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Review: The Soul Of Tommy Youngblood 1970 Kent LP had many fine tracks, especially 'Tobacco Road North' though it was not attributed to the rightful writer, Jimmy Radcliffe, at the time. The music has been sampled for various hip-hop adaptations, including one by Ghostface Killah of the Wu-Tang Clan, but the original stands on its own and deserves a 7" format. The Other Brothers 'Nobody But Me' is another UK Kent exclusive that sold out on its first Kent Select press and is still much sought-after and now expensive.

Review: Modern day Amsterdam is a bit of an oxymoron. On the one hand, the city proudly brandishes its reputation for alternative and sub cultures, pushing back against lawmakers and their incoherent policies to adopt approaches that are more realistic and levelheaded. On the other, its a place of such rampant commercial development the local government actively discourages visitors and new hotel developments. Look closely, though, and you can still feel the spirit of what, during the latter half of the 20th Century, made this place so special. Paradiso is one of those spots. A waterside cultural venue with a history first as a church, then an illegal squat, before becoming what it is today, the walls themselves seem to pervade a sense of brave, adventurous heritage. An ideal place to catch one of the most defining bands of the 1980s in their heyday, then, here Depeche Mode deliver an astounding set in a space with the atmosphere to match.

Review: Unmatched textural-ambient vibesetters Mood Hut flaunt their aptitude for the style once again, this time presenting the latest five-track EP from Sydney's current-favourite musical HSP, Cousin. The origin story for HomeSoon, a dearth of synaptic reflections and blissful fuzzouts, goes something like this: on his way back from the New Year's rave, Cousin would perambulate all bleary-eyed, finding himself in the midst of a dense Angophora thicket. What followed was a deluge of plant-like eureka moments - ideas coming thick and fast, taking root in both arborescent and rhizomatic fashion - producing the likes of 'Overpass' and 'Muster', all of which present as ever-moving quasi-electronic organisms.

Review: The release of any new Biosphere album is cause for celebration, especially when the man himself - the great Geir Jenssen - has chosen a specific theme or concept. 'Inland Delta', his first new full-length for almost two years, features (in his words) "mostly improvised performances on newly restored vintage keyboards". In practice, that means a slightly more colourful and fluid ambient sound than some of his many ambient albums, plus inherent warmth missing from his often icy compositions. There's plenty to set the pulse racing throughout, from the slow-moving cinematic bliss of 'Franklin's Dream' and the shuffling shimmer of 'Delta Function', to the becalmed, slowly unfurling dreaminess of 'The String Thing' and the Tangerine Dream-does-ambient loveliness of 'Florian's Flute'.

Review: The mighty Defected looks back to a 2019 release by The Vision aka Ben Westbeech and Kan featuring Andreya Triana. 'Heaven' is something of a modern house gem that has picked up worldwide plays from tastemakers like The Blessed Madonna, Groove Armada and Eli Escobar. Next to the sax-laced and loved-up original which cannot fail to bring joy to your life are three mixes. Danny Krivit brings out the jazz and soul, Kon keeps funky and the Groove Assassin Supernova edit is all about shuffling garage energy.

Review: Two house music institutions come together here as DJ Steaw lands on the Kaoz Theory label run by Kerri Chandler. He brings his usual stylish sounds to four cuts that cover all forms of house. First up it's a deep US garage vibe with jazzy chord work on 'Get Back To The Fonk' then 'Don't Stop' brings more punch low ends but no lack of emotion. 'In My Body's House' throws it back to the 90s with its muted sax stabs and organ basslines complete with wailing diva vocals and the blame and future facing cosmic house of 'Grey Matter' closes out a nicely varied EP.

Review: Cinnamon Soulettes' 'I'll Show You How' is a veritable swooner, demonstrating how just a few short songs can spark an undying love in its listeners - despite the project being rooted in tragedy. It's a cursed record, to say the least: the original tapes were found in a mixture of the University Of Washington State's archive and the estate of their late producer Kearney Barton, both of whom say all the original information about the record was lost in a flood. For that reason, all that is known about The Cinnamon Soulettes is that they are a female vocal trio from Seattle who recorded their only record in the 1970s with Barton. Nobody knows their names. 'I'll Show You How', though, is a stunning love song, melancholic in its trilling piano solos and vocal segues between each member of the trio. The B-side, 'Wishing On A Wishing Well', lifts us out of the prior mood of heartbreak, although its vocal recordings lend an equally haunting mood to its uptempo jump.

