Back catalogue: All genres

Notes: A good delay was an essential part of the classic analog synthesizer sound. More often than not, that delay came from a tape-style echo machine until affordable digital delays were created. The Monotron Delay is an analog synthesizer optimized for sound effects. In addition to its analog oscillator, filter and LFO, it also provides a space delay that's indispensible for swooping, cosmic sounds. The monotron Delay even reproduces the pitch changes that occur when you vary the delay time, just as though you were using an analog tape echo. This fat and warm delay will add an authentic edge to your analog sounds.

It also features Korg's class VCF filter for full control over your sounds. The distinctive tone of an analog filter (VCF) can dramatically alter and enrich the sound. The Monotron Delay uses the same highly acclaimed VCF circuit as Korg's classic MS-10 and MS-20 semi modular synthesizers. Originally released over 30 years ago, these instruments are still coveted today for their aggressive, dynamic filters. The VCF Cutoff knob sets the frequency or tone of the filter; the VCF Peak knob adds emphasis. A powerful filter is an essential aspect of any analog synthesizer, applying dramatic tonal changes to the sound, and projecting an intense personality that will stand out in any live performance.

Create classic sounding analogue tape delays to add warms and new dimensions to your synth sounds. Also included is Korg's fantastic enhanced ribbon controller keyboard, while a mini jack input also allows you to run any external audio, such as a Kaossilator, digital piano or guitar, through the Monotron Duo. As standard, the Monotron range comes with a powerful built-in speakers and is battery operated for the ultimate portable experience.

The Low Frequency Oscillator (LFO) waveform used to modulate the pitch now offers a choice of waveshapes, which is a new square wave plus the traditional triangle wave. Both the rate (speed) and the intensity (depth) can be adjusted independently. In addition, a trimpot on the back panel can continuously adjust the shape/direction of the triangle wave or the pulse-width of the square wave to deliver even more versatility. Used in conjunction with the delay, the LFO can create dazzling effects and provide unique possibilities for embellishing your songs.

The Monotron Delay's ribbon controller keyboard features a wide, 4-octave range. This design allows the pitch to be controlled even more aggressively and dynamically, making the Monotron Delay a great weapon for a DJ to get the floor moving with irresistible sound. The reversed white keys and body adornments glows under black light illumination, making the monotron Delay ideal for delivering a striking visual impact in nearly any club environment.

The input jack (AUX input) built into the Monotron Delay's compact body allow you to place any audio source into the Monotron Delay's signal path, directly before the analog filter and delay circuit. This provides a great way to connect a Kaossilator, a guitar, or a digital audio player to the Monotron and enjoy tone-bending filter and delay effect.

A miniature speaker is built into the Monotron Delay. Along with the battery operation and compact size, this feature allows you to enjoy the share the Monotron Delay's analog synthesis sound with your friends, anywhere, at any time. There's also a headphone output that you can use when practicing in private, creating sounds at home, recording, or for connecting to an amplifier or PA system.

Notes: When the classic MS-20 analog synthesizer appeared in 1978, it had a trusted partner in the SQ-10 step sequencer. Now, after thirty years, the MS-20 has been reborn as the MS-20 mini, and the SQ-10 has evolved into the more modern SQ-1.

The SQ-1 is a compact step sequencer with 2 x 8 steps. It's wealth of connection jacks allows it to be connected to the MS-20 and a variety of other synthesizers. Vintage analog synths or the latest compact synths can be controlled from this single unit. You can also switch between a variety of synthesizer modes and use the step buttons to create performances overflowing with spontaneity, just as when using a volca unit.

Liberate yourself from the numerically-bound parameter editing that's typical on a DAW; you'll enjoy truly musical inspiration as you train your ears and concentrate on what your fingertips are doing. Don't miss the experience of music that's driven by your instinct.

Rather than the commonly used V/Oct standard, the CV design of the MS-20 always used the Hz/V standard that provides excellent pitch stability limiting the step sequencers that are able to correctly control the MS-20. As a descendant of the SQ-10, the SQ-1 supports the Hz/V standard, enabling it to perfectly control the MS-20 or MS-20 mini. It goes without saying the V/Oct standard is also supported, and the voltage level of the CV output and polarity of the GATE output can be specified as appropriate for the device you've connected. This versatility will enable you to control a wide variety of other synthesizers as well.

As a connector, the SQ-1 provides two CV/GATE OUT channels, the standard MIDI OUT and USB MIDI, littleBits out (to connect to the littleBits synth kit by littleBits Electronics Inc.), plus the SYNC IN/OUT channel that allows you to connect to the volca series and monotribe. Compact and complete with all the functions you need, the SQ-1 is the ideal hardware sequencer.

The SQ-1 provides two channels (A and B) of 8-step sequencer that can operate consecutively, or be used in a variety of other modes. For example, you can run A and B following each other to function as a 16-step sequencer, ignore the order and make the steps play randomly, or use A and B to control different parameters as they run in parallel. From simple sequences to complex changes, you can choose from a variety of modes to suit your needs.

The 2 x 8 step buttons can be used in the usual way to turn notes on/off, but you can also use the MODE button to switch their function, opening up powerful possibilities such as letting you "perform" the sequence itself, as on a volca unit.

"Active Step" lets you skip steps mid-way through a sequence, and "Step Jump" lets you instantly play just the step that you press, producing irregular rhythms or effects that are reminiscent of short loops. "Slide" produces an effect in which steps are connected smoothly; using this to control a synth bass is an easy way for anyone to generate an acid sound.

