Today Only: All genres sale vinyl

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.

Notes: Unique custom design 3.5mm patch cables.

They feature strong, ergonomic barrels which are slim and stubby for max patchability.

Available in various lengths (15, 30, 60, 90 & 120cm) and colours.

Longer 60, 90 & 120 lengths also include ALM cable tie.

Notes: Wow. Oscillators don't come much more special than this. Two contrasting, fully independent VCOs with waveshaping and complex cross-modulations, plus the 'Thru Zero Trinity' of FM, phase and amplitude modulation. Beautiful.

Supplier's Notes:
Thru Zero Complex Oscillator

A new complex oscillator, featuring two independent VCO's. Both voices have a unique signal path and flavour. Complex cross modulations entangle them together, opening up completely new timbral territories.

Features include the Thru Zero trinity; Frequency, Phase and Amplitude modulation.

Each oscillator also has its own Low Pass Filter, which works great to mellow the harsher tones from complex intermodulations.

Each VCO has great tracking and temperature stability, there is no distinction between a carrier and modulator.

The FM bus lets you modulate the index of each individual voice, with linear and exponential inputs for external sources. There are also inputs for Sync in, with both soft and hard sync.

VCO 1

The left VCO signal chain starts with a shape function, that let's you morph between triangle and saw. This waveform is also available as a separate output.

Next is a sinusoidal wavefolder, which changes its response dramaticaly based on shape of the waveform. The circuit is based on a modified version of a design by Barrie Gilbert from 1977, popularized by Open-Music-Labs (used with permission).

This circuit also creates the possibility of Thru Zero Phase Modulation, here the depth is controlled with the third slider. The source is normaled to VCO 2, but external modulation sources can be patched in, and the depth can also be modulated with CV.

Lastly there's a 2-pole Low Pass Filter, before going out the MAIN output. All parameters can be CV controlled, and feature handy attenuators at the inputs.

VCO 2

The first slider is a continuous waveform shaper, that morphs from sine to tri to saw.

This waveform then enters the Thru Zero Amplitude Modulation (Ringmod) section. The slider sets the depth of modulation, with the source normalized to VCO 1. The depth can be CV controlled, and an external source can be patched as well. The result is also available on a separate output, pre wavefolder/filter (VCO 2 sine).

The third slider is a wavefolder, it's based around a novel wavefolding topology, with a unique and more aggressive sound compared to the sinusoidal folder of VCO 1.

The wavefolded signal goes into a 2 pole Low Pass Filter, and out of the MAIN output.

Dimensions
26 HP
27 mm deep

Current Draw
190 mA +12V
190 mA -12V
0 mA 5V

Review: Idan Hana steps up to Dirt Crew once more with a second full length EP that includes a remix from the one and only Chicago deep house pioneer. Let's start with that one - his take on 'Lo Fi Hi' is a textbook raw house sound but embellished with majestic chords and a gridding bassline that elevates mind, body and soul. The other three originals from Idan are quality, too, with a jazzy laced opener, the ramshackle cosmic house of 'Galaxy One Two Three' and old school hip hop influenced boom bap drums of 'Far From The Sun.'

Notes: Do you use pedals that don't match the outputs of your power supply? With EBS new power adapter cables, there's a way to solve most matters.

It sucks when you realize your coolest vintage pedal or latest digital processor-driven unit can't be fed from your pedalboard power supply because they are thirstier or uses different power inputs than your power supply features. At worst, you may even skip bringing your favourite toys to avoid the hassle. However, with the new EBS adapter cables, you can solve many of these issues easily and save the space that those extra power supplies may occupy.

Need to convert a 2.1 mm plug to 2.5 mm? No problem.
Need more current than you get from one output? No problem.
Need 18 or 24V DC power from 9 and 12V outputs? No problem.
You can even change the polarity from the common Center Negative to Center Positive using one of the new EBS adaptor cables.

Here's how you do it:
To go from 2.1 to 2.5 mm, use the DC1-48 90/0 2.5 adaptor.
Want to change the polarity? Use the DC1-48 90/0 RP adaptor.
To increase the current, use the DC1-48 90/0 PAR and connect two outputs from your power supply. The total current will be the current from both outputs added together.*
To increase the voltage, use the DC1-48 90/0 SER and connect two outputs from your power supply. The total voltage will be the voltage from both outputs added together.*

* IMPORTANT! Requires a power supply with isolated, floating outputs.

Review: Encrypted keep the vinyl heat on lock with this precision triptych from Kodama. Hot on the heels of his recent Infernal outing, here the Barcelona badman flexes three special bass treats. Each one laced with strong musical elements and threads, 'Westly' is a dreamy two-step delight, 'Murphy's Song' is a big old jolt of euphoria while 'Glimpse' concludes the EP with a poignant, harp-plucking emotional adieu. Stunning.