Review: Dimitri From Paris has the kind of masterful touch which makes any one of his remixes buy on sight material. But if you need to know more, on this 12" for Z Records he's taking on the Russian band Leonid & Friends and their cover of 'Street Player' by Chicago. Of course the original was an iconic joint made even more classic by 'that' Bucketheads tune, and you can hear DFP having fun nodding to that iconic bit of 90s chart-topping house in these deadly versions. If you like your disco house fierce and fiery but still delivered with finesse, this record is all you need.

Review: Electronic music production deity James Holden returns with a circling back to his dance music roots, following a brief detour into jazz with his last album 'The Animal Spirits'. Building on an increasingly otherworldly set of inspiration - which he's gradually entertained as his career has marched on - this new LP 'Imagine' playfully dissects the possibilities of dance music from the perspective of an alternate reality. Buzzing leads, detuned leads, and international flavours evoke a modern take on sounds espoused first by the likes of Amorphous Androgynous or Charanjit Singh.

Review: Multi-instrumentalist and composer Isaiah Collier connects with divine ancestors on a transcendent Direct-To-Disc session, Parallel Universe. The Chicago-based innovator and educator is heard to open up new dimensions in the jazzwise continuum on this LP; a saxophonist by trade, his multi-instrumental talents and compositional prowess have thus far stretched the limits of the form, and Parallel Universe once again embraces the risk and vulnerability that is oh-so-native to the live process he knows all too well. Featuring gospel soul singer Jimetta Rose, AACM and former Art Ensemble of Chicago trumpet player Corey Wilkes, blues-rooted guitarist Michael Damani, regular collaborators Julian Davis Reid, James Russell Sims and Micah Collier, the eight-track album bristles with a sense of love and understanding between players at the top of their game.

Notes: Big brother to the excellent MicroFreak, the MiniFreak is a hugely impressive hybrid synth, teaming dual digital sound engines with analogue filters for creative approaches to polyphonic sound.

Supplier notes:
MiniFreak is a 6-voice polyphonic hybrid keyboard that fuses two digital sound engines with analog filters, outside-the-box sequencing, and instant-access modulation in a playful, curious, and sometimes unpredictable way. MiniFreak encourages users to escape the ordinary and explore the unconventional with a 37-note velocity-sensitive keybed with aftertouch, weave intricate evolving performances with multiple modulation lanes, and discover endless sweet spots with a built-in digital FX engine - a wildly creative experience.

Unprecedented hybrid polyphony

With over 20 modes to choose from including Virtual Analog, FM, and Additive, the interplay between MiniFreak's two oscillators can result in truly unique compound sonic behavior. With 6-voice polyphony, analog filters, and the ability to process engine 1 through engine 2, MiniFreak puts premium polyphonic synthesis exploration into a compact & tactile instrument that's as addictive as it is powerful.

Customizable & experimental sound design

Embellishing the popular Freak modulation matrix, MiniFreak gives users even more control over shaping, transforming, and evolving their sound, with features like polyphonic ADSR envelopes, customizable multi-segment LFO shapes, FM & Ring Modulation, and the familiar Spice & Dice randomization.

Mix-ready stereo sound

MiniFreak comes with stereo outputs and 3 digital FX slots with 10 FX types to choose from. From stereo-enhancing chorus, to surgical 3-band EQ, to gritty 6-mode distortion, users will have everything they need to push their sound over the edge while keeping it mix-ready.

Expression, meet chaos

Despite its penchant for wild & exploratory sound design, MiniFreak is also built as a responsive instrument of expression. Its velocity-sensitive 37-note keybed with aftertouch and spontaneous Seq/Arp functionality makes it a dream to perform with, while its randomization features and modulation lanes put playfulness and sonic momentum immediately at users' fingertips.MiniFreak VMiniFreak comes with a dedicated VST counterpart, letting users totally integrate its unique hybrid sound into their DAW productions and vice versa. Using identical sound engines and architecture, it offers a like-for-like virtual experience of the synth itself, at no extra cost.

What's in the box:

Box content
MiniFreak Unit
Universal PSU - 12V 1A
USB A to USB 2.0
Registration card

Instrument dimensions
Size : 22.75 x 9.09 x 1.57 inches (578 x 231 x 55mm)
Weight : 6.48 lbs. (2.94 Kg)

Review: Disco-infused reggae and soulful grooves are on the agenda as Prince Fatty takes to the controls with regular vocal colllaborators Shniece and Horseman along for the ride too. For the Disco Deception album, he raids the reinvents various classics in the image of his own signature low-end energy and impeccable production, giving us original and dub mixes to choose from in several cases. His version of Krfatwerk's 'The Model', which features both Shniece and Horseman, was an underground smash when it emerged a couple of years back and sounds as vital as ever. 'Fever', made famous by Peggy Lee as far as 1958, gets some soul-stirring vocals from Shniece, and Tom Browne's 'Funkin' For Jamaica (NY)' is a glory of funky basslines to shimmering horns. A magnetic atmosphere that keeps listeners engaged from start to finish, all with character to spare.