Packed with carefully selected functionality, the SQ-1 features a compact and very sturdy sheet-metal body. Placed beside the MS-20 series, you'll notice a sense of solidity that gives the impression they were manufactured in the same era. The unit can operate on two AA batteries or on USB bus power.

Sequence step resolution is selectable as quarter notes, eighth notes, or 16th notes.

You can specify the way in which the step knobs control the pitch. The knob values can specify the pitch directly, or they can specify the closest note in a major, minor, or chromatic scale.

Notes: The fastest and most intuitive way to make beats.

A production machine that lets you create using a gigantic array of samples.

The Electribe sampler is a sample-based production machine that lets you construct beats at maximum speed. You can freely edit and resample using waveforms that you've loaded and preset samples. Modulation and effects can be controlled easily just by turning knobs on the top panel. In addition, a variety of input interfaces optimized for inputting rhythm, bass, or melody allow you to smoothly create sequences as fast as you can think.

The sequences that you create can then undergo additional evolution on stage or in your laptop. You can enjoy intuitive live performances that link various devices with the Electribe sampler, or utilize this capability for full-fledged music production by exporting sequence data to Ableton Live for detailed editing and final mixing.

The latest system version 2 adds a much-requested pattern chain function that will be a great asset for live performances or music production. The lineup has also become more colourful with the new metallic red model. And Korg have also provided bonus patterns that reveal even greater sonic potential.

Making your beat-making ideas rapidly take shape. It's the Electribe sampler; a sampler + sequencer that's thoroughly optimized for speed.

The Electribe sampler continues to evolve

A new metallic red model - a nod to the legacy of electribe

Following the dark black unit, the lineup has been joined by a metallic red model that's reminiscent of the previous model, the ELECTRIBE SX. Complemented by the numerous colourfully illuminated LEDs, this unit will energize your playing.

Many new functions added via system update

Updates make the Electribe sampler evolve daily. System version 2 adds support for the much-requested pattern chain function and undo function, as well as support for original value display. Users who already own an Electribe sampler can update their unit and then enjoy playing.

Download over 200 bonus patterns

Electribe artists, sound designers, and beat makers from around the world have created bonus pattern data packed with new sounds, phrases, and sequences. These 237 different patterns are packed with sample sounds, drum kits, and ideas for a wide range of musical styles. They are provided as reference materials for your beat-making or as foundations to give you new inspiration.

Specifications

Sound System
Type: PCM sound engine + Analog modelling sound engine

Maximum Polyphony
24 voices
* The polyphony of the entire pattern varies depending on the Oscillator, Filter, and Insert Fx type.
* Independent parameters for each voice have been simplified; four voices share the parameters of one conventional voice.
Sample: Type (920), Pitch/Glide, Edit
Sample Types: Analog (16), Audio In (2), Kick (37), Snare (44), Clap (12), HiHat (37), Cymbal (8), Hits (33), Shots (44), Voice (31), SE (7), FX (30), Tom (10), Percussion (31), Phrase (15), Loop (22), PCM (31), User Sample (499)
Filter: Filter (Cutoff), Resonance, EG Int, LPF/HPF/BPF (3)
Modulation: Type (72), Depth, Speed
Amp/Envelope Generator: Level, Pan, Attack, Decay/Release, Amp EG On/Off
Scale Types: 35
Gate Arpeggiator Types: 50
Sampling Frequency: 48 kHz
AD/DA Conversion: 24 bit

Sampler
User Samples: Up to 499 samples
Memory
Total maximum approximately 270 seconds (calculated as monaural)
* Regardless of the capacity of the SD card
* Including presets
Edits: Start/End Point, Loop Start Point, Tune, Time Slice, Level, Direction, Resampling

Effect
Insert Effect:One unit (can be used on each of the 16 parts)
Type (38), Edit, Insert FX On/Off

Master Effect:
One unit
Type (32), Touch Pad, Master FX On/Off, Master FX Hold On/Off
Sequencer
Number of Steps: 16 steps x 4
Number of Parts: 16 parts (one part consists of a sound, steps, insert effect, modulation sequence, etc)
Number of Patterns:
250 patterns (150 Presets / 100 Initial)
(one pattern consists of parts, master effect, key, scale setting, etc)
Motion Sequences: Up to 24 motion sequences can be stored (for each pattern)
Groove Types: 25
Pattern Set: Up to 64 patterns can be stored
Pattern Chain: Up to 250 patterns can be chained
Export: Ableton Live project file format, WAV file format (48 kHz, 16 bit)
Event Recording: Up to 100 files can be saved

Trigger Pads
Number of Pads: 16 pads (Velocity sensitive)
Modes: Trigger, Sequencer, Keyboard, Chord, Step Jump, Pattern Set, Touch Pad
Modes: Gate Arp, Touch Scale, Master FX

Connectors

Audio:
L/Mono, R Output (Standard phone jack)
Headphones (Stereo mini jack)
Audio Input (Stereo mini jack)

MIDI: In, Out (Use an included MIDI adapter cable)
USB: Type micro B
Sync:In, Out (Stereo mini jack)

External Storage Device: SD Card (512 MB -- 2 GB), SDHC Card (Up to 32 GB)

