All genres charts

Review: Three is the long-awaited twelfth studio album by electronica titan Four Tet, following a long extended 'wildcard era' characterised by legal battles (well, one) and unlikely, curveball stints with fellow juggernauts Skrillex and Fred Again. But despite this judgment, Three hears Kieran Hebden return to his earliest forms, with the semi-eponymous 'Three Drums' recalling his earliest outcroppings emergent from his Fridge days, via slow, crisp breaks and serene string pads. 'Loved', similarly, evokes a 90s hip-hop, dare say Britcore fascination, melded with warmingly serene analogue pulsations, underlaid.

Review: Funkyjaws Music is back with more music to make your jaw go funky, this time in the form of a second volume of its Let's Dance series. It features a quartet of esteemed tune makers starting with Frank Booker's 'Yes No Maybe' which is a horn laced and loose-limbed delight, while go-slow master Eddie C brings his classy touch to the funky licks of 'Love Dancing Theme.' There are plenty of cosmic synth waves to Black Truffle's 'Dancing Through The Night' while the LTJ Xperience close down with a super laid back and summery vibe on 'Sunny Groove.'

Review: The Just What The World Needs label is back with its 15th EP from the eponymous production outfit behind the imprint and it carries right on from where the last one left off. 'Track 1' is a fiery and Latin-tinged Afro gem with funky rhythms and big horns that bring sunny and open-air party vibes. 'Track 2' has a hint of MPB to it with more low-slung funk grooves and steamy vocals while 'Track 3' then flips the script again with a more cosmic vibe and plenty of mad Rhodes chords. Last but not least is 'Track 4' with some lo-fi and light night melon twisting disco sounds.

Review: Texas-based Thai funk and psychedelic trio Khruangbin are back with another much anticipated new album in the form of A La Sala. The record presents a mesmerizing blend of psychedelic rock, funk, and world music influences that showcases the band's signature hypnotic grooves. Each one is characterized by Laura Lee's funky basslines, Mark Speer's intricate guitar work, and Donald "DJ" Johnson's precise drumming. Tracks like 'Farolim De Felgueiras' and 'A Love International' exude a laid-back vibe, perfect for lazy summer afternoons, while 'Juegos Y Nubes' infuses Latin rhythms with a psychedelic twist. Overall, A La Sala is another rich journey through diverse musical landscapes that reaffirm Khruangbin's reputation as masters of genre fusion and purveyors of sonic bliss.

Review: Originally recorded in the late 1970s and using many of the musicians employed by Diana Ross on her track 'The Boss'. 'Can't Put No Price On Love' has long been regarded as North End's 'long lost' single - an inspired disco workout employing that pre-dates the Arthur Baker/Tony Carbone-helmed project's most famous song, Tee Scott/Larry Levan favourite 'Happy Days'. The original multitrack was unfortunately lost, but the track finally appears, 40-odd years after it was recorded. Whether what we're hearing was finished and mixed at the time is uncertain, but the 'Club Mix' is certainly authentic sounding - a genuinely energetic, joyous and effervescent New York disco number with full orchestration, addictive vocals (Jocelyn Brown & Dennis Collins on backing Vox) and a killer groove. Elsewhere across the EP, we get two versions of 'We Can't Live Like This Anymore' - the synth-laden, solo-heavy disco-boogie style original mix (B2) and a superb 'drum break' percussion tool (A2) - and a brilliantly low-slung instrumental dub-disco cover of The Temptations' 'Cloud 9'.

Review: Following up on the release of Another Day in 2020, Gerald Mitchell re-ignites his working relationship with Italian label Mother Tongue to lay down more of that quintessential Los Hermanos jazz-funk-techno sound. On this occasion, he's leading with the track 'Family', which was recorded with UK techno-turned-jazz-funk luminary Ian O'Brien in Tokyo. If you love the sound of Underground Resistance in 'Hi-Tech Jazz' mode you're going to be more than happy with this track, while the choppy Rhodes chords and gritty beatdown of 'Paradigm 4th Shifter' and 'Far Beyond Sight's dreamy synthscapes have their own spellbinding stories to tell.

