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Review: Crosstown Rebels continues its spell of dance albums releases with a fresh one from Oceanvs Orientalis (Safak Oz Kutle), Portrait Of The Obscure. After three superb singles on the label over the past four months, this nine-track LP offers a comprehensive exploration of the Istanbul-based talent's rich, globally-infused, captivating sound. As if to bottle the essence of the awe of travel, either everyday-real or astral - and the personal developments and realizations that come of it - onto a single record, Portrait Of The Obscure skirts the possible limits of progressive dance, fleshing out a talent for layering that we'd wager many artists only ten years or so ago would've thought impossible. Just listen to the hullabaloo that is 'Neutrality'; despite the name, it's hardly neutral at all, coming as an immense positivisation of moving parts and godlike sonic entities, which sound to dance around a central kick axis, one that we're surprised Oceanvs was still able to fit into the mix.

Review: Though soliciting some confusion as to whether it was written in 1977 or 2023, Pleasants' latest sonic gut-jab Rocanrol In Mono is a raw and toothy nostalgic throwback. Recorded in its entirety by frontman Al Uminium on four-track cassette, this whirlwind of an album revels in the unserious and fleeting, squashing every blues lick, top-reg solo and/or drum line under flattening walls of compression that nonetheless allow for much hilarity and dynamism and finding joy in the little things in life ('Loose Change', 'Interwebs', Rubix Cube').

Review: 'Unfurling' their 15th album - a stonking discographic achievement - My Dying Bride's A Mortal Binding is brought to our attention. The Yorkshire-based quintet deliver this incendiary sonic meditation on loss, distress, and abyssal horror with glee, eliding gothic and apocalyptic themes while playing on bleak aspects of the band members' personal lives, sublimated through wicked doom metal. 'Thornwyck Hymn', 'Her Dominion' and 'The Apocalyptist' betray a belief that one can master the end of times - whatever form they may take - and use them to one's own advantage: such is the implied message.

Review: The fourth studio album from '90s pop-punk-ish alt rock band Del Amitri, Twisted followed 1992's Change Everything, and amounted to a classic among the greats in their discography (though it was the last to feature the guitarist David Cummings). The album's bright, car-mixed songs - 'Roll To Me', 'Never Enough', 'Start With Me' - heard the band retain their omnipresent melodics, though it also marked a shift towards an even sunnier and heartfelt direction than the preceding album, not to mention serving as a sonic companion to the nascent Britpop craze, albeit not directly influenced by it.

Review: Prince Istari's earliest memories are of his mother playing the tranquil melodies of Erik Satie's pieces on the piano. Skipping school, he'd bask in the sun, absorbed by the serene tunes and years later in 2024, rediscovering his mother's sheet music sparked a creative resurgence. He transformed them into dub versions, crafting a tapestry of sound, and each piece's form dictated its direction, evolving from heavy dub to delicate piano and synthesiser blends. The finale, a relic from his past as Istari Lasterfahrer, features a distorted recording of his mother playing Satie to complete the circle. This special record comes in limited quantities of just 200 copies.

Review: A surprise addition to the series of Belinda Carlisle reissues mainly slated for 2023 comes this 2024 top-up edition of Real, complementing the already-out Demon Records versions of Heaven On Earth and Runaway Horses. Real is Carlisle's fifth studio album, for which a decided wardrobe reshuffle captures the mood; famously, the singer swapped her prior glamorous look for a jeans and tee shirt drip, coinciding with the ironic theme of authenticity which recurs throughout the album. Famed for its badboy biker-loving ballad 'Big Scary Animal', on which Carlisle confronts the id through coming face-to-face with 'feelings hid', and 'Lay Down Your Arms', on which a wild-western theme is subverted to provoke the sense of a lawless relationship triangle up for grabs.

