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The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

No-one could have predicted the success of The 88, the first album from Minuit
(minwee), or how warmly it would be received. Equally no-one could have predicted that the band would return to the live arena a decade after their final fling or consider pressing their debut on vinyl for the first time.

Formed in Nelson, NZ in 1997, the trio cut their teeth playing regularly around the South Island’s underground club and festival scene. After a hiatus overseas, they began recording The 88 in 2002 in Ryan’s home studio. The lyrics were influenced by their travels around Europe and Ruth's time working for the UN in Kosovo and East Timor; the beats by The Prodigy, Portishead and the UK’s trip-hop and breakbeat scenes.

Signed to indie label Tardus, their tunes were eagerly picked up by the bNet student radio network, which then ballooned into high rotates on TV station C4, helped along by Alyx Duncan’s stunning video for Except You. A busy summer playing live every weekend for three months and seemingly universal praise from the music press led to them swiftly gaining gold sales.

Now 22 years later, with live shows looming, the trio have decided to revisit their debut, completing two previously unfinished tracks from the period to add a bonus to this inaugural vinyl release.

There comes a point in every bands life when originality stops being a virtue and honesty takes the wheel. On their 11th long-playing record: Forgeries (72-84)-(16)- return to the impulse that first dragged them into loud rooms and bad ideas: the urge to steal what we love and make it semi-unrecognizable through devotion. We have partnered with Heavy Psych Sounds Records to release a collection of covers that function less as homage and more as a possession to be given away. The artworkrendered by the ever-amazing Maraldcompletes the ritualiconicunsettlingand unafraid. Weve always believed that a great cover is not mimicry but revelation. Its finding a song that's already lived inside you since youth and letting it crawl outbruised and changed. From the early 90s onward-(16)- have treated covers as translations rather than as replicasacts of tribute and emulationfiltered through distortionfatigueand lived experience. These are songs that taught us how to standhow to falland how to keep going. In our collective headthis album exists because these songs demanded it. Because they screamed copy meand we listened. In the endForgeries (72-84) stands as both a thank you note and a thefta reminder that all music worth a damn is borrowedbrokenand passed on between friends. The selections on Forgeries 72-84 span eras and attitudesunified not by genre but by necessity. Each track is a document of obsessionof influence absorbed and re-expressed without permission.

There comes a point in every bands life when originality stops being a virtue and honesty takes the wheel. On their 11th long-playing record: Forgeries (72-84)-(16)- return to the impulse that first dragged them into loud rooms and bad ideas: the urge to steal what we love and make it semi-unrecognizable through devotion. We have partnered with Heavy Psych Sounds Records to release a collection of covers that function less as homage and more as a possession to be given away. The artworkrendered by the ever-amazing Maraldcompletes the ritualiconicunsettlingand unafraid. Weve always believed that a great cover is not mimicry but revelation. Its finding a song that's already lived inside you since youth and letting it crawl outbruised and changed. From the early 90s onward-(16)- have treated covers as translations rather than as replicasacts of tribute and emulationfiltered through distortionfatigueand lived experience. These are songs that taught us how to standhow to falland how to keep going. In our collective headthis album exists because these songs demanded it. Because they screamed copy meand we listened. In the endForgeries (72-84) stands as both a thank you note and a thefta reminder that all music worth a damn is borrowedbrokenand passed on between friends. The selections on Forgeries 72-84 span eras and attitudesunified not by genre but by necessity. Each track is a document of obsessionof influence absorbed and re-expressed without permission.

