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Notes: The Kyowa Stanton 500AL is suitable for replacement for Stanton D5100AL, D5100AL Mk2, D5107AL, D5107AA styluses. Fits Stanton cartridges 500A, 500AA, 500AL, 500AL Mk2, 500E, 505SK, 505SK2, 520SK.

Review: The Mars Volta's debut album remains one of the band's creative high-points. After the post-hardcore rush of At The Drive-In burst into flames, few could have dreamed something as ambitious and progressive as De Loused In The Comatorium could have emerged. The clue's in the word progressive, as Cedric Bixler-Zavala, Omar Rodriguez-Lopez and Jeremy Ward pooled their resources (with some bass assistance from Flea) to create long, spiralling narratives around the concept of Cerpin Taxt, the comatose hero of this nebulous story. Still sounding visionary 20 years later, it was the start of an exciting new chapter for a band truly unlike any other.

Review: In the realm of electronic music, 'In Your Face' EP by Acerbic emerges as a sonic assault that shatters boundaries and plunges listeners into an abyss of acid-tinged techno. An adrenaline-fueled shot, this four-track E.P. pulsates with raw energy and uncompromising intensity. 'In Your Face' sets the tone with its relentless 90s acid techno grooves, transporting listeners to the heart of the rave scene. Its abrasive and confrontational energy creates an atmosphere both exhilarating and intimidating. 'Assimilate' takes on a darker and more menacing persona, as the stomping beats and menacing synths evoke images of underground warehouse parties. 'I'm Fvxked' cranks up the intensity ever higher, pushing the boundaries of acid techno with its relentless pace and distorted soundscapes. The E.P. concludes with 'Never Changes', a testament to the enduring power of hardcore techno. Acerbic's In Your Face E.P. is a sonic tour de force that pushes the limits of techno music. Its aggressive and confrontational approach leaves an indelible mark on the listener. Hardcore, you know the score!

Review: For their latest deep dive into Italo-disco history, ZYX Records have enlisted the help of Guiseppe "Joey" Mauro - an Italian producer, songwriter and keyboardist whose career stretches right back to 1984. His "Italo-disco legends" selection is heavy on his own work - no bad thing given his credentials - and contains a wealth of material that has never appeared on CD before. Highlights are plentiful, with our picks including Mauro and Ventura's sparkling and uplifting 'You & I', Italowarriors' throbbing and colourful crew cut, 'The Warrior (120 Italo Version)', the bubbly cheeriness of 'Crazy (Classic Mix Version)' by Malcolm & The Bad Girls, and the effortless Italo funkiness of Raf Coney's 'Horsepower'.

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.

Review: Vital Detroit players Luke Hess and Joshua Harrison are back with a second EP that builds on the brilliance of their first. As always this is super deep and atmospheric dub techno outing on the superb EchoChord and all the cuts on it were produced live, in one take, in New York, at BlackCat Recordings. As such each one feels alive and variant, detailed with imperfections and of course defined by weighty low ends, aqueous synth work and a hypnotic sense of groove. These are stylish inward journeys of the highest order once more from this pair.

Review: The T Recs label has another playful funky house offering here on hand-stamped blue wax. The opener is awash with samples you will recognise if you are of a certain vintage and enjoyed chart music in the 90s. The loopy synths borrow from French filter house and the bassline bobbles with a great sense of funk with the erotic vocal coos add the heat up top before some big male vocals finish it in style. The flipside is a backup of the same tune just in case you play out the A-side too much.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


There can't be many house records that are as instantly recognisable as Bucketheads' 'The Bomb', a killer, mid-'90s Kenny 'Dope' Gonzalez production that mixed his own sweaty, bombastic, loose-limbed house beats (chopped and edited to provide instant dancefloor satisfaction) with snippets from Chicago disco classic 'Street Player'. You'll find that epic original version tucked away on the flipside of these reissue, with two previously unheard 'Massivedrum' remixes on the A. The EP opening 'Remix' places the original Chicager a chunker bassline and contemporary house beats, while the accompanying 'Dub' concentrates on the beats, bassline and the producer's own sneaky samples. Both new versions are decent, but Gonzalez's original mix is still hard to beat.

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: ***B-STOCK: Dent on the side, product in perfect working order***


Best Records present another deep cover jam Balearic diggers will rejoice at being able to lay their hands on. Blue Night was the brainchild of Peter Miconi, who created "Turn Me Loose" in 1983. All the elements are present here, from the aching blue-eyed soul vocals to rich guitar solos and an irrepressible funk bedded down in the groove, here stretching out for a full 14 minutes of pure sunkissed bliss. On the flip, SIRS takes a careful run at the original that simply reframes the elements with a more pronounced rhythm section - this is someone who knows exactly what the track needs and declines to change anything for the sake of it. Classy stuff, as you would expect from a reissue on Best Records.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


Dark Entries are back with more of that sweet, sweet goth sauce in the shape of Topographies. The San Francisco band have been building up a following for their faithful tribute to sad-eyed synth-pop and new wave from the early 80s, releasing an album in 2020 on Funeral Party as well as a single for Sonic Cathedral. It's not hard to pick out the influences, and it all makes sense when you learn Gray Tolhurst is the son of The Cure's Laurence Tolhurst. They're not simply aping another band's sound though and if you can't get enough of that quintessential goth rock sound, you're going to love this record.