Review: Los Angeles-based Canadian-American experimentalist Claire Rousay has made a name for herself due to her unique approach to post-rock-inflected ambience built off of primitive DIY field recordings captured on a Zoom H5 Handy Recorder, resulting in a curious form of emo musique concrete or "emo-ambient". Following on from a myriad of collaborations, projects, and singles, Sentiment marks her first full-length to put her usually hidden voice front and centre; utilising auto-tune to craft emotive hyper-folk musings delivered with androgynous hues. Described as a "meditation of the poignant emotional terrains of loneliness, nostalgia, sentimentality, guilt, and sex"; Rousay uses fractured narratives and one-way conversations to deliver painfully relatable, often uncomfortable musings, smothered beneath layers of droning reverb, monotonous acoustic plucking, and everyday sounds almost too familiar to pinpoint. The end result is the musical equivalent to our inner monologue at its lowest ebb, nattering incessantly while the world moves on around us, while sonically, it's the culmination of all Rousay's experimentation thus far, yet simultaneously more fearless and fragile.

Review: French outfit Chateau Flight have spent two years in the studio making music, playing around and experimenting and now the fruits of that work are presented on this new album La Folie Studio. It is full of the sound of analogue machines conversing and the artists themselves speaking through their darkened basslines or eerie pads. Occult worlds are crafted, ambient soundscapes are cooked up and leftfield cosmic explorations occur throughout a journeying album full of a wide range of emotions. This lovely record features guests on the odd track such as Johnny Nash on guitar, Cosmic Neman mumbling on 'Mange', John Cravache playing 'his special organ" and Bony Bikaye singing on 'Esika Molimo Ezali'. It's an occult world of left of centre sound that will keep you coming back for more.

Review: Following on from their 1980 debut full-length No Questions Asked, the very next year would see Los Angeles based punk legends The Flesh Eaters unveil what many a fan considers to be, not only their magnum opus but one of the finest punk experiments ever contributed to the scene. A Minute To Pray, A Second To Die purposefully eschewed the breakneck pace of the expanding hardcore scene to channel outsider influences from the likes of swampy, Bayou-inflected roots rock to spasmodic jazz dirges to blues-laden malevolence. With depraved B-movie horror tales of violence and religious scandal; ultimately weaving a lyrical tapestry of the underbelly of LA, punk poet prophet Chris Desjardins immortalised himself as a commanding vocal presence with the type of penmanship to hypnotise, disgust and enthral.

Review: A live recording of The 1975's sold out show at Madison Square Garden on the 7th November 2022. Following up their latest full-length studio effort Being Funny In A Foreign Language, this live appearance captures the megaband in a different, candid light (sonically), though attendees would have reported a much different experience, with press rumours detailing a Matty Healy constantly beset by fidgeting, chain-smoking and offhand comments as to the then current state of things. All this painted an unfazed attitude, which actually served to help and not hinder the whopping performance; each of the band's hits cut ecstatically through the park.

Review: After a run which has seen her re-recording her early albums in defiance of a restrictive record deal, Taylor Swift dropped a bomb at the MTV VMAs this year by announcing her tenth studio album. Since then, the information has been trickling out with the steady precision we expect from one of pop's biggest stars, and finally we can clutch Midnights. An album steeped in concept and supposedly drawing from 13 different sleepless nights from throughout Swift's life, it's a reflection on those strange places we go in ourselves when we choose to burn the midnight oil, crafted alongside her steadfast producer Jack Antonoff. There are a variety of editions of this highly anticipated record, and this Jade Green pressing is sure to be one of the most coveted.

Review: Roberto Zanetti was also known as Savage and was a producer who was beloved among Italo disco enthusiasts. His work in the 80s helped to define the genre and this is one of the tracks he turned out that had a particular resonance. The outstanding production from 1987 is as likely to captivate dancefloors across Europe now as it was back then. It became a secret weapon for many DJs the first time around and here makes a special return with a reissue that features a bonus remix by Alex "A" and Patrick Delay, which was originally released in 1988 in Hong Kong.

Review: Anyone familiar with Tokyo, Japan's predominantly instrumental math-rock prodigies Toe, should already be clued into the fact that the member's prolific nature prevents them from resting on their creative laurels for long, with each full-length they drop bookended by an EP. 2005's debut LP The Book About My Idle Plot On A Vague Anxiety was followed by the 2006 EP New Sentimentality, while after 2009's outstanding For Long Tomorrow came The Future Is Now in 2012. At the time of writing, 2018's aptly titled Our Latest Number currently sits as the group's most recent EP; sandwiched in between 2015's sonically transformative Hear You and 2021's latest output DOKU-EN-KAI. Furthering the experimentation of its preceding full-length, the EP strays from their signature twinkling, mathy noodles and emotive shoegazing, and instead embraces elements of minimalism and trip-hop, whilst expanding their acoustic-driven nu-jazz flourishes, and even sprinkling some ethereal vocals into the mix.