Fast zwei Jahrzehnte nach der Veröffentlichung des Originalalbums, das mit einem Grammy ausgezeichnet
wurde, lebt die Legende des Buena Vista Social Club mit „Lost and Found“ weiter, einer Sammlung bisher
unveröffentlichter Titel. Einige entstanden bei den legendären ersten Sessions in Havanna mit Produzent
Ry Cooder, andere während der darauffolgenden, außergewöhnlich produktiven Phase.
Das Originalalbum des Buena Vista Social Club wurde 1996 von Ry Cooder und Nick Gold innerhalb von
sieben Tagen in Havanna für World Circuit Records aufgenommen. Es vereinte viele der großen Namen des
goldenen Zeitalters der kubanischen Musik der 1950er-Jahre, von denen einige für die Sessions aus dem
Ruhestand zurückgeholt wurden.
Das Album wurde überraschend zum internationalen Bestseller und zum erfolgreichsten Album in der
Geschichte der kubanischen Musik. Damals ahnte niemand, dass die Platte erst der Anfang eines musikalischen Phänomens sein würde. In den folgenden Jahren tourten die Buena-Vista-Veteranen vor begeistertem
Publikum um die Welt und waren Gegenstand eines gefeierten Spielfilms von Wim Wenders.
Es folgten weitere gefeierte Aufnahmen, darunter Soloalben der Sänger Ibrahim Ferrer und Omara Portuondo, des virtuosen Pianisten Rubén González und des Bassisten Cachaíto López sowie ein mitreißendes
Live-Album, aufgenommen bei einem triumphalen Konzert in der New Yorker Carnegie Hall.
Der Buena Vista Social Club war zu einem bekannten Namen geworden. „Über die Jahre wurden wir oft
gefragt, welches unveröffentlichte Material noch in den Archiven schlummert“, sagt Nick Gold von World
Circuit. „Wir kannten einige Schätze, Favoriten der Musiker, aber wir waren immer zu sehr mit dem
nächsten Projekt beschäftigt, um nachzusehen, was wir sonst noch hatten. Als wir endlich die Zeit dazu
fanden, waren wir erstaunt, wie viel wunderbare Musik es gab.“
Alle Studioaufnahmen für World Circuit entstanden im Egrem-Studio in Havanna während der produktiven
und kreativen Phase nach der Aufnahme des Originalalbums, die bis in die frühen 2000er-Jahre andauerte.
Angereichert mit Live-Aufnahmen aus derselben produktiven Phase, bietet das Material auf „Lost and
Found“ eine enorme und mitunter überraschende Vielfalt. Doch es gibt einen roten Faden, der von einem
Kernteam legendärer Musiker getragen wird, die einen Korpsgeist zum Ausdruck bringen, den jeder, der
jemals vom Buena Vista Social Club verzaubert war, wiedererkennen und genießen wird.

Mit „Middle of Nowhere“ veröffentlicht die achtfache Grammy-Gewinnerin Kacey Musgraves ihr sechstes
Studioalbum. Das Album klingt unverkennbar nach Kacey: ehrlich, furchtlos, mitreißend und stets bereit,
den Wendungen des Lebens mit einem Augenzwinkern zu begegnen. Klanglich kehrt Musgraves bewusst
zu ihren Texas-Wurzeln zurück. Das Album enthält Features von Willie Nelson, Miranda Lambert, Billy
Strings und Gregory Alan Isakov und wurde von Kacey Musgraves gemeinsam mit Daniel Tashian und
Ian Fitchuk produziert. Als eine der meistgestreamten Künstlerinnen ihres Genres prägt Musgraves den
modernen Country-Sound wie kaum eine andere. Ihr Erfolgsalbum „Golden Hour“ wurde 2018 vom Rolling
Stone in die Liste der „500 Greatest Albums of All Time“ aufgenommen und festigte ihren Status als eine
der einflussreichsten Stimmen des Pop-Countrys.

Mit „Middle of Nowhere“ veröffentlicht die achtfache Grammy-Gewinnerin Kacey Musgraves ihr sechstes
Studioalbum. Das Album klingt unverkennbar nach Kacey: ehrlich, furchtlos, mitreißend und stets bereit,
den Wendungen des Lebens mit einem Augenzwinkern zu begegnen. Klanglich kehrt Musgraves bewusst
zu ihren Texas-Wurzeln zurück. Das Album enthält Features von Willie Nelson, Miranda Lambert, Billy
Strings und Gregory Alan Isakov und wurde von Kacey Musgraves gemeinsam mit Daniel Tashian und
Ian Fitchuk produziert. Als eine der meistgestreamten Künstlerinnen ihres Genres prägt Musgraves den
modernen Country-Sound wie kaum eine andere. Ihr Erfolgsalbum „Golden Hour“ wurde 2018 vom Rolling
Stone in die Liste der „500 Greatest Albums of All Time“ aufgenommen und festigte ihren Status als eine
der einflussreichsten Stimmen des Pop-Countrys.

Nach einem turbulenten Jahrzehnt, in dem er häufiger im Gefängnis als auf der Bühne oder in einem
Aufnahmestudio anzutreffen war, begann Tenorsaxofonist Dexter Gordon mit einem neuen Vertrag bei
Blue Note Records eine erstaunliche Karriere-Renaissance. Mit den im Mai 1961 im Abstand von nur drei
Tagen in Rudy Van Gelders Tonstudio in Englewood Cliffs aufgenommenen Alben “Doin’ Allright” und
“Dexter Calling” untermauerte er seine Rückkehr zu alter Form mit Bravour. Hervorragend unterstützt von
einem fein besetzten Quartett, wechselte der spielfreudige Saxofonist auf “Dexter Calling” mühelos von
energiegeladenem Swing zu atemberaubenden Balladen.