Review: Man like Kerri Chandler is very much breaking the mold by still being right up there as one of the best in the game despite having had such a long career already. His 'You're In My System' came initially back in 1982 then got some remixes from Dance Quin in Ibadan in 2019 and now the original extended club mix and one of those Quin dubs get pressed up to a vital white vinyl 12" on Kaoz Theory. The A-side sounds as good as ever - heartfelt and vocal laced deep house with punchy kicks and rich pianos. The dub is no less vital with florid string samples and nice weighty grooves.

Review: The second salvo on the Street Knowledge series of golden era hip-hop reissues comes from legendary East Coast twosome Gang Starr. It offers up a pair of much-loved 1990s club bangers: 1999's "Full Clip" and '92's "DWYCK". The former is a classic DJ Premier production: a toe-tapping, head-nodding bounce through rubbery beats, jazzy guitars and toasty bass topped off with the fine flows of the late MC Guru. "DWYCK" meanwhile is a more bass-heavy, floor-friendly affair, with Premier's on-point scratching complimenting Guru's vocal and the addictive weightiness of the groove. In other words, these are two golden era classics you definitely need in your life.

Review: Siouxsie and the Banshees' Demos 1977-1978 album offers a captivating glimpse into the early creative evolution of the iconic original punks turned post-punk explorers. These raw and unpolished recordings showcase the band's formative years, capturing the essence of their experimental sound. Siouxsie Sioux's haunting vocals and the Banshees' avant-garde approach lay the foundation for the influential musical path they would later tread. The demos reveal a primal energy - check their cover of T-Rex's '20th Century Boy' for further evidence - and provide a rare and intimate look at the band's artistic genesis. It's a must-listen for enthusiasts eager to explore the roots of one of post-punk's pioneering and enduring acts.

Review: Spencer Morales taps into the most lavish and soulful end of the house spectrum here with a glorious new single 'What Cha Gonna Do With My Lovin.' The glossy and sophisticated production oozes charm and high end touches while the vocals are as pure as they come - soaring, full of soul and nicely in sync with the rolling beats and golden chords, sumptuous strings and loose percussion. On the flip, 'You Gonna Make Me Love Somebody Else' is a rework of a disco classic with another catchy vocal and more infectious soulful house grooves.

Review: DJ Bacon is probably the singular most eminent edits master to stock his serial releases on our digi-shelves; this credo alone is more than enough to turn heads for his latest limited 7”, ‘Bad / Theme From SWAT’. Here the auspicious Aussie reworks the ineluctable opening theme music from S.W.A.T., the ‘70s police procedural that more or less inaugurated the genre, but not before he detourns any actual swattage with a reworked version of LL Cool J’s breakout hit on the A.

Review: Super Spicy's Super Spicy Recipe series is back with a sixth mouthwatering offering and once again it's a super hot outing of party-ready house and disco sounds. First up is the irresistibly colourful disco charm of Birdee with the freewheeling 'Underground' and its groove-infused piano. Label boss Monsieur Van Pratt then adds his own spin to a rare groove classic with a lung-busting soul vocal and Pato Watson is in edit mode as he tweaks 'Ella Fue' to perfection. Italian don Paul Older brings some funky jazz fusion sounds to his steamy 'Turkish Lights, C. Da Afro keeps it a party with his 'Nothing But The Funk' and Mexican Juan Soto slips into a more deep and loved-up funk-house vibe on 'All Is Full Of Love'.

Review: Disco Dub Band's "For The Love of Money", a one-off collaboration between producer Davitt Sigerson and reggae musician Mike Dorane, has long been considered something of a classic by those who like their disco to come with a big dose of dub-wise flavour. Here the instrumental O'Jays cover, which originally appeared on the Movers label in 1976, is given the remix treatment by long-time fans Mr Bongo. The superb A-side, in which Dorane's instrumental talents take centre stage, naturally comes accompanied by the frequently played Dub interpretation, a typically wild and bass-heavy affair that sounds like it was mixed "live" in one take in true Lee Perry/King Tubby style. If it's not already in your collection, it should be.

Review: Thomas Blanchot aka Mato's love for reggae runs deep. His love for soul music is just as equal. So, what should a producer do who enjoys making original music but also enjoys the art of sampling? Use both! Known for creating reggae/dub versions and then using popular lyrics sung by a guest vocalist over the top of them, giving the original versions a new life and sometimes, a completely different feeling, in some ways working even better than the original. Here, Mato takes the 1981 hit by Sylvia Striplin 'You Can't Turn Me Away' and a super laid back reggae rhythm underneath as a base. And it works so well. Complete with the dub version for the DJs. Sit back and relax to these interesting examples of a stylish way to take mashups to a different higher level.