Review: Alice in Chains' Jar of Flies from 1994 is a masterful album that showcases the band's versatility and songwriting prowess across an acoustic-driven collection of tracks. They deliver plenty of haunting melodies and introspective lyrics that make for a deeply immersive listen. There is a real melancholic beauty to 'Nutshell' while a gritty intensity pervades 'No Excuses.' Each song offers a glimpse into the band's emotional depth and musical complexity, always with raw emotion and captivating performances that make this one a standout release in Alice in Chains' discography.

Review: The Mountain 45 label has been giving us some unique music that cross genres since its inception just a few years ago. Like previous editions, Double A contributes 'Super Badman Riddim' which is both catchy and clever. Featuring James Brown samples thrown in the mix takes this dub related track to the limit of fun. For the B-side, James Nasty's 'Fan Dem Off' with a peak time party song that should take the dancefloor to another level. These attention getters are ideal for being addictively fun and different. It's hard to categorise music like this, which is a sign of its originality.

Review: The wonderful Mr K is back with more edit magic on his own Most Excellent label, this time adding his own spin to 'Wela Wela', a hard edge and raw funk cut from Black Blood, a band of musicians from central Africa but who were based in Belgium. This one was never a hit back in the day for some reason but is built on a killer groove that Mr K reworks and tweaks for more suitable dance floor deployment. It was formerly on his Grass Roots record but now makes its way to a handy 7". On the flip is 'Komi Ke Kenam (Fish & Funjee)' which has tough breaks and funk bass that will ensure 'floors get down and dirty.

Notes: These are the same high-quality inner sleeves that MOFI use for their most-prized vinyl releases. They are imported, three-ply, anti-static, premium sleeves (similar to rice paper) and work with both LPs and laser discs.

Back construction consists of a paper layer sandwiched between two sheets of high-density polyethylene (HDPE) with a translucent HDPE front.

These custom-designed inner sleeves protect against all common problems associated with regular sleeves of all types, such as scratching, static build-up and contamination etc.

Your records are irreplaceable, these sleeves will guarantee they last a lifetime.

Review: In 1971, the harpist, pianist and ultimately multi-instrumentalist jazz musician Alice Coltrane performed at the Carnegie Hall for a special gala benefiting the Integral Yoga Institute. Backed by an all-star group of musicians, Coltrane delivered a captivating set which will now be available in its entirety on vinyl for the first time. The Carnegie Hall Concert, now out on Verve, documents one of the defining moments of Coltrane's career, taking place not long after the immediate positive reception to the release of her spotlit Journey In Satchidananda LP. The concert, which spans both recognisable and unique compositions by Coltrane, ultimately conveyed a uniquely Eastern edge lent to Western spiritual jazz, and came as the first dedicated concert to be themed after the lessons gleaned from recognition of the Hindu god and enlightened state, Satchidananda; it enlisted the aid of two of her closest friends in the circle she'd joined during a formative trip to India that year, Kumar Kramer and Tulsi Reynolds.

Review: Texas-based trio Khruangbin returns with their highly anticipated album, A La Sala. Blending Thai funk, psychedelic rock, and world music influences, the record mesmerizes with hypnotic grooves. Laura Lee's funky basslines, Mark Speer's intricate guitar, and Donald 'DJ' Johnson's precise drumming shine throughout. Tracks like 'Farolim De Felgueiras' and 'A Love International' exude laid-back vibes, ideal for lazy summer afternoons, while 'Juegos Y Nubes' adds a psychedelic twist to Latin rhythms. 'A La Sala' is a captivating journey through diverse musical landscapes, reaffirming Khruangbin's mastery of genre fusion and their ability to create sonic bliss.

Review: An iconic soundtrack to a classic blaxploitation flick, JJ Johnson and Martha Reeves & The Sweet Things turned a collective head when they simultaneously composed their core themes for Willie Dynamite, directed by obscure director Gilbert Moses. This ineluctable screen treat stars Roscoe Orman and Diana Sands in a quintessential portrayal of early '70s New York pimping, with the central character's foibles giving rise to a latent conscience when he comes into contact with a young social worker. As is often the case with the blaxploitation genre, Willie Dynamite begins with the lead character cruising down the streets of New York in some kind of fancy car, and 'tracked by the central theme: the theme of Reeves' 'Willie D' is clear as day, lyrically portraying D's hustle as 'magic', "never treating two girls the same", "it's no different from any other industry". 'Keep On Movin' On' contrasts this with a note of modesty, signaling the movie's inevitable tonal shift; nor should you miss the B-side instrumentals 'Willie Chase' and 'Parade Strut'.

