafting what would eventually mutate into 1989's Destroyed with zero label interest or backing. That was until Toxic Shock (yes, that is the name of the original label) feasted their ears on some early demos before decreeing that the entire worldwide punk community needed to be this offended. Boasting snarky anthems that have aged like old milk such as the quintessential 'I Don't Wanna Be A Homosexual', as well as the ode to underage pornographic actress Traci Lords on 'Come Back, Traci', few punk classics set the bar as low as Sloppy Seconds, and ain't that the point?

Review: 'Done Me Wrong' is one of trailblazing Glasgow label Numbers' essential cash cows. The track is etched into the brains of most clubbers still out today, owing to that short but sweet, mid-2010s interregnum that somehow bridged the gap between UK funky, post-dubstep, future bass and Night Slugs adjacent 'wave'. As is the case with the Hyph Mngos and the Midnight Request Lines of the era, producer Mosca seems to have touched a collective nerve with this one, one that lent the 'Done Me Wrong' a self-starting energy that served to promote itself; or perhaps that's an illusion, as it was, of course, rinsed to death on Rinse FM, and included in many a post dubstep DJ set too. Whatever the case, 'Done Me Wrong' and its inverse 'Bax' reflect the playfulness of a transitory era in bass music, being two of those tunes that, despite all our genre namedrops, never quite fit into any neat box.

Notes: Updated Atlantix module is an even better synth voice than the original Atlantis. Based on the Roland SH-101 formula, it's a monster with dual VCOs, legendary filter and built-in envelope generator. All you need for iconic analogue sounds.

Supplier's Notes:
Atlantix

Dual Oscillator Subtractive Analogue Synth Voice

It's Massive

The Atlantix is a complete analogue synth voice. It's quick to dial in huge bass or lead sounds, and easy to push it into new sonic territory. Dual VCOs, Multimode VCF, VCA with Drive, and an ADSR envelope; all of the building blocks needed to expand or start making sound in your rack. With 32 patch points and a selection of routing switches, you can remix these blocks into something all your own.

Reimagining a Reimagined Classic

The Atlantix is the highly-anticipated successor to the Intellijel Atlantis which was originally inspired by the classic Roland SH-101. Despite the SH-101's seemingly limited architecture, it produces various creative and musically useful sounds that have inspired generations of artists and countless hits. The Atlantix is just as immediate for dialling in beautifully rich bass and lead sounds. The thoughtful design, numerous additional features, and flexible patching options open up a massive amount of new sonic territory to explore as well.

The Atlantix is an analogue, complete subtractive synthesizer voice condensed into a single 42HP module. It provides all the fundamental building blocks needed to make sounds in Eurorack: VCOs, VCF, VCA, S&H, Noise, and an Envelope.

Oscillators - Advanced TZFM and Flexible Mixer

The Atlantix uses two triangle core voltage controlled oscillators (VCO) which respond in a musically pleasing way to frequency modulation. The Atlantix primary VCO (VCO A) is capable of thru-zero frequency modulation and has a dedicated amplifier for controlling FM depth (FM INDEX). The modulation oscillator (VCO B) can be used as either an LFO or VCO. The highly flexible architecture allows you to route VCO B as a modulation source or stack it as a secondary VCO all by the flick of a switch or slider. VCO B also has a bonus "spike" waveform output which is a square wave with fixed HPF, similar to the Buchla Easel. Both oscillators track very precisely over eight or more octaves.

In the mixer section, you can adjust the balance of the primary oscillator's waveforms, sub-oscillator noise, and two auxiliary inputs that are normalled to additional VCO A waveforms or VCO B waveforms. The auxiliary inputs also allow you to patch other external signals into the mix.
The second Auxiliary input has a switch that allows you to route the source between the mixer sum or directly into the VCA (post-VCF). The latter is a way to pass an unfiltered fundamental signal to the final VCA stage and then blend it with filtered audio from the VCF. This draws inspiration from the architecture of the CS-80 where a sine wave is mixed with the filtered audio to make glassy tones with some added harmonics.

Multimode Filter - From Drips to Growls

The filter section (VCF) is a discrete cascaded 4-pole multimode filter with lowpass, bandpass, highpass, and phaser (multi-notch) modes. The filter can self-oscillate which produces a very clean sine wave that also tracks 1V/Oct. The VCF has three frequency modulation sources, two of which are normalled to the external pitch and envelope and have switches for polarity.

Add Atlx for dedicated outputs from each mode.

Envelope - A Classic ADSR

The envelope section is an analogue ADSR with three timing ranges: slow, medium, and fast. It can be gated externally or via a manual gate button located in the centre of the panel. The ADSR is routed through a VCA which can be used for level or velocity control.