Power

Power Supply: AC adapter (DC 9V) or AA battery x 6 (Alkaline battery or Nickel metal hydride battery)
Battery Life: Approximately 5 hours (Power Saving: ON, with Nickel metal hydride battery)
Current Consumption: Less than 500 mA
Chassis: Zinc die cast

Dimensions (W x D x H): 339 x 189 x 45 mm / 13.35" x 7.44" x 1.77"
Weight: 1.6 kg / 3.53 lbs
Colour Variations: Metallic Red (electribe2s-RD), Black (electribe2s)
Included Items: AC adapter (DC9V), MIDI adapter cable x 2, Ableton Live 9 lite (License card included)
Accessories: Sync Cables SQ-CABLE-6, Gig Bag DJ-GB-1

Notes: Sound:
- 4-operator FM Sound Engine offers dynamic and expressive additive synthesis

- A new feature of this engine is continuously variable feedback on every operator allowing for a wide-range of sound creation

- Two programmable effects blocks with seven effect types per block:
(The effect types are: VCM Touch Wah, VCM Flanger, VCM Phaser, Chorus, Delay, Reverb and Distortion)

- Multi-touch control interface gives direct access to four simultaneous parameters

- 32 Voice memory locations allow storing and recalling favorite Voices

Control:
- Based on the FS action found on the flagship Motif XF, HQ (High Quality) Mini Keys provide premium feel and response for fast, accurate and natural playing

- Sustain pedal input allows the sustain function for all FM generated sounds

Looper:
Integrated Phrase Looper: capture song ideas or just jam.

Mobility & Connectivity:
- Speakers

2W 3cm stereo speaker system lets you play any place, any time.

Specially designed bass reflex port technology enhances bass response for full, rich sound.

- USB

USB "TO HOST" allows MIDI connectivity to your USB-equipped computer or iOS device.

- Audio output

Dual 1/4"unbalanced line outputs provide connection to mixers, audio interfaces, DI boxes and more.

- Audio input

A 3.5mm aux line input lets you connect and hear mobile devices, tablets and more through the instrument.

- Controller

Continuous controller pedal input for volume control.

Battery powered:
Uses six "AA" batteries with five hours of life.

Create your Soundmondo. Inspire and be inspired:
Soundmondo is a free sound sharing community that lets you discover, create and share reface Voices and Set Lists using Google Chrome any place, any time you're online.

Powered by Web MIDI, Soundmondo is simple to use - just connect reface to Chrome and you're ready to create or start browsing.

Review: Odopt have been responsible for some serious, sinewy heaters on labels like Born Free, 777 and Discos Capablanca. That should give you some idea of the kind of sonic sphere they operate in - rugged hardware house with a wavey bite and a playful instinct. It makes total sense then to see them sidle up to [Emotional] Especial with this four-tracker of surefooted deviant dance. 'A14' opens up proceedings on an ominous bassline and plenty of mechanical grind, while 'Keylat' jacks things up a smidge while resolutely wallowing in the muck of Odopt's studio practices. 'Sample Commerce Shot' is the catchiest cut on the record, riding a slinky beat and featuring a powerful lead hook that sounds beamed in from somewhere in a distant galaxy. 'Holy Motor$' finishes the record off on another brooding, death disco groover, bringing things full circle with the nocturnal offerings of 'A14'.

Review: Kris Baha had a big year in 2019 with the release of his debut album on CockTail d'Amore and an EP on Pinkman, and now the Australian body music man in Berlin is back with a high-pressure heater for [Emotional] Especial. "Barely Alive" is the kind of sinewy proto-industrial cut that will appeal to fans of Ministry's earlier work, when the synths reigned supreme and there was pop to match the noir. Especial then call on a cast of remixers to interpret the track in different ways, from Timothy J Fairplay amping up the dystopian disco tropes to Das Ding creating a sleek electro-funk twist with the original's gothic undertones intact.

Review: Hailing from Tel Aviv and featuring Antinote-affiliated Alek Lee, Project Runaway make good on their initial promise with a sterling club-ready record for [Emotional] Especial. "Met" is a perfect statement of intent - a dynamic peak time record with an urgent, insistent groove peppered with organic percussion, zippy FX and a freaky vocal to get overground and underground party people shaking unanimously. The dub on the flip takes things out to weirder territory for the freak-out crew, without losing sight of the necessary functionality of the track. This is as direct a hit as you could ever expect from [Emotional] Especial, but loaded with bags of personality to satisfy the more curious minds out there.

Review: Berlin's Giraffi Dog and (Emotional) Especial have joined forces for a special two part EP series that brings their live set to wax. It came after so many live tours were cancelled during the pandemic and proves to be a great success. The Giraffi Dog sound comes from Max Webber who debuted it with his L'Existence Du Reve album back in 2016 and further drops on the likes of Aiwo Recs and the WARNING label series. Poker Flat and Dessous associate Max Heesen was then brought on board to take the show on the road and thrill crowds with elements of their punk and hip-hop background colouring their breakbeat driven club cuts. These have been recorded live in the studio using drum machines, synths and vocoders and really do capture their pair's live energy.

Review: The always adventurous Especial label is back on its world travels once more for another cultured EP, this time from Jonne Lyden aka 53X. This is a widescreen bass exploration with trance-tinged steppas looking firmly to the future from the Finnish-born artist. He has a background in punk bands but a trip to Berlin turned his ear and now he makes experimental fusions that draw on everything from industrial to Berghain to Detroit for inspiration. His tunes are mostly started out as live jams and then edited into what we have here - club-ready sounds, rich atmospherics, acid, breaks and hypnotic rhythms.