Review: Bill Frisell's Orchestras, a collaboration with composer-arranger Michael Gibbs, showcases the transformative power of jazz when paired with symphonic ensembles. The album combines Frisell's trio with the Brussels Philharmonic and the Umbria Jazz Orchestra, resulting in a dynamic interplay between jazz intimacy and orchestral grandeur. Gibbs' masterful orchestrations, inspired by Gil Evans and cinematic scores, seamlessly enhance the trio's telepathic rapport. Frisell's signature shimmering sound blends effortlessly with strings and brass, creating a rich and expressive tapestry. Notably, the collaboration highlights the deep connection between Frisell and Gibbs, a legendary innovator in jazz arranging. Gibbs' intuitive writing draws out the trio's spontaneity and pushes them into uncharted territory. Frisell and Gibbs' mutual admiration and influence create a palpable energy throughout the album, showcasing the transformative power of collaboration.

Review: Japanese psychedelic pop singer-songwriter Ai Aso hails from Tokyo and has an almost impossibly wispy thin folky style to her singing that makes her utterly unique. She has been active since 2000 and has worked both solo as well as with the likes of White Heaven members You Ishihara and Michio Kurihara. Her solo album arrived back in 2014 and now a decade on gets a vinyl press via Ideologic Organ. It is beautifully delicate and whimsical, with lullaby-like guitar melodies and her own vaporous vocals drifting gently with a real sense of innocence in the sparse tracks. Lo-fi and intimate, this is a quiet gem.

Review: The EP is called House of Prince and the Purple One's face is peering back at us from the centre of this new 12" on Tech-Nology which means only one thing - it's tech house music inspired by the legendary funkster. And it is well executed tracker too with vocal samples, trumpet sounds and much more all chuckle into the mix over a range of betas that are playful and party starting but also effective and never kitsch. 'Grindhouz' is our favourite for just how warped and weird it sounds.

Review: There is very little info out there about the Milkcrate Mondays label but we do know that their only other release last year was well hyped and quickly sold out. This second one is likely to follow suit. It comes from Able and is a dusty house cut with an old school feel thanks to the gentle breaks that power it along as a signature smoky soul vocal from Amy Winehouse brings plenty of emotion to a-side cut 'Winehouse Magic'. On the flip is 'Drake Punk' which pairs Daft Punk filter house loops with auto-tuned vocals all sure to bring some fun to the 'floor.

Review: Modern glassy ambient forefronters Motion Ward present their latest masterpiece from two standout centre-stagers on their roster, Ulla Strauss and Ultrafog. Having not collaborated on a full-length record before, the one is billed simply as 'two individuals from faraway (journeying) the world together'. "(They) were given many tiny gifts from the surroundings. Then the music came out as a matter of course, as if a thing was being put in its right place." Sonically, this translates to a pristine, sampledelic blissout, verging on the nascent road-trippy electronic-shoegaze motifs that Motion Ward have found themselves exploring as of late; and echoing the kind of alien ambient guitar-dubs that could recall Fennesz or Bibio, lest they weren't also mixed up with the kind of contemporary vocal chopups and glassy, aerated refractions that continue to carve out this extended crew's current noble standing. Our highlights; 'Lame Mart', 'Kind Zo'.

Review: After more than 26 years, Pearl Jam triumphantly claimed the top spot on the mainstream rock airplay charts in the US with the lead single from their latest album. Released 1000 days before the album itself, the single 'Dark Matter' marked Pearl Jam's return to chart-topping glory for the first time since 'Given To Fly' in January-February 1998. The album, now finally released, has swiftly garnered praise from fans old and new. Laden with the band's signature riffs and powerful grooves, every track, including 'Dark Matter,' showcases Eddie Vedder's iconic vocals and confirms they still have what it takes to make a mark in the metal world.

Review: Taylor Swift's evolution from country crooner to pop sensation solidifies her status in the Tortured Poets Department as she joins the ranks of music's chief emotional architects. Through heartbreak anthems and soul-baring lyrics, Swift's discography serves as a diary of love, loss, and resilience. From 'Love Story' to 'All Too Well,' her songs resonate with listeners and capture the raw intensity of human emotion. Swift's ability to weave intricate narratives and evoke profound sentiment establishes her as a modern-day poet who navigates the complexities of life and love with eloquence and grace.

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: By the time they released Raumgleiter in 1998, Der Dritte Raum were already legends of the German techno-trance scene. This all-time classic album from the breakthrough years of the sound also saw the project move to a major label - Virgin - but now it's being brought back home to Harthouse, the iconic Frankfurt imprint which first nurtured the sound. The scope of the album is wide and playful, teasing ear catching synth lines which keep the mood fun and freaky, not least on the likes of 'Bedruck', while there's an epic tone to standout trance monster 'Hale Bopp' thanks to the cascading arps and relentless forwards thrust. Of its time but wholly relevant in the current zeitgeist, this is the kind of 90s techno reissue that makes perfect sense.

Review: Sweden-based Bosnian producer Sev Dah continues to shape out an impressive strain of techno through his self-steered Proletarijat label, creating high-impact, uptempo workouts which keep a necessary funk and personality in the overall sound. 'Azici 89' is certainly a slammer, but it's also riding on a seductive swing and there's space for choice atmospheric pads to temper the rasp of the bumping drums. 'Makac' revolves around an insistent synth-organ lick in a nod to Robert Hood's classic brand of loopy business, while 'Singing Like' jacks up the drums and threads through some processed snatches of vocals credited to Leoni and Naomi.