Review: Marius Circus is well known and loved for a signature analogue sound and once again that is laid out for us all to enjoy here on a new EP that comes with a remix from men of the moment Jazxing. First up is the deep, unhurried and dubbed out 'Lost On A Path To Nowhere,' a subtle late-night sound with wispy synths and a muted bassline that grows ever more prominent. The Jazxing Pathfinder remix is more tropical and steamy, and on the flip 'No Way Home' douses you in more blissed-out chords before the downbeat boogie of 'Space Crumbs Trail'. This is yet more essential summer goodness from Is It Balearic.

Notes: For heavier cleaning needs, choose the *Two-Step G3 Record Cleaning Fluid. It's the same formulation as GrooveWasher's One-Step G2 Fluid with one important difference: An increased surfactant concentration for greater power to get down and do the dirty work!

G3 can used with both record cleaning machines and manual cleaning methods.

*G3 Fluid requires a rinsing step. Either use GrooveWasher's GSR Super Rinse Fluid, or distilled water.

G3 Fluid Contains:

Surfactants: State of the art detergents dissolve and suspend fingerprints and other oily grime.

Super wetting agent: A specialty chemical that reduces the G2 Fluid's surface tension to reach the bottom of the groove. When you spray G2 Fluid on a record, you can see it spread down the grooves.

Emulsifiers: Holds the oils, dirt, mildew and microdust particles in suspension. Then the microfiber fabric cleaning pad wipes and pulls the dirt-filled solution from the record surface.

Laboratory grade, double deionized, carbon filtered & UV treated water: Carrier for the active cleaning ingredients. Eliminates static electric charges on the record's surface on contact.

G3 Two-Step Record Cleaning Fluid is formulated and made by GrooveWasher in North Kansas City, MO, USA.

Review: As fast-rising underground stars in their own right, you'd expect any collaborative album from soul-fired South London singer/songwriter/beat-maker Tom Misch and prolific jazz drummer Yussef Dayes (best known for his now long-running collaboration with Kamaal Williams) to be rather good. "What Kinda Music" is, with the pair mixing and mangling elements of soul, jazz-funk, electronica and jazz, a set that defies easy categorisation. Both musicians exceed themselves throughout, with tipsy electronics, sweeping strings, bass, effects-laden guitars, woozy synth lines and Misch's heartfelt, soul-flecked vocals offering a perfect foil for Dayes' loose-limbed, headline-grabbing drumming.

Review: Last year, obscure 1980s soul singer Garfield Fleming returned to action with a mini-album of tracks co-produced by modern boogie maestro Simon Tappenden AKA Ourra. Here we get a chance to savour once again his 1981 debut single, the much-sampled "Don't Send Me Away". It's something of a "groove"-era boogie classic, all told, with Fleming's superb lead vocal rising above sweeping orchestration and a chunky groove. It also boasts a seriously good breakdown in which Garfield's repetitive chorus vocals ride a stripped-back but percussive groove. Turn to the flip for the solid original B-side "You Got Dat Right", a jaunty slab of disco powered by honky tonk style pianos and a superb "walking" bassline.

Review: Toolroom sits at the top of the tree when it comes to big room house music. Mark Knight's label has mastered the art of maximal sounds and this eighth volume of the Tooroom Sampler series is another one that will do plenty of damage. Essel's 'Sweat' is a rigid tech cut with stiff synths and libidinous vocals, then Shiba San and Ayarez get direct with shuffling tech house cut 'Twist It' complete with big skewed synths. Friend Within's 'Pilka' keeps the energy levels high with fizzing synth loops over textured drums and a fat bassline. Maur x Westend and Cami Bear close out with some brighter melodies to get hands in the air on 'Over.'

Review: Composer Matt Berry aims to mimic the classic iconic Library Music label KPM with this new outing on Acid Jazz. It is the first in a series of such releases and it does a fine job of following in the label's tradition of providing the musical bedrock for classic British TV series and international movies. KPM used composers such as Alan Hawkshaw and Keith Mansfield and Berry proves he is right up there with this 7". 'Top Brass' is a funky instrumental with dramatic strings that add a sense of tension to the rude boy swagger of the rhythm. On the flip is a more stripped-back 'Bare Essentials mix' which is just as good and a little more menacing.