Review: This is one of those albums that is for the real heads - a deep, dark, moody mix of new soul and hip-hop from the great vocalist you might well have recognised from Roni Size/Reprazent's seminal New Forms album. Released in 1996, it showcases Bahamadia's distinctive flow and insightful lyricism with tracks like 'Uknowhowwedu' and '3 the Hard Way' effortlessly navigating intricate beats and soulful samples to deliver messages of empowerment and introspection. As such the LP embodies the essence of 90s hip-hop in the way it blends jazz-infused production with Bahamadia's smooth delivery. As a pioneer for female MCs, Bahamadia's influence should reverberate through generations.

Review: From the 1979 LP Accadde A... by Arawak, this superb 7" showcases standout Italian Library recordings that you need in your life. Arawak, one of Luciano Simoncini's many pseudonyms, crafted compositions for film scores, radio, and television in Italy and this album remained obscure until the legendary Madlib heavily sampled it in 2000 and drove up the price of originals. The LP received its first reissue by Golden Pavilion in 2017 so fans could cop it once more and now two of the best bits from it are on their own record. Both tracks oscillate between mellow dreamy atmospheres and irresistible drum breaks with 'Bali' being sampled in 'Real Eyes' by Quasimoto in 2000, and b-side jam coming on strong with bagpipes intertwined with punchy bass and steady drums.

Review: Defected's colourful and diverse Glitterbox party has been a real success story in recent years and the label embodies that with a great representation of the sorts of sounds you will hear at the party. It's all about full throttle, emotionally intense house, soul and disco and that is exactly the case on Melvo Baptiste's opener 'Gonna Be Alright' (feat Jamie 3:26 & Annette Bowen) with its big diva vocals, piano stabs and hand claps. Mousse T keeps it silky and funky on the feel good 'Take It Back' and Riva Starr brings the swing to 'How It Feels'. Shakedown & Bootsy Collins's 'Funky & You Know It' (Shakedown Work That Mother mix) is a nice sleazy ass-shaker to close.

Review: A great choice of reissue by Kent Dance, Carolyn Crawford's 'Get Up And Move' is a fiery vocal soul highlight, and impassioned plea to the object of her affections to "get up and move", before he, she or they do something they "don't wanna do". It's a situation we can all relate to, but this recollection of Crawford's rendition of the scene lends the feeling an extra weight, igniting the inner carpe diem in all of us. From the unheard vaults of Mickey Stevenson's Mpingo label in the early 70s, it now comes double-billed with the Motownier 'Sugar Boy' on the flip, also hitherto unheard.

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: ''Seconds To Forever' is one of the most beloved tracks in the Echospace arsenal. Originally released in 2010, this reissue is being pressed on transparent blue vinyl. Fans of Stephen Hitchell will be excited to see these rumoured reissues finally seeing daylight. 'Beyond the Clouds' is on the B-side as well which makes this perhaps, the most desirable EP in this history of the label. We are just glad to see Stephen Hitchell back releasing physical music - and these are still classics of the dub techno genre.

Review: West Coast Classics US has taken the hip-hop community by storm with their ability to license such seminal west coast tracks. With an extra focus on gangster rap, the label offers a classic on each side of a 7". Their sixth release has a couple of killers on it! 2pac and Dr.Dre's 'California Love' really needs no introduction. A legendary track that ate up the airwaves around the world and on MTV when it was released in 1996. Not to be outdone, Ice Cube covers the B-side with one of his most important solo tracks that established him after leaving NWA., 'Jackin For Beats'. Getting original copies of these on wax would cost a day's wage for most people. Like the label suggests, these are West Coast Classics and are blueprints for gangster rap.