Review: (Emotional) Especial and Giraffi Dog join forces once more to offer up the second installment of their concept EP series. It is focussed on live and studio collaborations and this one comes in two halves: the first half kicks off with '6th Chakra' (feat DJ Deflektorschild) - a fully live deep house and hi-tek soul exploration with mind-expanding synths and Detroit drum sounds. 'King OTN' is a jack dup acid cut ripped with cosmic synth details and 'DX Metero' has sheet metal synths lashing about next to ethereal synths and busted drum breaks. 'Starfather' is a star-facing closer with elegant piano notes dancing over serene grooves. A vital showcase of this essential live artist.

Review: 0 is back on their own 0 label with 02, a second offering of experimental electronic music. Both sides of this 12" are taken up by one long and winding track each. The first is all dubbed out, with gassy sounds bringing a little light and sharpness to the murky pads, grainy effects and lo-fi aesthetic all around. It's a heady back room cut for in-the-know crowds at 5AM. The flip side is a little fuller, with skittish rhythms, busted sine waves and watery synths all coalescing around a haunting groove that is awash with real-world noise.

Review: In 1735, Swedish scientist Carl Linneaus theorised the hierarchical classes of the natural world, paving the way for modern taxonomy as we know it. In tributary fashion, 012 Records, hailing from Berlin, present the second edition of 'Systema Naturae II', an EP series dedicated to Linnaeus and nature. Dub techno tropes, bioorganic ambient tones and knocks and delays abound.

Review: Eight-piece soul unit Stone Foundation have been turning out their own distinctive brand of soul for a full quarter of a century now. They have dropped plenty of albums in that time and have a new one to mark the occasion on the way - Standing In The Light: 25 Years Of Stone Foundation, which features all of their greatest tunes, including some originals such as this one, which is also getting its own limited purple vinyl 7" release. As always this is all new but with an authentic vintage aesthetic that makes it impossible to date. The noodling guitar work and funky bass is irresistible with fat synths up top and the playful vocals add further layers of funk.

Review: Image Man's discography may not yet be bulging, but it already includes a couple of killer 12" singles built around dusty deep house loop jams, and melodious, Motor City-influenced explorations. On Glance, the New York native's debut for Vancouver institution 1080p, he continues on this theme. There's much to admire, from the snappy drum machine rhythms and jazz-funk loops of "More", and spacey, Detroit inspired dancefloor dreaminess of "Else", to the glassy-eyed new age house positivity of "Glance". Closer "Goobye" [sic], with its' thick, sludgy, delay-laden drums, swirling sound effects and distant vocoder vocals, is reminiscent of the halcyon days of ambient house.

Review: Fresh from showcasing some of the buried treasure within Vasilu Stepanov and Vlad Dobrovolski's work as SAD, Glasgow 12th Isle crew has decided to deliver something undeniably fresh: a debut EP from Toronto scene stalwarts Cosmic JD and Jersua Leao as Bruxula. The EP is pitched as being sited 'somewhere between the dancefloor and the living room', showcasing an attractive fusion of electronic and acoustic instrumentation as well as Leao's Brazilian vocals. On side A the pair smother a warming, laidback mid-tempo groove with echoing jazz guitar and evocative vocals ('Pala Mo'), before delivering some woozy ambient stargazing in the form of the inspired 'A X'. Over on the flip, they bounce between Dubtribe-goes-ambient techno, slow-motion deepness ('The Bird on the Hell'), spacey ambient jazz ('Dark Farfisa') and meandering, melancholic ambient ('JD's Outerlude').

Review: RBCHMBRS pushes his MPC - if that is the tool he used for this - to the max with a heavy mix of ramshackle loops, samples, busted drums and wonky rhythms on this great new EP for 1432 R US. It is steeped in hip-hop style for the way the grooves are so loosely assembled, but with a more rooted four-four house vibe. 'OD' is a deep and dusty opener for the back room, 'Eloise' brings hi tek funk and intense soul with Motor City overtones and 'Toe The Line' is a humid deep house cut that Theo Parrish or Moodymann might admire. 'Take Me' rounds out with twanging bass riffs and smeared chords that ooze heartfelt warmth.

Review: 1432 R US could as well be called Tech R US in a nod to the great toy shop as it is known as one of the key labels in the sub-genre. Sami is the artist behind this latest slab having previously appeared on the likes of Random Mind State and World Building. He gets mad busy on the opener, with wires synths, bleeping machines, smeared dub chords and jostling drums all layered up to competing rhythmic effect. 'Way Up' has a darker vibe with heavier drums and more edgy synths. 'Twin' is a percussive jumble that is loose but will lock you in with its freaky vocals and 'Deep Blue' is a stripped-back and more serene deep tech trip that encourages daydreaming.

Review: 18437 is only four releases deep but is already a revered outlet renowned for its quality output thanks to, in part, a couple of great EPs by the late great Soulphiction. This time out it is Nico Lahs using his NLXLB moniker who takes control with deep, dubby techno for the backroom or late-night hours. The blissful 'Dazed Dreams' is a pad-laced early evening warm-up. 'Dirty Vision' is a little more textured with background drums trying to hurry as lush freeform chords do a slow dance in the foreground. 'Synthetic Wars' gets all squelchy, with hefty, splintered, and wooden drums and hits tumbling in off-grid patterns.