Review: A charmingly ethereal platinum gem of synthy disco-soul, Mantis' 'Love Was Born For Me' is a formerly unissued slice of genius dance music from the lesser-spotted New Hampshire, US fivesome. Allen Atkins, Baxter Fullerton, Alvin Harrison, Vernon Stewart, Rocky Whitaker, Paul Ungar all came together as fresh graduates of Dartmouth College back in 1976, and decided to take a shot at stardom while they were young, as the trope goes. Never quite finding favour with the "free" hand of the music market - of course, most of the best talents tend to be smothered by it, not lifted up - it's only now that they're seeing more recognition than ever before, thanks to the reissuing work of our friends over at Epsilon. Now we hear the beautifully songwritten 'Love Was Born For Me', citing the feeling of jubilance and renewed confidence in love, not to mention the wowowow-ing lo-fi slow jam, 'Do We Have A Love', which shows off the incredible vocal melisma of Allen Atkins.

Notes: The Glorious Vinyl Frame Set lets you display your vinyl cover artfully in any setting. The set consists of three vinyl frames and is suitable for all 7'' record covers. A vinyl cover is often more than just a sleeve for your record - many of them are designed with stunning artworks or were individually signed by artists. To avoid your favourite record covers collecting dust in record boxes, we have developed a suitable frame for them. The sturdy construction with glass cover is designed for 7'' covers and is captivating due to its minimal and stylish design, which is available in three colour finishes. The vinyl frame can either be hung on the wall or placed on even surfaces, thanks to the hinged stand. Display your favourite records in style.

Review: On their hotly anticipated debut album, Passive Refraction invites us up to the "27th Floor" of an imaginary hotel in the heart of Tokyo, a place where you can gaze in wonder at the neon-lit cityscape. Musically, it's an immersive experience, where dreamy, slowly unfurling ambient chords and vivid synthesizer sounds reminiscent of Vangelis' "Blade Runner" soundtrack intertwine with sampled voices, hazy aural textures and quietly loved-up melodies. It's the kind of album that you can imagine being classed as a 21st century ambient classic 20 or 30 years from now, which we think you'll agree is high praise indeed.

Review: It's easy to get lost in the sounds MMMD create. The Greek trio shot to the top of any self-respecting ambient-drone geek with 2013's exceptional Som Sakrifis, a piece of work so resolute in its mission to draw you in and then tighten the clasp it gets to the point where you can't see, or hear, a way out, and the three producers have continued to deliver those sorts of goods since. Roto Vildblomma is no change of course. To call the EP oppressive would be unfair, although opening track 'Vildblomma' does come with this sense of dread and a distinctly uneasy mood, organ refrains hitting notes that are hard wired to make things feel a little ominous. Elsewhere, similar senses also prevail, 'Skora''s more whispered approach to unsettling is different yet equally eerie. However, there are also moments of delicate quiet, almost to the point of silence, and a sort of ancient exoticism that's mysterious but exciting and wondrous, rather than menacing.

Review: Fresh, hand-numbered vinyl 12" EP in the mode of bespoke folktronic downtempo, courtesy of four longstanding residents of Opium Club and Ant Bangos festival in Lithuania: Manfredas, Pletnev, Roe Deers, and V. 'Ant Bangos X' hears four tracks that reflect the foursome's combined tastes in electronic music, centring on a slower-paced experimentations and bustling, bright oddballs.

Review: Burton Inc is perhaps not one of the better-known soul bands of the late 1970s. Formed by married couple Charles and Barbara Burton and featuring their son Tire amongst the backing musicians, the band recorded and released one album, 1976's L.A Will Make You Pay $$$, on their own private press imprint. It's from that set that these two tracks are taken. A-side 'Nation Song' is a glossy, slow-motion call for global unity featuring the twin attractions of incredible horn arrangements and spacey synthesizers (not to mention a fine lead vocal from Barbara), while flipside 'Groovin At The Night Club' is a slightly more up-tempo affair rich in jazzy guitar flourishes, fluid bass guitar and more incredible horn sounds.

Review: 'car nous sommes poussiere, et a la poussiere nous retournerons.'

Review: Barely a week seems to go by without us hearing from zake, the US ambient producer who is hugely prolific and also unwaveringly creative with each new project. For this latest in a long line of many essential albums on his own Past Inside The Present label he links with From Overseas for the sublime sounds of Demain Des L'aube. This is a 160-gram audiophile vinyl version that sinks you deep into his widescreen and sweeping crepuscular synth work. It is delicate and spare but hugely impactful and never less than utterly comforting, even when the moods can be heavily introspective.