Review: It's no wonder Dopplereffekt named their latest EP 'Inifinite Tetraspace'. For starters, a tetrahedron is a 3D triangular pyramid of equal lengths per side. A sine wave, meanwhile, is in auditory form considered the purest, most basic sound - it is also the graph produced by plotting all the ratio points between two sides of a triangle. The logical conclusion is this: infinite tetraspace might be considered the ultimate form of repetitive sound, carrying on forever, triangulating constantly in all directions, never ceasing. For all its vivid imaginings, Dopplereffekt's dualistic, stereo-effected sound carries on in full force on their latest EP for Curtis Electronix, tetra-scribing four icy, unsettling entities that may only be encountered in this special extra-conscious zone.

Review: Throwdown Records throw down a fresh reissue of Ice Cube's stone cold classic 'You Know How We Do It', first released as a single from his fourth studio album Lethal Injection (1996). Emblematic of Cube's signature West Coast G-funk, this one's replete with the glissando'd whistles and smokey funk motifs we all know and love from the frozen rap hexahedron, who confidently assures us of us already knowing how he does it. There's no messing with Cube; the track appears alongside the original B flip '2 N The Morning', which ups the bombast to boomier, increasingly sexual nighttime ends.

Review: Oooh! Angie Stone's "Wish I Didn't Miss You" definitely belongs in the canon of all time modern soul classics. Taken from her 2001 second album Mahogany Soul, the Swizz Beats produced track made optimum usage of an O' Jays sample and was instrumental in that LP going gold and propelling the former D'Angelo collaborator to stardom. It also inspired countless official and under the counter remixes with Blaze's perhaps the most recognisable. So yes this reissue on 7" from Outta Sight is worthy if you don't have the original in your collection and features a housed up remix from Hex Hector on the flip.

Review: Volume 2 from the Jackin' Disco crew promises to deliver something other than murder on the dancefloor despite the Sophie Ellis-Bextor flip; paring the disco pace back to a downer-tempo, albeit still delivering ample energy to fit on a single slice of 7" wax. The edit on the A-side is sourced from not from Bextor's breakout disco-dance hit but rather her equally-as-good, classic feature cut 'Groovejet' by producer Spiller. On the B comes an equally loopy, happy-to-be-jacked bootleg of Carol Williams' 'Love Is You'.

Review: Out as a reissue through the same label that put it out way back in 1971, the aptly named Dig, Friday, Saturday & Sunday appear on our shelves like nothing's happened, and we're still here wandering what the hell happened! "Potato Salad" is a hard nugget to find as an original, but its also such a groovy, light-hearted tune that is a perfect example of why disco was what it was, and why it was so fun - a super recommended tune. "There Must Be Something" is equally good and powerful when played out, and although it doesn't have the same charm as the A-side, it's still a rocking soul classic.

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: It has been a while since Umbo released any new music but now he is back on the Austrian label Resense with a superb pair of edits on this essential little 45 rpm. Kicking things off is 'Grits' which is a hard hitting bit of b-boy funk and breaks with old school soul vocals and plenty of horn stabs powering it ever onwards and upwards. '23h' is a little more seductive but no less busy with tightly woven bongos and congas peppering the high speed funk groove. Fantastic stuff that we hope is the start of much more to come from edit king Umbo.

Review: Dal Platinum is back once again like a reneged master. His last outings on the fantastic Breakbeat Paradise Recordings came in the form of a remix and a huge Powerhour free download and now he comes correct on a new 7". He kicks off by bringing some crashing breakbeats and funky drumming to a hip-hop classic on 'Breath & Strut', while the melodies are full of soul. On the reverse is a much sunnier sound - 'Peace Dust' is driven by a big bassline with some nice organ stabs and a fiery vocal leading the vibes up top.

Review: Kolter, hailing from Cologne, Germany, delivers a fresh - we don't use the word lightly - new four-tracker, 'That Was Fresh'. Centring nominally on the infamous literal breakbeat vocal sample, this EP plays out as a contemporary take on the breakdances and funk backbeats come electronic dance bangers of yore. Beginning with an impossible-missioned eponymous A-sider, before moving into flat beat electro house of 'This Is It' and the cascading metro-synths of 'Feel', before finally concluding on the retro trance rejoinder, 'I'm Fine, Thanks!', there's really something here for everyone.