Review: By their standards, Danish duo 2 Bit Crew enjoyed a very productive 2014, releasing well-received singles on Deso, Luvdancin' and their own self-titled imprint. Here they return to the latter with three more sumptuous chunks of tactile, arms-spread deepness. The untitled A-side arguably hits home hardest, with sweet, delay-laden loops and delicious riding a house tempo Motor City techno groove. The second track, nestled at the beginning of side B, seemingly shimmers with positive intent. The duo opts for Chez Damier style bass and a touch of vintage US house bump, while smothering the groove in darting synths and huggable electronics. Finally, the third track goes even deeper, delivering the dreamy tech-house equivalent of a long, sloppy kiss.

Review: Random Factor's 'On The Air' EP is a hugely sought-after classic by those who know. It came on Ralph Lawson's ever-reliable 20/20 Vision and now, as it turns 25 years old, he has decided it is the right time to get it remastered and reissued. 'On The Air' is first up on this fine EP from Carl Finlow and it has serene synths that bring to mind Detroit techno soul over pulsing bass and slick drums. 'Lockdown' has a raw vocoder vocal over punchy drums and twitchy synth stabs and 'Undercurrent' is another weapon that has more than withstood the test of time as it bumps along on funky drums and is overlaid with more playful synth patterns. 'Disconnect' is a crunchy and 8-bit closer with pixelated synths and screwy acid lines. Superb.

Review: Los Angeles-based ASHRR are back with a new cut which comes from their forthcoming Sunshine Low album which they have re-interpreted as their ASHRR Soundsystem alter ego, while System Olympia also steps up with a remix on this fine new package from 20/20 Vision. In the hands of the latter, 'What's Been Turning You' is a remix with plenty of hi-fidelity cosmic details over mid-tempo deep nu-disco drums. The version from ASHRR is a chugging and Italo-tinged classic with loose-limbed and jumbled drum funk and plenty of bright, shiny arps. A great collection then.

Review: Following up that excellent Synchronicity on EP Phonica AM a couple of months back, hero of the Birmingham scene Subb An returns with more underground quality with this new one on the mighty 20/20 Vision. 'State Of Flow' is an emotive and breathtaking affair that's equal parts acid, progressive breaks and UK tech house with a seething Reese bassline lurking throughout that underpins angelic vocals. Over on the flip, remixes come from Adam Pits who takes you beyond the strobelights to reach for the lasers on his ravey take, followed by Armec's menacing experimental techno rework.

Review: 20/20 Vision has always been a label that sets the bar high when it comes to dancefloor releases - one of Yorkshire's most treasured institutions, to say the least. And while historically the imprint has often been on a tech-y house tip, lest we forget the is the crew that were letting a then-emergent Paul Woolford explore the outer reaches of electro house and breaks way back when, and that attitude hasn't really changed since.

Here the team hand the spotlight to another Leeds name, Alfred, who responds with three original tracks that are punchy, funky, engaging and hugely impactful. Broken beats, subtle rave hoover lines, mind-melting synth arpeggiations and a thoroughly futuristic feeling throughout. Definitely a powerful addition to any DJ's arsenal - the sort of tunes that can marry up well with so many styles and always grab maximum attention.

Review: Ralph Lawson's Leeds based 20/20 Vision label has made a distinctive shift into electro territory over the last couple years. It is a sound the boss has said has long been in his heart despite him being best known as a house head and longtime resident at Back to Basics, and the quality of the tunes he unearths to put out more than backs that up. The Exaltics & Paris The Black Fu kick off with a shiny, bright, visceral metallic electro workout then three further cuts take in dark wave drum machine rhythms and acid-laced bangers.

Review: Lloyd Stellar was not really a man gifted an extraordinary name when he was born. Rather, it is the chosen alias for Dutch dude Erik Griffoen, but he's surely made the name his own with a rapid rise in the number of releases of his music so far this year. Now Stellar gets has mitts on 20/20 Vision alongside The Droid, aka Ben Evans. In line with the label's exploration of electro over the past few years, this is hi-tech machine funk through and through, with twitchy synth lines and brittle, crisp drum machine patterns programmed within an inch of their lives. Maintaining a steely, dystopian mood throughout, this is serious electro for the heads, executed with precision and flair.

Review: 20/20 Vision present the debut release from Manchester based artists Armec. Following releases for Cultivated Electronics and Furthur Electronix, the Caged EP hits the ground running - with a record that spans heavy club-ready electro and futuristic soundscapes. Complete with a hefty remix from German acid connoisseurs Hardfloor.

'Caged' sucks us down the rabbit hole with dense textures fortified by an infectious groove, vast pads, and bubbling synth lines. The Hardfloor remix of 'Caged' submerges us into an acidic electro trip - fuelled by quirky melodic licks, a menacing low-end and body shaking drums.

On the flip side 'Curvature' is an out-and-out understated bomb. Propelled by a squelching, supercharged bassline which soars over Armec's signature textural landscape, it's reinforced by razor sharp hats and a heavy kick-drum. 'Replicants' is a side-winding, emotionally charged cut that feels truly fresh and forward-thinking. Deep, luscious pads are underpinned by a superbly engineered break-beat driven groove.