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: The Sisters of Mercy had been touting their wares on tour and through a stream of singles by the time they headlined the legendary Teatro Espero in Rome. But 1985 - the year of the performance - was a pivotal one for the English band. Debut album First and Last and Always had just landed to critical acclaim, confirming what the outfit could do on a long-form record. Of course, in many ways, we already knew it - the group's live shows had garnered a reputation for inimitable and epic experiences, regardless of how big the room was. 1985's tour was something of a culmination of both sides, then, and judging by this account-on-album the results were as captivating as they were commanding.

Review: The king is dead, long live the king, as they say - except in this case the late king is DJ Bone's legendary Subject Detroit label, which has now been shuttered after 25 years, and the newly anointed king is his new outlet Further, taken from his Amsterdam parties of the same name. It kicks off with a pair of new EPs on the same day and this is the first from Yeti Mind Tricks. 'We Ain't Like Them' is a hammering Motor City techno cut for the peak time which Bone remixes into a more stripped-back but no less edgy and potent cut. On the flip are 'Bimini Road' and 'Vandelay,' both of which bring stylish techno drenched in machine soul.

Review: Amongst Larry Heard's many, many celebrated achievements in the field of pioneering house music, the Gherkin Jerks tracks have a certain magnetism thanks to their downright nasty rawness. The original late 80s 12"s have been revisited in the past, but now the bonus tracks originally released on a comprehensive 2013 compilation get their own outing, cut to wax for the first time to serve all those who love their foundational house as rough as it comes. 'Psychotic Fantasy' is a dissonant masterpiece of gnarly acid, while 'Rezynator' has a slightly more melodic demeanour alongside its own grubby brilliance. The 'Original Full Take' of 'Ecstasy' is a slow-burning monster of needlepoint 303 tweaking and bludgeoned beats which jacks out for a full eight minutes.

Review: The sixth UFOs outing is another intergalactic adventure in sonic form and this time at the buttons it's New Balaance, a Mexican artist at the heart of a new wave. Space Jungle though is an apt title for this EP, which kicks off with some stylish breaks and nimble basslines overlaid with lush cosmic arps. 'Space Jungle' (feat Parallax Modulators brings a more pensive mood thanks to the sustained chords and deeper grooves, but subtle acid and chattery perc bring it to life. 'Grantourismo' is a lively and dynamic cut with more swirling synth work while 'Redemption' closes down this quartet of excellent explorations with a mix of 90s prog, techno and breakbeats all imbued with plenty of colour.

Review: World renowned welder turned reggae icon Bob Marley is one of those musical gifts that keep on giving. His impeccable back catalogue is full of as many lesser known treasures as it is stone cold classic hits. Just in time for Christmas, JAD has put together a season delight from the vocal star with 'Selassie Is The Chapel' appearing on the A-side of this new 7". It is a superbly spiritual and lo-fi sound with distant and dusty drums providing the gentle rhythm as Marley delivers a most impassioned vocal next to a gorgeous female falsetto. 'Lick Samba' on the flip closes out a must-cop, unique single.

Review: Daft Punk's defining album comes directly from the horses' mouths, seeing a new vinyl edition in 2022 released via the ex-duo's own Daft Life Ltd. label. With no frills or fluff, every original track on their third album from 2001 appears here in crunching glory, not sounding an inch rougher or time-weathered. Aptly, 'Discovery' was described by the duo as a reflection of their childhood memories, when they listened to music with a more innocent ear; 20 years on, Discovery can certainly be said to have lived up to that original inspiration.

Review: In the wake of The Knife, Olof Dreijer has been plenty busy behind the scenes and scattering hints of his incredible production for those paying attention. Now it feels like he's building to a wider profile breakthrough as he lands a knockout blow with this release on Hessle Audio. It's a maverick release, which is its pass into the curious sound world shaped out by Ben UFO, Pearson Sound and Pangaea, but equally it brings something new to the label. The joyous, colourful melodic daubs across the EP alone are something to make a dance collectively look up in wonder, with 'Camelia' being an especially beautiful, uplifting track to bring hope and positivity when so much club music tips towards the darkness.

Review: Space Age originally released this authoritative compilation of legendary psychonauts Spacemen 3 as a CD-only affair back in 2003. Some 20 years on, as appreciation of the band maintains if not grows over time, it's great to see it getting a ceremonious vinyl pressing. As fans of the band have pointed out, what Forged Prescriptions achieves so well is capturing the two distinct halves of the band, from the garage rock squall of their early sound when they were guided by the likes of Velvet Underground through to the more grandiose sound they perfect in the later stages as a precursor to the eventual split and formation of Spiritualized. Peppered with demos and other such curios, it's become an essential part of the Spacemen 3 canon.