Zum ersten Mal auf Kassette! Mit nur sechs Singleveröffentlichungen zwischen 1965 und 1966 und von einem musikalisch abgelegenen Ort wie Lima erschufen LOS SAICOS einen rohe, wilden Sound, der Einiges mit dem gemeinsam hatte, was zur gleichen Zeit auf der Nordhalbkugel ,Garage Rock" getauft wurde. LOS SAICOS teilten sich Gene mit THE SONICS, ROCKET FROM THE TOMBRS, THE CRAMPS und BLACK LIPS. Diese Veröffentlichung versammelt sämtliche ihrer Aufnahmen und erzählt die grandiose Geschichte von LOS SAICOS. Die Archäologie des Rock'n'Roll hat viel gemeinsam mit anderen Formen des Grabens. Wichtige Fundstücke erfordern eine Neueinschätzung der alten Gewissheiten. Ich hatte niemals zuvor von LOS SAICOS gehört, hatte jedoch die WAU Y LOS ARRGHS!!! Version von ,Demolicion" genossen. Während mir die Wildheit des Tracks gefiel, dachte ich nicht eine Sekunde daran, dass das Original noch verstörter sein könnte. Was noch viel wichtiger is: dieser fauchende Strudel Nihilismus wurde in Lima aufgenommen, während der Rest der Welt die BEATLES abfeierte. Chemie ist ein Faktor, der wichtiger als theoretische Kenntnisse oder Können. Es gibt einen Punkt, an dem die Natur die Führung übernimmt - das Individuum muss gehorchen. Wer hätte gedacht, dass es da draußen in Peru eine Combo geben würde, die THE SONICS nach den verdammten SIMON & GARFUNKEL klingen lässt? Best ever Saicotherapie!

This expanded edition presents the soundtrack with previously unreleased material not included on the original vinyl release, offering a more complete overview of Micalizzi’s work. The package is further enhanced by an 8-page full-color booklet featuring original artwork, extensive liner notes on the film, direction, and score by journalist Fabio Babini, as well as a personal contribution from Franco Micalizzi himself.

Composed by Maestro Franco Micalizzi for the cult 1984 film Non C’è Due Senza Quattro, starring the iconic duo Bud Spencer & Terence Hill in a rare fourfold role, this soundtrack captures the playful spirit and global flair of the film.

Micalizzi delivers a vibrant and rhythm-driven score, infused with warm Latin influences, breezy melodies, and an unmistakable sense of lightness. The result is a richly entertaining listening experience that perfectly mirrors the film’s humor, energy, and escapist charm.

A joyful and sun-soaked addition to any collection, this release stands as both a nostalgic tribute and a testament to Micalizzi’s enduring legacy in Italian cinema soundtracks—best enjoyed, perhaps, with a well-mixed cocktail in hand.

©℗ 1984 – Beat Records Company. Reissued by Holy Basil Records under license by Beat Records.

LS002 marks the first vinyl chapter of 20, Eitan Reiter's two-decade retrospective, distilled through key collaborations and remixes. Featuring Patrice Bäumel, Infected Mushroom, Shpongle, Red Axes, and Echo, this six-track release connects psychedelic heritage with contemporary indie dance and deep electronic aesthetics.
20 (Part 1) is a 12-inch vinyl edition featuring exclusive vinyl cuts, available only on this pressing. The selection reflects Reiter's ability to honor his roots while maintaining a distinctly modern sound,blending psychedelic foundations with cluboriented precision.

A1 - Eitan Reiter - Blue Planet (Remix) Vinyl Cut
The A-side opens with a spacious, atmospheric rework of Blue Planet, balancing restrained tension with melodic clarity.
A2 - Eitan Reiter - X-Vision feat. Echo Vinyl Cut
Echo's vocal performance anchors the track, presented here in a refined vinyl cut that enhances its emotional depth.
A3 - Eitan Reiter & A. Balter - E0E (Eitan Reiter Remix) Vinyl Cut
A driving, hypnotic groove where rhythmic focus meets evolving textures.
A4 - Infected Mushroom & Yahel - Electro Panic (Eitan Reiter Remix) [Vinyl Cut]
A confident reworking of a psytrance classic, reshaped into an 80s-leaning indie dance format.
B1 - Eitan Reiter - Eat You (Patrice Bäumel Remix)
Patrice Bäumel heightens the track's underlying tension with a slow-building, immersive reinterpretation.
B2 - Out of Orbit & Shpongle - No Disco (Red Axes Remix)
Red Axes flip the original into a dark disco framework, adding weight, swing, and late-night character.