Review: Carl Finlow has produced an astonishing catalogue of music over a career spanning three decades, with his discography including hundreds of releases and remixes under a variety of monikers. 'Desequence' is the latest edition to Finlow's expansive productions and a masterclass in electronic music.

'Desequence' kicks off the record with a heavy dose of integalactic funk with interstellar beats rockin' over squelchy bass lines and razor sharp glitches. While 'Downstream' delivers a warped groove wrapped up in Finlow's intricate programming.

'Guttural' is an overwhelming assault of rapid fire elements, forming complex off kilter breaks littered with robotic licks and served over deep, low end bass. 'Wavefront' closes yet another impeccable addition to Finlow's highly accomplished works, with an off planet adventure through extraterrestrial soundscapes.

Review: Luther Vine's Fragments Of Reality and its various artists series have been a real doozy for 20/20 but now the sub-label offers up a first solo EP. It is Snad who gets the gig and he is a house producer from Berlin making big waves right now. This one follows outings on Chicago's Kimochi Records, Chez Damier's Courtesy of Balance and the Dungeon Meat label and is another raw, stripped-back offering of tough house. 'Bootlickerz' is a bristling cut ready for the peak time, 'Goobernatorial Candidacy' has a more stripped-back but just as compelling groove and 'Per Savour' goes deep into late-night goodness before closer 'Butt Heads' picks up the pace once more.

Review: Carl Finlow has been a prominent name in UK electro since the mid-90s, releasing music at an astonishing rate under a variety of monikers. Silicon Scally defines his most strictly electro-oriented project, reflective of the Kraftwerk era and the emerging electro-scene, with releases on respected labels such as Cultivated Electronics, CPU and of course 20/20 Vision, with music from a variety of Carl's monikers being amongst the labels earliest releases.

'Crushed' is a sought after album project originally self-released on Finlow's Bandcamp during the 2020 lockdown. We felt the release was to important to be overlooked without a much deserved run of vinyl, so have pressed a limited run of records featuring futuristic electro highlights and the best unreleased cuts.

'Proton Mass' kicks things off with perfectly crafted robotic funk, solid mechanical breaks and mind bending glitches, setting the landscape for a journey into the abyss with Silicon Scally unshakeably at the helm. 'Centronix' follows up with razor-sharp rocking beats, squelchy bass and jarring grooves as if designed for high pace no nonsense club sets from the likes of DJ Stingray or Helena Hauff.

On the flip side 'Axiom' takes us deeper into the void with dark basslines, complex drums and unapologetically disorientating frequencies. A track that makes us question if Finlow has transcend to a future state where he is more machine than man, sending psychoactive messages in the form of killer electro cuts.

'Cascade Lasers' wraps up this epic dose of electro with interstellar energy, driving things home with deep bass wobbles, high octane breaks, wrapped grooves and tormenting yet playful synth licks. Yet another release that has us convinced the late great Andrew Weatherall was indeed correct!

"For quite a number of years now I have been convinced that Mr Finlow is a conduit for musical transmissions beamed from a parallel universe, sometime in the future" - Andrew Weatherall.

Review: 20/20 Vision are exiting planet Earth once again with the latest in their perfectly formed series of electro explorations, as Extrawelt leads the charge with an illustrious slice of braindance-tinted funk titled 'Hail The Whale (Coexisting Mix)'. Djedjotronic follows that up with a bold blast of mammoth synth work which hits pretty damn hard without being pointlessly brutal. Ste Roberts takes a break from his self-titled label run to offer up a freaky foray into acid-speckled territory, and Ivna Ji gets expressive with a rich palette of synths moving in harmony around a sharp and snappy beat.

Review: To date, Kim Cosmk has generally done her own thing - self-releasing a string of digital-only singles and albums which variously mix and mangle elements of electro, IDM, techno and dubstep. Here she pops up on an established label - Ralph Lawson's 2020 Vision to be exact - for the very first time. First, she whips up a frenzy courtesy of the fuzzy and aggressive riffs of techno roller 'Night Flight', complete with creepy chords and foreboding motifs. She then delivers raw, heavy, industrial-fired electro on 'Ore', whilst warped dubstep and electro are brilliantly mixed on 'Nocturnal'. To round things up nicely, 'Drifting' is a partial vocal number built around a wobbling dubstep bass with punchy electro drums and twinkling pianos.

Review: Originally from France and now based in Berlin, Isolated Material has dropped a steady run of heavy hitting releases on labels including; Brokntoys, Haws, Ukonx, 909 Connection and Mind Controlled Rectifier before joining us for his debut EP on 20/20 Vision.

'Hidden Node' kicks off the wax with a jarring excursion of futuristic breaks and abrasive sound design firing on all cylinders with complex drum patterns, bleeps and glitches. 'Asynchronous Funk' sees Isolated Material serve up an abstract slice of electro funk with a solid broken beat groove peppered with unexpected moments of off-kilter magic.

On the flip side - title track 'Hidden Node' offers up a dose of Drexciyan inspired funk primed for a set on the dark side of the moon with; high octane breaks, quick fire drum programming, intricate synth patterns and ominous undertones. Wrapping up the EP 'Unmarked Sequence' is an equally potent chaser for the wide eyed deep space traveller in need of body jerking breaks.