Review: Finally, the debut Bochum Welt album Module 2 has been reissued after an initial run on Rephlex. Bochum Welt (Gianluigi Di Costanzo) has just recently celebrated 30 years of releasing music. His brand of IDM, electro and techno has been often copied but never equaled. His futuristic music seems to always be forward thinking and ultimately, timeless sounding. This edition is on matching green vinyl and includes all the classic material of the first release. Fans of AFX, Squarepusher and Cylob are sure to be aware of Bochum Welt. But for those who aren't....

Review: Given Tornado Wallace's impeccable Balearic credentials, you'd expect his new A.S.O project - a collaboration with Berlin-based singer-songwriter Alisia Seror O'Neill AKA Alias Error - to tend towards the dreamy, immersive and emotive. It does, of course, with the pair conjuring gorgeous slabs of downtempo leftfield pop variously influenced by the layered textures of shoegaze, the wide-eyed bliss of 80s dream pop (Seror O'Neill's vocal delivery is at times reminiscent of Cocteau Twins' Elizabeth Fraser), the blazed Bristol beats of Massive Attack, the flat-on-your-back day-break headiness of ambient, the hard-to-pigeonhole brilliance of the Duratti Column and the late-night-on-AM-radio atmosphere of Kelley Polar and Morgan Geist's similarly inspired Ai Suisse project.

Notes: One of the best solutions for 7"/10"/12" record cleaning, HumminGuru's ultrasonic approach automatically restores your records, cleaning and drying within 7 to 15 minutes per disc. Simple, easy to use and effective.

Supplier's Notes:
The HumminGuru Ultrasonic Vinyl Record Cleaner

An all-in-one ultrasonic vinyl cleaning machine that automatically cleans and dries your record in just 7 to 15 minutes. It is compact, lightweight, quiet and compatible with 100v-240v.

HumminGuru ultrasonic vinyl record cleaner not only brings your dirty records back to life; its ease of use and intuitive design also makes record cleaning a more pleasant experience. It has been designed to clean and dry the vinyl records in one step using ultrasonic cleaning system. With 40kHz frequency, it is effective to remove the contaminants and dust on the record without causing any damage to the surface of the record. Less is more. Its lightweight and compact design make it easy to transport and creates more space to store. The simple yet elegant look was created to intuitively fit into your lifestyle. HumminGuru would be your best option in quality for price and value.

Maintenance Features

Air Filtration - To prevent external dust from blowing back onto the record during the drying process. The filter is washable and replaceable, which makes for easy maintenance.
Water Filter - A detachable water filter in the water tank gives an option to reuse the cleaning water. The filter is washable, which makes for easy maintenance.
Removable water tank - Water tank is removable for easy cleaning and maintenance
Replaceable rotation wheels - Easy to replace with HumminGuru assigned maintenance tool

Specifications

Item Name: HumminGuru Ultrasonic Vinyl Record Cleaner
Net Weight: 3.1 kg
Material: ABS & Stainless Steel
Colour: The New Blue
Dimensions: 34 x 15 x 28 cm
Adapter (Supported Voltage): 100 - 240 V AC 50-60 Hz
Water Tank Capacity: 400 ml
Ultrasonic Frequency: 40 kHz
Packing Volume: 38 x 21 x 37 cm
Packing Weight: 4.88 kg
Cbm: 0.03
Certifications: RoHS Directive 2011/65/EU, (EU) 2015/863
1 Year Warranty: HumminGuru comes with 1 year world-wide warranty.

Humminguru supports all commonly used voltage standards from 100v-240v.

The package comes with:

Ultrasonic Vinyl Record Cleaner
A Cleaner Lid
Power Cord
Manual Instruction
Removable Water Tank x 1
Maintenace Tool x 1
Replacement kit (2 pairs of rotation wheels, 5 pcs of air filters and 5 pcs of water filters) x1
Adapters for 7" and 10" records

Review: New Jersey house don Kerri Chandler is rightfully lauded as a hero of the scene. He continues to pour his heart and soul into every record and imbue his music with real-world emotions that elevate his tunes. He is of course a master of a deep but driving sound that borrows from soul, funk and jazz in ignitible ways. The third volume of his Lost & Found EP series on his own label Kaoz Theory is packed with more gold, from the slinky depths of 'Let It (Give Me Back My Love)' to the soul staring vocal work of 'Another Dawn' via more paired back sounds on 'The Bassline' (Kerri Dark mix) and the percussive energy of 'The Breeze.' Yet another essential Kerri 12" for your collection.

