Reality and perception are two different things, right? When it comes to guitar effects, I’m frequently reminded of that fact. What I think should happen when I click a button or turn a knob is sometimes something different from what I actually hear. The circuitry that makes those sounds might not be what I imagine either. The Electro-Harmonix Pico Atomic Cluster is the kind of device that defies expectations. Going into this review, I knew that it was going to be an experimental, sound-sculpting kind of experience. Even so, it was full of surprises.
What’s That Sound?
Before we get to what the Pico Atomic Cluster does in technical terms, it’s worth taking a minute to talk about what it’s like to make sounds with it using an intuitive approach. The controls themselves are simple: a mode switch (that switches between sharp and smooth envelopes,) and knobs for volume, blend, speed, and then the harder-to-define atoms control.
With most of the controls around noon, I heard warm, sustaining, analog synth-like sounds with some movement in them. Cranking the speed didn’t seem to make anything go faster in a modulation kind of way. Instead, I heard what I would call an increase in “activity.” Bubbles of sound spewed forth from whatever my guitar gave it, and the higher I cranked that knob, the more that went on.
The atoms control sounds like a low-pass filter that determines which frequencies are … atomized? The results are new notes that seem to develop from the overtones in the guitar signal. At the lowest atoms settings, they are more brooding, dark-basement, organ-like textures. At the highest settings, the output is harsh in a white-noise kind of way.
“At the lowest atoms settings, it gives a more brooding, dark-basement, organ-like texture. At the highest settings, it’s harsh in a white-noise-between-channels-interrupting-the-broadcast way.”
Hitting the mode button feels like it changes which frequencies the Pico Atomic Cluster interacts with. But the effect can be mellow, and in my experiments the full-blend mode created a textural bed that was ideal for sweet, cosmic, melodic overdubs. One important discovery I made was the difference between flat dynamics and full dynamics modes, which are activated by holding the mode button versus tapping it. Full dynamics mode is much more subtle, in a way that would make it useful for adding extra flavor to a cool lick. Flat dynamics mode, by contrast, enables you to go full-on space ranger.
What’s It Doing?
So far, I’ve discussed what the Pico Atomic Cluster sounds and feels like to me—and it’s important to know that you don’t need to know exactly what the Pico Cluster does to justify putting it in an experimental- and ambient music-oriented tool kit. But according to the engineers at EHX, the Pico Atomic Cluster synthesizes oscillations based on the input, effectively leaning into the digital artifacts created in that process. Those sounds were discovered while designing other pedals in EHX’s NYC DSP series, where they were unwelcome. The Pico Atomic Cluster was born when the engineers decided to build a pedal around them—resulting in the lo-fi glitch machine reviewed here. That the pedal is designed around sounds that were unwanted elsewhere tells you something important: this isn’t about precision. It’s a vibe machine—weird, wild, and fun.
This kind of imprecision—and the sense of not knowing exactly what’s happening—kept my hands and imagination active, prompting me to give the pedal more effervescent chord voicings and spicy intervals to synthesize and work with. Hearing the pedal react was rewarding enough to keep me engaged and wondering what kind of drone records the Pico Atomic Cluster could make possible.
The Verdict
It’s refreshing to find a pedal that does the unexpected. If you like to understand the mechanisms behind the sounds you make, the Pico Atomic Cluster is not an easy unit to unpack on an intellectual level. The controls could be more nuanced, too. But that gets us back to that thing about reality and perception. Who cares what’s going on under the hood if it sounds cool? And this pedal sounds cool, producing a particular, unmistakable flavor of warm glitching. The results you produce may be entirely different from what I found and used. But this is a pedal for the musically curious. And if you’re one of those players, you should try it out to see what unexpected results you can conjure. At just $129, it’s a nice price for a lot of fun, and so many creative possibilities.
Electro-Harmonix
Pico Atomic Cluster Spectral Decomposer
Experimental, glitchy, and ambient, the Electro-Harmonix Atomic Cluster is a wholly unique experience. Dubbed a "Spectral Decomposer," this glitchy synth pedal breaks down your instrument’s signal, reducing the frequency resolution to create a spectrum of oscillating, pixelated rhythmic tones.