Review: Exit Planet Earth continues its exploration of the world of electro universe with an expansive, extended six track EP, featuring The Advent x Zein Ferreira, DeFeKT, London Modular Alliance, Konertymi and Zobol. The Advent, whose weekly Gardening Club residency in the mid-90s helped to drag electro out of the realms of the retro and back into the future, team up with Zein Ferreira for a Kraftwerk-on-speed extended mix of 'CarpeDiem', before London Modular Alliance's more moderately paced but still squiggle and bleep laced 'Lump of Coal' plus a 'beats' breakdown for the DJs. The B-side brings us the acid-powered 'Pulssi' by Konerytmi, the bouncy, breakdance-friendly 'Radar' by DeFeKT, and the relatively pure, optimistic sonics of Zobol's 'Data Wars'. Thumbs up all round.

Review: Starting 2020 like they mean to go on, West London's 2000 Black crew serves up an essential four-tracker created during jam sessions between regular collaborators Kaidi Tatham, Akwasi Mensah, Matt Lord and Dennis "Dego" McFarlane (Ranks). As with their previous collaborative releases, its' four tracks variously join the dots between deep house, bruk, jazz-funk and mellower flavours. As usual, the beats are tight and weighty, the musicianship exceptional (Kaidi's keys-playing being a particular highlight), the chords deep and the lead lines memorable. While all four tracks are excellent, our picks are the rubbery bruk-up bliss of "Return of Pastor Shadrach" and the sun-kissed broken house warmth of "Life After Subway".

Review: It would seem we're back on the Christmas card list... 2000 Black supergroup comprising the likes of Dego, Mensah and original Bugz members Lord and Tatham have been slowly ramping up their releases again and this year has seen their largest output yet. Following "Two Way Here One Way Go", "Simmering" proffers three more sublime and silky instrumentals from deeply decorated foursome. "Simmering" is a tight jazz funk jam with a sprung guitar groove spine and a blissful switch into soothing flutes midway, "Private Life" flips for a sunnyside digidub, all spacious and rippling with its breezy keys while "Climb The Sun" brings us back to the funk root note but with rising synth insistency that's bruk to the bone. Simmering now, boiling tomorrow...

Review: 18 year-old Marvin Jupiter son of Phil Asher makes his bow on 2000 Black, serving up a track that effortlessly joins the dots between the bass-heavy weight of trap, indigenous South African rhythms, bustling West London broken beat and the synth-fired jazz-funk goodness of Herbie Hancock. The fact that such a young debutant is able to distill these influences into a brilliant, futurist house cut is, quite frankly, incredible. Dego and Lord's flipside revision is equally as tasty, too. Drawing on the track's bruk and jazz-funk inspirations while adding funky new Clavinet and guitar motifs, the West London stalwarts serve up a loose and groovy peak-time interpretation that should excite all those who like their beats broken and their basslines chunky.

Review: Blacks & Blues is a new name to 2000 Black, but the people behind the project are label stalwarts: Dego, Kaidi Tatham, Matt Lord (AKA Lordamercy) and vocalist Obenewa Aboah. With such talent on show, it's unsurprising that opener "Spin" - a cracking slab of broken-beat/soul fusion rich in military style drums, jazz-funk keys and summery vocals - is rather good. While dancefloor-friendly, the track feels loose, languid and tailor-made for outdoor parties. "Don't Know Why (Chant For Love)" is an even more lo-fi broken soul excursion (very Fatima), while "You Know The Feeling" recalls the jazz-funk-fired soulful club cuts of early 2000s broken beat heroes Bugz In The Attic.

Review: K15 has never let us down ever since he emerged with a brilliant double pack on Kyle Hall's Wild Oats several years ago. The thoughtful London-based beat smith turns up here on 200 Lack, the acclaimed also London-based outlet for broken beats. 'Resonance' is a gorgeously shimmering and summery opener with pensive chords and lush drumming, while 'Within Reach" then brings some playful funkiness with the majestic squelchy bass work and free-spirited melodies that dart about up top. 'Resistance' closes down this superb EP with more thrilling drum patterns and lithe synths.

Review: Contemporary broken beat great Kaidi Tatham treads new ground as Shokazulu, a new alias. Tatham's M.O. is to add extra verve and groove to the often rigid broken beat sound, a trend that shouldn't have proliferated, given the ostensible rooting in ideas of freedom that jazz should have. 'Uniquely Fresh' sums this up to a T, mixing in all-live-performed funky basslines, jazz chords, intricate drum patterns and augmented melodic ornaments, while getting at something extra-transcendent and space-age. The slap-funk of 'Earth Is Not For Humans' is our highlight here.

Review: Kaidi Tatham back on 2000BLACK needs little explanation really, does it? Anyone who takes broken beat and neo soul seriously should already be slipping this on in their cart, but for the uninitiated this is one of the grandmasters of the sound in full flight. 'Galaxy' is a beautiful, uplifting soul-boogie jam with a stunning vocal turn from Lola Violet, and it comes in two different twists depending on the energy you need to bring to your set - for us the 'Uptempo Mix' is a perfect shot of joy in the arm. 'A Message From Above' cools things down with gorgeous keys, a characteristically snagging beat and sultry horns, and 'Ergonomic Structures' slinks into the sweetest of downtempo funks that'll have you head nodding hard and keeping you chill all in the same beat.