Modulation - Random, Feedback, and Built-in Routing

Two eight-position rotary switches allow you to select from eight different modulation sources and route them to outputs MOD X and MOD Y. Each switch also has a polarity control and an option to level shift between unipolar and bipolar operation. MOD X is normalled to VCO A frequency modulation and MOD Y is normalled to VCF frequency modulation. The dedicated outputs allow for further creative modulation patching.

Four of the Input jacks have normal switches to change your patch without the need for cables.

The analogue Sample and Hold (S&H) circuit is normalled to the white noise source and can be clocked by VCO B, an external clock source, or via the gate input for per-note synced randomization.

Atlx - Expander w/ Ring Mod (Optional) ***Sold separately ***

The Atlx expander provides 16 additional jacks to the Atlantix, including: dedicated waveform outputs for A and B oscillators, filter outputs, and a ring modulator. Atlx adds many new possibilities for self-patching, advanced routing, and connections to other modules.

Specs + Downloads

Width: 42HP
Depth: 25mm
Power: 140mA @ +12V
138mA @ -12V

Review: NOW's latest addition to the Yearbook series, Yearbook 1993, is a nostalgic journey through a stellar year of pop music. This compilation features 44 tracks on 3 LPs, showcasing the diversity and creativity of 1993. The collection opens with Freddie Mercury's posthumous #1 hit 'Living On My Own' and includes Pet Shop Boys' 'Can You Forgive Her?'. Highlights also feature Duran Duran's 'Come Undone', Take That's first #1 'Pray', and Ace Of Base's global smash 'All That She Wants'. Disc Two kicks off with Radiohead's 'Creep' and Suede's 'So Young', and includes hits from Paul Weller, Paul McCartney, and The Bluebells. Dance anthems from M People, Dina Carroll, and Jamiroquai energize the mix. Disc Three celebrates rock and alt-pop with Meat Loaf's 'I'd Do Anything For Love', Bon Jovi, and The Cranberries, alongside soulful ballads from Gabrielle and Shara Nelson. The final disc features anthems like Duran Duran's 'Ordinary World', Pet Shop Boys' 'Go West', and dance hits from Robin S and Haddaway. Pop legends like Bananarama, Kim Wilde, and Elton John cap off this celebration of 1993's pop brilliance. Yearbook 1993 captures the essence of an unforgettable year in music.

Review: KooKoo offers up a sampler of what it is all about here and it spans some big-name house talents and equally big tunes. Mark Knight & Armand Van Helden open up with 'Don't Abuse It' (extended) which is a full-throttle house sound with diva vocals and plenty of raw fills. Cloud One's 'Disco Juice' (Fabrikate rework) brings some 70s disco energy to modern production and Full Intention's 'Sky's The Limit' is a celebratory house cut with loose grooves and freewheeling pads. Last of all is the party-starting disco house pumper 'Plain Outta Luck' from Ewan McVicar.

Notes: You've finally invested in high-end desk speakers. However, as soon as you start playing your mix, you hear subtle but noticeable vibrations and rumbling sounds coming from the surface of your table.

Upon hearing such noises while listening to music, any audiophile is sure to look for ways to improve and optimize their setup. If you want to bring the best clarity out of your audio, placing your speakers on the C-shaped risers is the answer.

Flexible 6" x 5.5" top plate decouples studio monitors before vibrations reach the desk. This avoids unwanted resonance which results in a more accurate bass and tweeter clarity. from your bookshelf or computer speakers.

Zero Desk Vibrations - With their flexible top plate and silicone rubber feet, these C-shaped speaker monitor stands help eliminate shock, bouncing, and vibrations that help reduce sub-bass and resonance from your desk.

Declutter Your Workspace - With a 5" rise and 5- incline these studio speaker stands for desk clear up space under each monitor for storing gear. Cutouts on the guide rail make it easier for you to organize cables.

Stylish & Functional - Showing off an original design since 2015, each aluminium speaker stand for desk is ready for year-round use. Each speaker desk stand has a maximum load capacity of up to 18 lbs.

A Sure Fit - Made in the USA, each desktop speaker stand fits most 5" subwoofers, satellite speakers, or studio monitors.

Here are more reasons to love these desktop speaker stands:

Soundrise Pro-5 Speaker Stands (Pair)
Features 5" Rise with 5-Degree Incline
Optimized for 5" Studio Monitors
Pre-Attached Silicone Rubber Feet
Supports Up to 18 lbs. (Each)

Top Plate: 6.5" D x 5.4 "W
Bottom Plate: 7.5" D x 5.5 "W
Overall Weight: 1.125 lbs. (Each)
Trusted American-Made Quality