Ernie Ball Music Man proudly celebrates three decades of the iconic Axis guitar with the release of the 30th Anniversary Axis, a limited-edition collection that honors the instrument’s legacy while staying true to its original design.
First introduced in 1996, the Axis quickly became a benchmark for performance, feel, and craftsmanship. This anniversary release revisits the model’s debut aesthetic with a series of stunning translucent finishes, showcasing the timeless appeal of one of Music Man’s most celebrated instruments.
Each 30th Anniversary Axis features a hand-stained quilt maple top, available in six original translucent finishes: Gold, Black, Pink, Red, Blue, and Purple. The tops are paired with a
distinctive black, lightly sparkled back, subtly echoing the hue of each finish for a refined and cohesive look.
Built to original specifications, the guitar retains the features that defined its reputation:
A classic asymmetrical neck carve for unmatched comfort and playability
22 stainless steel frets for durability and precision
A figured maple neck with glow-in-the-dark side dots for enhanced visibility on stage
At its core, the instrument is powered by custom-wound DiMarzio® pickups, delivering the signature tone that players have relied on for decades. The Ernie Ball Music Man double locking tremolo system, complete with fine tuners, ensures exceptional tuning stability and expressive performance.
Aesthetically, each guitar is finished with a color-matched headstock and a commemorative 30th Anniversary logo on the back, marking its place in Music Man history.
Every instrument includes a certificate of authenticity and ships in a deluxe hardshell case, underscoring its status as a true collector’s piece.
Today, Kurt Vile announces his new album, Philadelphia's been good to me, out May 29th via Verve Records and releases the lead single/video, “Chance to Bleed.” Additionally, he shares the dates for his 2026 world tour, including a big headline hometown show at The Dell as part of Connor Barwin’s Make The World Better concert series, alongside co-headliners Pavement. Philadelphia’s been good to me has a time-collapsing quality, merging meandering balladry and horizon-chasing road songs.
Philadelphia isn’t exactly Neil Young’s Malibu, California or Terry Allen’s Lubbock, Texas, but every great American songwriter needs to stake a claim for the town that feels most like home, and with this album, the man who came out of the gate calling himself “Philly’s constant hitmaker” has crafted a love letter to the city he never left, even as his career took him around the world. “This is my ‘bringing it all back home to Philly’ record,” Vile says. “I’m treating it like my last record. I put everything into it. It’s my best vocal record. It’s my best electric guitar record. It’s my most organic record, made in the comfort of my own zone.”
On today’s single, “Chance to Bleed,” Vile looks back on his early days in the underground music scene. Featuring guest vocals from old friends—Natalie Hoffman (NOTS, Optic Sink), Ethan Buckler (King Kong, Slint), and Greg Cartwright (Reigning Sound, The Oblivians), who also contributes co-lead guitar (Kurt’s guitar is panned to the left, Greg’s to the right)—it’s an ode to “old-time, lo-fi, DIY rock ‘n’ roll nights.” It’s a catchy-as-hell barnburner he calls “hillbilly techno,” and appropriately, its music video was filmed at Fishtown institution Kung Fu Necktie, packed out with friends and collaborators, including Hoffman, Buckler, and Cartwright. It even boasts cameos from comedian Jim E Brown and a fellow hometown hero: the one and only Schoolly D, popping up in his signature fur coat.
Commenting on the track and video, Vile says: "'Chance to bleed' is some new kinda higher energy rager. Recorded with my band of bros the Violators in Athens, GA… and then on down the road to Memphis, TN where we got town legend Greg Cartwright to rip with us (KV lead gtr on the left and Greg lead on the right!) I finished this jam out in L.A. with Rob Schnapf at the mixing board and by then it was flyin, baby. The video is a hoot: I invited my Memphis friends back out for that and there’re a ton of other legendary guests so keep your eyes peeled. (Yo, Schoolly D!) Love, KV."
Though it’s a snapshot of his life at a particular moment in time, Philadelphia’s been good to me embodies Vile’s understanding of music as a conversation between people across time. The photo on the album’s cover, an image of a ramshackle bar sign taken by the legendary photographer William Eggleston, actually depicts a scene in Memphis. Yet the never-before-seen original photo, which Eggleston’s son Winston sent to Vile a few years ago, is as much a part of his history in the city as his old gig driving a forklift at the Philadelphia Brewing Company or his old haunts in Northern Liberties. The sentiment it communicates, much like Vile’s music, transcends space and time.