Notes: As close to an industry standard as you can get. The archetypal DJ headphones: punchy, comfortable and durable. Firm favourites of countless DJs, for good reason.

Supplier's notes:
The Sennheiser HD 25 Headphones have been redesigned, featuring the iconic split headband with a single-sided connection cable and a flip-away earcup for convenient single-sided listening.

With a frequency response of 16Hz to 22kHz, an impedance of 70 ohms and a maximum SPL of 120dB, the HD 25 headphones are ideal for any monitoring application; whether broadcasting, live recording, in the DJ booth or just travelling from venue to venue.

Review: After many years of waiting, CV313 (Stephen Hitchell) brings out blue vinyl editions of some of his cherished dub techno classics. Originally released in 2007 and again in 2009, 'Subtraktive' took the M7 formula and deepened it even further becoming the blueprint for CV313 and the Echospace label for years to come. Comes with the live in Japan version also. This reissue is a warm welcome for those concerned about ever getting a copy.

Review: Ariana Grande's gorgeous Eternal Sunshine album radiates with shimmering pop perfection. Bursting with celestial melodies, lush production, and Grande's powerful vocals, it's an ethereal journey through love, loss, and self-discovery. From the dreamy allure of 'Sunset Serenade' to the introspective depth of 'Midnight Memories,' each track exudes true emotional resonance and sonic brilliance as Grande effortlessly navigates between vulnerability and empowerment to craft a deeply personal yet universally relatable record. With its seamless blend of r&b, pop, and electronic influences, this album solidifies Grande's status as a pop icon while offering listeners escape into a world of eternal bliss.

Review: Yuki Kanesaka returns with a delicious uptempo remix-cover of Herbie Hancock's thoroughgoing jazz patent, 'Watermelon Man'. In respectful contrast to Hancock's original piece, Kanesaka deploys a to-the-letter rendition of the original's opening Hindewhu whistle hoot - also heard on the mashup B-side - and keeps up Hancock's intended 'mathematical balance' with a nonetheless meatier, dance-ready EQ balance. Legend has it that this was Hancock's first ever song to be composed with commercial success in mind; we're not surprised at its continued proliferation, appreciation and reproduction across the globe - and now in Japan, no less.

Review: Florecer steps up to the cultured Is It Balearic label with the sort of soothing downtempo sounds that are perfect for sunset moments with a quality drink. There is plenty of mellow and dreamy West Coast lushness to 'Hidden Thoughts' with its shimmering synths and seductive vocal coos while the first remix from Hitchhiker steps up the energy with an arp-ed sound. Das Complex gets dark and chugging as is his usual want on the flipside, then Cafe Del Mar resident Ken Fan offers a trademark chillout sound to close out another most calming EP from this great label.

Notes: Premium Inner Record Sleeves - Master Sleeves for 12" Records
We think protecting your vinyl records with the highest-quality sleeves results in the best sound. Our premium master record sleeves help you avoid scuffing, static, and hairline scratches on your records.

Premium 3-ply polyethylene record inner sleeves add an extra line of defense and quality to your collection, preserving great music for decades to come by repelling dust for "long play" protection.

Why Add a Rice Paper Layer?
These archival record sleeves are made from high-density polyethylene (HDPE) with a rice paper backing. The rice paper layer is sandwiched between two sheets of HDPE with a translucent HDPE front. You'll find many records in their premium master sleeve, still in perfect condition decades later. This construction has other benefits, too:

No risk of paper scuffs
Reduction in static
Lower risk of sticking to vinyl over time
True collectors know that the quality and reliability of master sleeves aren't easy to find in your typical paper sleeve cover. Our clear vinyl record inner sleeves provide easy viewing of each record you pull. Premium anti-static record sleeves contain a transparent side for easy viewing of your complete album.