Review: Those who pay attention to these things know that Poland's EABS (short for Electro Acoustic Beat Sessions) are one of the hottest jazz combos in the world right now - an accolade earned not only via their incredible playing, but also their willingness to fuse elements of classic Polish and American jazz with hip-hop, soul and funk influences. Here, the fast-rising septet joins forces with 22a regular Tenderlonious (who provides flute and soprano sax solos) for two epic workouts. A-side "Kraksa" is something of an epic; an ever-changing 13-minute jazz journey that brilliantly switches from floor-rocking goodness to horizontal bliss midway through. "Svantetic", meanwhile, wraps fuzzy rock guitars and hammered-out piano riffs around a sweaty groove that just grows in intensity throughout.

Review: Lorenzo Morresi and Tenderlonious are back to build on the success of their first collaboration, last year's 'Cosmica Italiana.' This new single comes ahead of a forthcoming debut album later in the year and features a couple of gorgeous tunes. 'Acqua' is a joyous tune with a steady 6/8 groove that is loaded with flutes, sax lines and arpeggiated synthesizers. On the flipside is 'Tema Cinque' which comes as an electro ballad, powered by hypnotic drums and sweeping pads with lush and moody sopranos. On this evidence, the upcoming album is going to be an utterly perfect musical escapism.

Review: The Ruby Rushton gang is one of contemporary jazz's finest. They pull a wide range of influences into their music and have had an instantly recognisable sound since busting onto the scene with their still classic debut album Two For Joy. They reach the same heights again here with Giden's Way. 'Spanish Raga' was inspired by an evening out in Madrid in 2019 and floats on dreamy flutes while 'Fall From Grace' is lead by some virtuous sax and florid drum work. The flip side offers two more brilliantly busy but accessible, upbeat and sunny jazz jams.

Review: There seems to be a renewed interest around the work of New York City legend DJ Duke in recent years. With seminal works released as early as the '90s on his Power Music imprint, the man responsible for timeless house classics "Blow Ya Whistle", "Throw Ya Hands In The Air" and "Stuck In The Middle" curiously operated under another alias - Electro Force. The Scandinavian artiste's love of bass heavy breakbeat sounds is on full display here. We're particularly enjoying the intoxicating smack electro of opener "Getting High", the lo-slung 303 euphoria of "Acid Stars", the groovy b-boy swagger of "Just Feel It" and dubby tool "Round & Round".

Review: The propulsive, tectonic Force of Electro is embodied in the eponymous moniker, returning for their its release since 1997 (notable indeed, that the multi-moniker artist should return to this one only now). Six masterclassics in the mode of acid electro beckon us into alternate frenzies, highlights among these experiences being the central banger 'Beyond After Dark' and the lesser-spottable ambi-acid closer, 'Beyond The Beats'.

Review: Since moving to Rotterdam a couple of years back, Chicagoan DJ/producer Jamie 3:26 has begun serving up some seriously good original music, usually in cahoots with local lad, wizard keyboard player and fellow producer Danou P. The most eyebrow-raising cut here is a more surprising collaboration with UK legend Mr Scruff: the wonky, analogue rich, Ron Hardy-goes-to-Manchester style wayward house brilliance of 'Scrubb It'. Danou P replaces the Ninja Tune stalwart on the EP's two other cuts, both of which are excellent. Check first the immersive, dreamy, synth-smothered deep house hypnotism of 'Love Not', where Danou P's keyboard skills and musicality work in perfect harmony with the Chicagoan's dancefloor instincts, before admiring the more Brazilian disco-influenced elasticity of 'Earl Montana'.

Review: Funk, soul and house music courses through the veins of Jamie 3:26 and he always manages to convey that into his irresistible grooves. The best of them come on his own label 326 which is where he arrives now with this new 12" Dancefloor Damage Vol 1. It's a tight affair with just one cut on each side of the wax, starting with 'Maqnifique' which is a steamy, intense disco house stomper with wiry lines and unrelenting grooves. On the flip is a very different vibe - a sunny, flute-led led and jazzy soulful house number with heart-melting chords.

Review: Jamie 3:26's label welcomes Danou P, a fast-rising Rotterdam artist he has been mentoring for some while. And the new school talent doesn't disappoint with a selection of truly deep house sounds in a couple of different styles. The first is all bottomless depths, dreamy moods and escapist pads that are unhurried and mediative. The second, 'Jazzy Dummy' (feat Kems Kriol), is more party starting with its playful distant sax sounds, lively vocals and leggy drums, then the third, 'So Fruit,' is heavy, hard-hitting deep house with superb flute leads that echo the great St Germain track 'So Flute'.

Review: A repro of the much in-demand Flames cut first made by the Nairobi Sisters in 1974, 'Promised Land'. Infamously sampled by Q-Tip for 'Whateva Will Be' as well as on a range of earlier 90s boom-bap era productions, it is not at all hard to figure out why it's a coveted record. The Nairobi Sisters were singers Terrie Nairobi and Judy Mowatt, and 'Promised Land' was first recorded with the band The Gaytones, under license to the Gay Feet label. Later cut to Winston Jones' Flames Records, the track and its dub version came to define the Brooklyn reggae scene, owing to the enduring interest it commands today.

Review: UK reggae artist Rupie Dan originally released 'My Black Race' on his own Flag Records label. Owing to the perfectionism and inscrutability of "self-releasing" artists, this is an instantly memorable, stunningly-produced reggae song, centring on the theme of collective Black pride. Deep basses and high-snipping drums come together with the standard melodic accoutrements of keyboard, melodica and synth accents - making both it and its dub version regular selections for soundsystem legends like Jah Shaka back in the day.