Review: Japanese math/post-rock outfit Toe have become renowned for their virtuosic blend of jazzy, hyper-technical math-rock blended with emo shoegazing and tropical Balearic vibes. Originally released in 2006 as follow up to the band's 2005 debut full-length The Book About My Idle Plot On A Vague Anxiety, and beginning their trend of intersplicing each album cycle with an EP, New Sentimentality offers up four lengthy cuts running the sonic gamut of almost every water they wade within. Trading off noodling twinkles with acoustic pluckings, while abrasive jazz drum-fills clatter over the weaving gentle cacophonies, this is what happens when the emo kids become the new prog nerds.

Review: This Best Of The Morwells album originally landed back in 1981 but has not degraded in any way over the ensuring 40+ years. It is a superb collection of vocal roots that first came on the American label Nighthawk Records and might be best known for standout hits like 'In God We Trust' and 'Africa' as well as 'Educate Your Mind.' The lyrics muse on plenty of still relevant socio-political topics while riding on nice deep rhythms with earthy drums and meandering leads. The band went on to become well-regarded and prolific session musicians in Jamaica and you might well have heard of them... none other than The Roots Radics.

Notes: The Yamaha Seqtrak, a pioneering instrument in the realm of music composition and performance, has swiftly become an almost indispensable resource for artists and producers worldwide.

Acknowledging its pivotal role and the strong demand for reliable protection, Decksaver are delighted to present this cover, specially tailored for the Yamaha Seqtrak. This cover is meticulously fashioned from superior materials, offering precision-engineered defence against dust, spills, and unexpected impacts, thus ensuring the longevity of your device and preserving its pristine condition.

This Decksaver cover is custom-made to match the unique shape of the Seqtrak perfectly, ensuring a tight fit that encompasses all critical parts, including buttons, sliders, screens, and ports. Its robust design provides substantial protection while still permitting unobstructed access to all the device's functions and connections.

This feature is vital for seamless integration into your workflow, whether you're in the studio, on stage, or storing the device. This cover serves as a dependable guardian, keeping your Seqtrak ready for any creative endeavour you embark on.

Opting for this Decksaver cover for your Yamaha Seqtrak is more than just choosing protection; it represents a commitment to preserving the instrument's longevity and operational integrity. Held in high regard by musicians and producers, this cover is an essential ally for anyone committed to protecting the integrity and efficiency of their Seqtrak. It enables users to pursue their artistic ambitions with increased confidence and peace of mind, assured that their equipment is thoroughly safeguarded.

Weight: 0.14 kg
Length: 35 cm
Width: 10 cm
Height: 2.9 cm

Material: Smoked clear polycarbonate.

Notes: Enhance the resilience and sophistication of your Teenage Engineering EP-133 K.O.II with our tailor-made Decksaver protective cover. Recognising that your K.O.II is more than merely a device, but an integral part of your musical voyage, it warrants the utmost in care and protection. The Decksaver cover is poised to provide precisely that, serving as a formidable protector against external hazards.

This bespoke-engineered cover is designed specifically to match the contours of your EP-133, preserving its stylish, slender profile whilst offering unparalleled protection. Crafted from high-grade polycarbonate, it establishes a strong defence against dust, liquid spills, and unexpected impacts. With this cover, you're free to delve into your musical explorations, devoid of concerns over the common perils that might harm your valued instrument.

The Decksaver cover delivers total protection for every control and feature of your EP-133. Whether you're producing beats in the studio, performing live, or concocting sounds on the go, this cover is your indispensable shield against abrasions, bumps, and contamination. Embrace the liberty of creativity, reassured by the knowledge that your instrument is securely guarded by the Decksaver armour.