Vile created the album from late 2023 to early 2026, in what he describes as “an inspired state of flux,” capturing the odd melody to a Zoom recorder or loop machine between stints on the road. Though Vile’s travels led him to sessions in Memphis, Los Angeles, and Athens, he laid down the majority of the album in a basement studio in his Mt. Airy home, surrounded by humming analogue organs, old tape consoles, records, and books about heroes—some of whom he now counts as collaborators. Built out with Violators bassist Adam Langellotti at the start of the pandemic, the space, dubbed “OKV Central” or “Overnight KV,” has become Vile’s sanctuary, a place he can retreat to after a show in the city and receive a visit from the late-night muse.
Largely self-produced, with assists from Langellotti, keys wiz Matthew Jugenheimer, drummer Kyle Spence, guitarist Jesse Trbovrich, and longtime Violators boardsman Rob Schnapf, the record sees Vile returning to his home-recording roots while also coming into his own as a producer, using time-tested and world-worn tools to fill the album with more warmth than you can fit into the back of a touring band’s van. “I’ve been waiting for that kinda natural element to show up again in my recordings, like the old home recording days,” he says. “I think I finally caught that again, but in a higher fidelity; it’s never overly polished, but it’s still pretty damn shimmery.” He’s especially proud of the sparkly lead guitar melodies he pulls from an old, hollow-body Gretsch Tennessean once owned by longtime friend and “one of my true heroes,” Travis Good of the Sadies.
Make no mistake: Philadelphia’s been good to me is the sound of Philly’s constant hitmaker coming back to kick ass, son the haters, and put on for the City of Brotherly Love. In true Kurt Vile fashion, he does so while sounding more relaxed than ever. Between the 250th anniversary of America and its hosting of select World Cup games, 2026 is shaping up to be a big deal for Philadelphia.
Philadelphia's been good to me Tracklist 1. Zoom 97 2. 99 BPM 3. Rock 'o Stone 4. You don't know cuz it's my life 5. Chance to Bleed 6. Philly's been good to me 7. 99th song 8. Red Room Dub 9. Every time I look at you 10. Piano for Sarah 11. Avalanches of Snow
Kurt Vile Tour Dates (new dates in bold) Tue. June 16 - Toronto, ON @ History * Wed. June 17 - Montreal, QC @ Beanfield Theatre * Fri. June 19 - Burlington, VT @ Higher Ground * Sat. June 20 - Greenfield, MA @ Green River Festival Sun. June 21 - Asbury Park, NJ @ Stone Pony (North to Shore Fest) * Mon. June 22 - Pittsburgh, PA @ Mr. Smalls Theatre * Tue. June 23 - Cleveland, OH @ The Roxy * Thu. June 25 - Detroit, MI @ Saint Andrew's Hall * Fri. June 26 - Chicago, IL @ Salt Shed * Sat. June 27 - Eau Claire, WI @ Blue Ox Music Festival Sun. June 28 - St Paul, MN @ Palace Theatre % Wed. July 1 - Vancouver, BC @ Commodore Ballroom @ Thu. July 2 - Portland, OR @ Revolution Hall % Fri. July 3 - Seattle, WA @ 5th Avenue Theatre % Sun. July 5 - South Lake Tahoe, CA @ The Hangar % Tue. July 7 - San Francisco, CA @ The Castro Theater % Wed. July 8 - Los Angeles, CA @ The Novo % Thu. July 9 - San Diego, CA @ The Observatory North Park % Fri. July 10 - Phoenix, AZ @ Van Buren % Sat. July 11 - Santa Fe, NM @ The Bridge at Santa Fe Brewing Co. % Mon. July 13 - Austin, TX @ ACL Live at The Moody Theatre ! Tue. July 14 - Houston, TX @ Heights Theater ! Wed. July 15 - Dallas, TX @ Longhorn Ballroom ! Fri. July 17 - Atlanta, GA @ The Eastern ! Sat. July 18 - Nashville, TN @ Ryman Auditorium ! Sun. July 19 - Asheville, NC @ Orange Peel ! Mon. July 20 - Saxapahaw, NC @ Haw River Ballroom ! Wed. July 22 - Washington, DC @ Howard Theatre ! Thu. July 23 - Brooklyn, NY @ Brooklyn Paramount ! Fri. July 24 - Boston, MA @ Royale ! Sat. July 25 - Philadelphia, PA @ The Dell Music Center >$ Thu. Aug. 13 - Paredes de Coura, PT @ Paredes de Coura Festival Sat. Aug. 15 - Saint-Malo, FR @ La Route du Rock Mon. Aug. 17 - Hamburg, DE @ Mojo Tue. Aug. 18 - Copenhagen, DK @ Vega Fri. Aug. 21 - Trondheim, NO @ Pstereo Sun. Aug. 23 - Hasselt, BE @ Pukkelpop Mon. Aug. 24 - Amsterdam, NL @ Paradiso Tue. Aug. 25 - Nijmegen, NL @ Doornroosje Thu. Aug. 27 - La Tour-de-Peilz, CH @ Nox Orae Fri. Aug. 28 - Paris, FR @ Rock en Seine Sat. Aug. 29 - Luxembourg, LU @ Den Atelier Sun. Aug. 30 - Köln, DE @ Gloria Tue. Sept. 1 - Munich, DE @ Muffathalle Wed. Sept. 2 - Prague, CZ @ Archa+ Thu. Sept. 3 - Berlin, DE @ Huxleys Neue Welt Fri. Sept. 4 - Maastricht, NL @ Zero for Three Sun. Sept. 6 - Dorset, UK @ End of the Road Mon. Sept. 7 - Bristol, UK @ The Crane % Tue. Sept. 8 - Brighton, UK @ Chalk % Wed. Sept. 9 - London, UK @ Troxy % Fri. Sept. 11 - Manchester, UK @ The Ritz % Sat. Sept. 12 - Birmingham, UK @ XOYO % Sun. Sept. 13 - Glasgow, UK @ SWG3 TV Studio % Mon. Sept. 14 - Dublin, IE @ Vicar Street % Tue. Sept. 15 - Leeds, UK @ Project % Wed. Nov. 4 - Buffalo, NY @ Asbury Hall $ Thu. Nov. 5 - Columbus, OH @ Newport Music Hall $ Fri. Nov. 6 - Louisville, KY @ Headliners Music Hall $ Sat. Nov. 7 - St. Louis, MO @ The Sovereign $ Sun. Nov. 8 - Milwaukee, WI @ Turner Hall $ Tue. Nov. 10 - Des Moines, IA @ Wooly’s $ Wed. Nov. 11 - Lawrence, KS @ Liberty Hall $ Thu. Nov. 12 - Omaha, NE @ The Waiting Room $ Fri. Nov. 13 - Fort Collins, CO @ Washington's $ Sat. Nov. 14 - Denver, CO @ Summit $ Mon. Nov. 16 - Fayetteville, AR @ George’s Majestic Lounge $ Tue. Nov. 17 - Memphis, TN @ Minglewood Hall $ # Wed. Nov. 18 - New Orleans, LA @ Joy Theatre $ Fri. Nov. 20 - Athens, GA @ 40 Watt Club $ Sat. Nov. 21 - Charleston, SC @ The Music Farm $ Sun. Nov. 22 - Charlotte, NC @ Neighborhood Theatre $ Mon. Nov. 23 - Richmond, VA @ The National Tue. Nov. 24 - Baltimore, MD @ Ottobar $
* w/ The Sadies % w/ Ryan Davis & The Roadhouse Band @ w/ Alex Amen ! w/ Being Dead $ w/ Twisted Teens > w/ TAGABOW # w/ Optic Sink
TASCAM, is pleased to announce the new DR-40XP 4-Channel Portable Handheld Recorder. The DR-40XP is the ideal solution for capturing professional quality recordings for music, audio-for-video, meetings, dictation, and more. Featuring 32-bit float recording capability and a compact form factor, this new recorder delivers world-class audio performance with easy recording and minimal setup time.