Review: A collection of remixes that take the original Amy track and transform it into a dance-oriented experience. The Alix Alvarez Sol Channel mix on the A-side is a house remix that adds a driving beat and energetic synths. In contrast, the Al Usher remix on the B-side takes a more soulful approach, infusing the track with a 1970s vibe. Two remixes that showcase the versatility of the original song and offer a fresh take on Winehouse's iconic vocals.

Review: Measured Mile records puts two classy soul tracks onto the same 7". Originally released in 1974, Act 1 - 'It's The Same Old Story' is often looked over classic of the era. Act 1 hailed from Detroit and featured Raeford Gerald, Roger Terry, Reggie Ross and George Barker. The band had two minor hits but often people recall 'It's The Same Old Story' as their favorite of their only full album. Ivano Fossati's 'Night Of The Wolf' is found on the B-side. A jam song that verges slightly into Latin music, asks for quite a sum of money for its original copy. Both tracks add up to a real gem of a 7".

Review: Alison Limerick's 'Where Love Lives' is the sound of a generation, a reminder of one of the most vital cultural movements of the last 100 years. It is a perma-hit that unites all ages, colours and creeds, even now, 30 years after it first got hands in the air and tears in the eyes on dance floors of cult clubs around the world. To mark the occasion it gets a special remaster treatment and 12" release for Record Store Day. The Classic Mix - which is still the best - kicks off, followed by a big piano version from Mo Knuckles and a darker, more stripped back Cut To The Bone mix.

Review: Broken beat hero Kaidi Tatham steps forth with the first in a series of all-star remix albums of the Reel People Music back catalogue. Over an impressive ten tracks, Tatham sashays between syrupy soul slo-jams, virtuosic broken beat trips, almost UK funky-esque live jams, and acoustic boom bap beats. Percies include the sweeter-than-molasses opening flip of Sebb Junior's 'All My Life', his sassy, stripped-back version of Daz-I-Kue and Hadiya George's 'Pedigree' and a dazzlingly technical re-run of the Monkey Brothers' 'Losin my Head.' With this anthology, Tatham proves that London's broken beat scene continues to flourish, and his boundary-hopping style is as relevant as ever.

Review: It would be fair to say that post-disco outfit Unlimited Touch's 1980 single "I Hear Music In the Streets" is one of the greatest boogie/electrofunk records of all time. Louie Vega clearly agrees, because late last year he decided to gather together the remaining members of Unlimited Touch and record a fresh 2020 version. The A-side "Touch Mix" is the bomb. It features a more organic-sounding disco-boogie groove than the 1980 original, with delicious guitars, bass and electric piano/organ underpinning seriously good group vocals from the sometime Prelude-signed outfit. Over on the flip, Vega serves up an electric piano solo-laden dub mix, as well as a "Classic Boogie" take that naturally sounds very similar to the band's much-loved original version.

Review: Stevie Wonder's 'Pastime Paradise' has thus far been less recognised as an original soul wonderwork, and more so as a sample by American rapper Coolio on the derivative 'Gangster's Paradise'. Though still having been covered by many artists over the years, Major Keys records highlights this enduring 1981 cover of Wonder's 'Paradise' by Latin percussionist Ray Barretto as among their favourites, if not their absolute favourite. Now the label reissue the gem, flaunting its up-to-date, nigh timeless feel; it's the opposite of a miracle that this has never before been released on a 12" single record, despite the fact that it is a favourite on the floors of jazz and soul rooms the world over. It also flips it with Barretto's own 'La Cuna' and 'Mambotango', taken from the same 1981 LP.

Review: Nu Groove is one of those labels that everyone who knows recognises as having played a key part in the early house movement. Based out of the New York scene on the East Coast it had a distinctive 90s deep house sound which DJ Steaw now taps into but with his own twist. His grooves are jacked up and analogue, densely packed but high on warmth and soul. 'Take It There' is a prickly opener and 'Seascape' then brings some acid. 'Close To U' has a more low-slung groove that is peppered with raw claps and last of all, 'Exotica' brings some cosmic synth work to crisp, funked-up and electro-tinged rhythms.