LS002 presents a vinyl-focused snapshot of Eitan Reiter's collaborative output, with each track adapted for turntable playback.

(Extrawelt Remix) The second vinyl installment of 20 shifts focus toward cinematic structure, melodic depth, and genre-crossing reinterpretations. Collaborations and remixes involving Extrawelt, Noga Erez, Perfect Stranger, PRZ, and A. Balter underline Eitan Reiter's refined and flexible production approach.



20 (Part 2) is a 12-inch vinyl release featuring exclusive vinyl cuts that are not available digitally, offering collectors insight into Reiter's evolving sonic language.



LS003 completes the vinyl-only snapshot of 20, presenting carefully selected collaborations adapted for the physical format.

Repress!

Every once in a while, a record comes along which resonates in a special way, stands the test of time, and brings the same reaction to the dancefloor now as it did all those years ago. 'Groovejet (If This Ain’t Love)' is one of those records, a classic in every sense of the word. Originally released in 2000, Defected are, re-releasing this club essential for new and original fans alike in a special, limited edition deluxe remix reissue.

This unique two vinyl pack comes in full colour gatefold sleeve with augmented reality cover that will come to life once you scan the mask image on your phone accompanied by a four page 12” insert written by Spiller detailing the full story of ‘Groovejet’; from original production, early reactions, chart success and new 2021/22 remixes.

The releases features the original versions plus new mixes Purple Disco Machine & Lorenz Rhode, Riva Star, Breakbot & Irfane and Harvey Sutherland. Exclusive to the vinyl are Riva Starr’s Skylight Mix and the Harvey Sutherland Instrumental version.

Collecting Orders For 2025 Repress

The gift that keeps on giving, Purple Disco Machines’ ‘Exotica (Deluxe Album)’ is being treated to some epic remixes of your favourite songs now available on vinyl.

First up a Club Dub version of ‘In The Dark’ and Monte Remix of ‘Can’t Get Enough’ which are both guaranteed to get you on your feet.

Repress!

Belgian techno powerhouse Charlotte de Witte has unveiled brand-new EP ‘Apollo’, out 14th October on her own KNTXT label.

An uncompromising collection of club tracks, ‘Apollo’ opens with ‘Missing Channel’, a turbo-charged acid techno cut pairing pumping kick drums with squelching 303s. Next up, the title track shifts things into warehouse techno territories, juxtaposing bludgeoning kicks with haunting, ethereal vocals, while ‘Mercury’ cultivates a striking interstellar energy. Closing things out, ‘PPC’ is by far the record’s most experimental track, a shimmering, beatless creation laced with samples of space transmissions.

"The vastness and solitude of space always interested me. A compelling contrast between monumental power and the vacuum in between.” Charlotte explains. “This diversion can also be found in techno music, a pure simplicity divergent in power."

Charlotte de Witte has become known for her dark, stripped-back brand of techno, acid and anything high energy. She’s often crossing borders but maintains a deep form of respect for the underground. Highlight performances across the continents - including being the first techno (and female) DJ to headline the mainstage at Tomorrowland - Mixmag and DJ Mag covers, high-ranking positions in the charts and lists confirm her status as nouveaux techno royalty.

Heavy, breakneck club fodder, ‘Apollo EP’ is Charlotte de Witte at her bold and brilliant best.

Karen Morrison - stage name Bryck Rose formerly known as K Vibes on the Reggae Dancehall scene. Currently a gospel singer, songwriter, poet, and aspiring playwright and one of the younger members from Studio One of Jamaica.

Repress.

Step into a journey through time with Lapa Dula's debut album "Agua", proudly presented by the Early Sounds team. “Agua” is a sonic and aesthetic collage, a tribute to the sounds and memories of Naples and its surroundings in the vibrant cultural and social scene of the mid 1980s, not just a reflection of producer’s Alessandro La Padula childhood memories, but also a nod to the myths and legends of Partenope. Written between Rome and Naples and co-produced by label head Pellegrino, "Agua" is the latest addition to the imprint’s distinctive "Mediterranean sound" blending funk, Latin, world music, and disco, with songs like the balearic title track "Agua" and the nostalgic ode to rural life "Sibilla", also inspired by the myth of the Sibyl of Cumae, this album takes you on a journey of emotions and experiences.

From vernacular "Scemanfu", a fun play on the French expression "je m'en fous" (I don't care), to the contemplative "Navigante", dedicated to those who have found solace in the sea or in the virtual world, and the final track "Baibai", inspired by the adventurous and licentious affairs of English nobleman Sir Nathaniel Thorold, who lived on the island of Capri, each song tells a story and adds a piece to this mosaic of sounds, images, and places.

The Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop’s smoothest figures.