As a 4-channel portable handheld audio recorder with microSDXC card storage, the DR-40XP makes it easy to capture high quality recordings on a moment’s notice. With support for up to 512GB memory cards, this recorder provides ample recording capacity for on-the-go use. Equally noteworthy, the 32-bit float recording mode with up to a 96kHz sample rate ensures low-noise, distortion-free recordings for superior sound. With 32-bit float recording, users never have to worry about losing audio takes that were recorded too loudly or quietly.
As a 4-channel recorder, the new DR-40XP is outfitted with two unidirectional stereo condenser microphones, that are adjustable from A/B to X/Y configurations, making it easy to capture full-bodied, stereo imaging. Two XLR/TRS inputs located on the bottom of the recorder can expand the system to capture 4 sources simultaneously, while the input delay function mitigates any phase incoherence between external and internal microphones. TASCAM’s proprietary HDDA (High Definition Discrete Architecture) microphone preamplifiers provide superior sound quality and an EIN of -126dBu.
Combined with its USB-C audio interface, the recorder can function as a 2-in/2-out audio interface capable of easily connecting to one’s computer / DAW on both Windows and Mac OS as well as iOS devices. Further, the DR-40XP can be connected to the aforementioned devices via USB-C for use as a USB microphone.
Among the numerous additional features offered by the DR-40XP recorder, users will appreciate the system’s built-in-chromatic tuner—making this unit the ideal portable recorder and song scratchpad for musicians. Further, the included reverb effect provided is ideal for adding both vocal and instrumental resonance for a more polished sound. With its compact form factor, the DR-40XP can easily be taken anywhere, making it an outstanding choice for field recording. The long battery life—up to 18 hours when using the built-in microphones—guarantees uninterrupted recording on location. To further help fine-tune one’s recordings, three different low-cut filter options are available for reducing unwanted noise. For use with video, the DR-40XP has Auto Tone output functionality to make post-production sync a simple task. Further, this recorder can easily attach to a tripod mount.
Sean Daily, TASCAM Product Specialist, commented on the new TASCAM DR-40XP 4-Channel Portable Handheld Recorder, “The original DR-40—and later the DR-40X—earned their place as trusted staples in TASCAM’s handheld recorder lineup. With the addition of USB-C connectivity and 32-bit floating point recording, the new DR-40XP brings this beloved four-channel recorder into the modern era.”
The TASCAM DR-40XP 4-Channel Portable Handheld Recorder carries a street price of $259. For additional information about the TASCAM DR-40XP 4-Channel Portable Handheld Recorder, visit
RhPf Electronics announces Mosphoros, a handcrafted overdrive pedal built around stacked gain stages, designed to let players shape how their tone breaks up rather than simply increasing distortion.
Unlike traditional drives built around a single clipping character, Mosphoros distributes gain across interacting stages. The result is a gradual, controlled transition from clean enhancement to dense saturation, with strong touch sensitivity, preserved note definition, and a natural, organic response throughout its range.
Drive: Sets the core texture, from transparent lift to natural, organic, amp-like breakup.
Unique Bass and Treble gain controls: Increase gain in the low and high ranges respectively, shaping both tone and texture behavior rather than acting as traditional EQ.
Wide output range: Functions as a clean boost, foundational drive, or primary saturation.
Drive, Bass, and Treble are not EQ controls. Each adjusts gain at different points within the circuit, meaning changes affect both tone and texture. Players can dial in softer, more organic textures or firmer, more focused drive depending on how the three controls interact.
With all gain controls at minimum, Mosphoros passes the original signal cleanly. At noon, it delivers balanced, expressive overdrive suited for blues, rock, and dynamic picking. With all gain controls pushed, it moves into thick, harmonically rich territory while remaining articulate and responsive.
Mosphoros stacks predictably with other drives, maintaining clarity and low noise across its full range. It is suited for players who rely on touch, guitar volume control, and stacking behavior to shape their sound rather than switching between disconnected gain presets.
Street price is $199 USD. Available now at select retailers and directly from rhpfelectronics.com.
RhPf Electronics is an independent pedal company based in Basel, Switzerland, focused on original circuit design with an emphasis on musical response, stacking flexibility, and long-term reliability.