Beyond its protective qualities, the Decksaver cover also shines in terms of convenience. Its transparent design allows you to showcase your K.O.II's unique aesthetic while keeping it protected. The cover supports efficient cable management, enabling you to apply or remove it with ease as needed. This obviates the need for frequent setups and disassemblies, offering immediate access to your instrument whenever inspiration strikes.

Transporting your EP-133 becomes effortless with the lightweight and compact Decksaver cover. Its slender profile means it easily slips into your backpack, gig bag, or carrying case, ensuring your instrument remains shielded from knocks, scratches, spills, and impacts during transit. With the Decksaver cover, you can confidently bring your EP-133 K.O.II to any location, secure in the knowledge that it is well-protected wherever you venture.

The Decksaver lid for the EP-133 K.O.II is more than a mere protective accessory; it signifies your dedication to your music. It offers the reassurance that your instrument is consistently safeguarded, allowing you to concentrate on broadening your musical boundaries. Let the Decksaver cover be a companion on your musical journeys, ensuring your K.O.II is always primed for the next auditory adventure.

Dimensions

Weight: 0.16 kg
Length: 18.1 cm
Width: 24.5 cm
Height: 3.3 cm

Material: Smoked clear polycarbonate.

WARNING: When your Decksaver cover is in place, please ensure that your equipment is kept away from direct and high heat sources, such as radiators, fires and sunlight.

Review: Dominick Martin is best known as stone-cold drum & bass don Calibre, a prolific producer with a masterfully deep and smoky sound. He has also made tech house under his own name, but lesser known is this album
Valentia which was originally released in 2013 and has now been remastered and repressed on 180 gram vinyl with a sleeve containing the lyrics. It was written on the amazing Valentia Island, joined to the west coast of Co Kerry in Ireland by a bridge t and battered by strong winds. Says Martin, "I took my computer and mic with me not knowing what to expect when I got there. In one of the rooms sat a piano, and as my fingers touched the keys I knew there was a story there waiting to be told."

Review: You mightn't initially peg the Sunderland area of Northern England for being a hotbed of brutal, violent deathcore, but that's precisely what Osiah offer, with their own mission statement even declaring them to be the "UK's heaviest Northern offering". Following on from 2021's malevolent Loss, the band have somehow managed to drag their psychotic blend of frenetic riffage, octopus-like blast beat drumming, heaving hardcore breakdowns and despicable guttural vocals further down into chasms of otherworldly abyssal dread. Hideous, highly technical, and arriving courtesy of definitive deathcore label Unique Leader, although it arrived in December of 2023, many have slowly begun to retrospectively regard Kairos as the most intense, dynamic and powerful offering to the genre of last year.

Review: Released in 1993 and now reissued via its original label Demon, Belinda Carlisle's fifth solo album was notable for its standout singles 'Big Scary Animal' and 'Lay Down Your Arms', both of which showed off her raunchy, large, all-American style. At this stage in her career, we witnessed Carlisle deliberate on her femininity; re-form her agency under patriarchy; and subvert classic Westernized images of opulence, romance and wealth; all while keeping things instrumental energized and hey-ho. Now, once more, you can reexperience Carlisle's return to authentic source, with Real.

Review: The self-titled debut record from South Carolina soul septet The Entertainers first dropped in 1980 and laid claim to a distinctive quirkiness. The kernel of the album's success was its unabashed choice of subject matter - sexual attraction - which when combined with its bright mixes and burstingly clear compositions, helped propel the band out from their local beach scene roots and into increasing interstate acclaim. With members Earl Dawkins on vocals, Hugh "Tuff" Blanton on bass, Richard Robertson on trumpet andzz flugelhorn, Ric Sanders on keyboards, Danny Baker on guitar, Marc Goins on drums and John Franklin on trombone, the Entertainers did nothing but.

Review: Four years after his acclaimed Brame long player, Julien Chastagnol aka Ruby My Dear returns with his fourth album, A dada. It is another experimental sound world that is a joyous yet intricate fusion of drill 'n' bass and IDM, akin to what the artist himself says is "a breakcore lullaby." Across all four sides of wax, he goes in hard on the breakbeats and tightly programmed drums, with layers of scuzzy heavy metal sounds, looped and warped vocals and mind-melting synths that fizz and spin, explode and impulse on a constant basis to leave you feeling exhausted mentally and physically.