Search:sweet sweet

Despite the widespread popularity of reggae music in the UK, following its explosion onto the international music scene in the late 1960s, many of these in charge of Britain's mainstream media were reluctant to give the exciting new sound coverage, wither in print or over the airways.

In an attempt to counter this prejudice, Trojan Records took the bold step of embellishing recordings from Jamaica with sophisticated orchestration, with the resultant ‘commercial reggae’ sound immediately finding favour with the country’s reggae fans.

Consequently, the company not just maintained, but in fact extended the procedure, employing producers to record the country’s finest British-based reggae acts. The result was the release of an abundance of superbly crafted recordings, the production values of which rated with the best that British pop had to offer.

Sweet Apricots presents its first vinyl release: Daniel Masson – Baul Dimension EP.

In the early 2000s, French composer and producer Daniel Masson travelled to Dhaka to record musicians and singers from Bangladesh’s Baul tradition, a mystical musical culture centred on freedom, inner exploration and universal love.

Originally released as a 13-track album, Baul Dimension appears here on vinyl for the first time through a carefully selected four-track EP. The record brings together the original version, Daniel Masson’s hypnotic Anniversary Version, and two remixes by Lucas Desmottes, aka Roy Vision.

A regular guest at Sweet Apricots parties, Roy Vision translates the spirit of the dancefloor into two deep, percussive and jazz-informed versions: the uplifting Higher Self Mix and its spacious, powerful dub counterpart.

Between organic voices, traditional instrumentation, electronic textures and hypnotic rhythms, Baul Dimension EP is a journey made for attentive listening as much as for adventurous dancefloors.

Cut at The Carvery, London and pressed with particular care by Disques Garcia

Written during and after a year touring the world, Sweet American Boy
expands the raw honesty that built honestav's audience while pushing his
sound into bigger, rock-driven territory - heard on Can't Let Go, Storm In
This House, and Crash First.
Across 16 tracks he wrestles with family history, addiction, grief, love, and
the complicated reality of chasing - and catching - the dreams he once
chased. It’s honestav at his most vulnerable, self-aware, and ambitious: an
evolution of his signature storyteling that feels larger, louder, and more
unfiltered than ever before.
• MGK co-sign Multiple dates on MGK's Lost Americana Tour; Crash
First (with mgk) on the LP
• Deeply engaged fanbase: 1.8M TikTok • 1.2M Spotify monthly
listeners
• A bigger, bolder chapter: Rock-driven evolution of his sound, with a
headline tour on the way

LA producer/vocalist Sweet Love Under Tyranny arrives with her self-titled EP (à La Carte Records, 11/6) — four tracks, nineteen minutes of nocturnal dance music built on coldwave and Italo pulled through new romantic melodrama. Co-produced with Matia Simovich (Inhalt) at Infinite Power Studios, mastered by Josh Bonati. The reference points span the pop confidence of Stacey Q and early Madonna, the airtight vocal architecture of Yazoo, and the coldwave romance running through the artist's own history as co-writer on Kontravoid's "Maskerade" (~200k Spotify streams since 2021's "Faceless" LP). Her voice cuts from aching falsetto to guttural growl over synth lines placed with the precision of someone thinking hard about where a chorus should sit in a mix. Post-punkcom: "a nocturne of neon-kissed bliss, a siren's serenade whispered through the haze of LA's twilight pulse." Pressed as a limited single-sided 12" in two variants (black-in-clear; clear).

Celestial Echo Records brings back Sweet Mixture’s “House Of Fun And Love”, a killer slice of crossover soul from 1973.

Produced by Ron Rice and originally coming out of Chicago’s Bazar label he ran, “House Of Fun And Love” sits right in that sweet spot between modern soul and boogie before the lines were fully drawn. It has that glide you want from a great crossover record: warm vocals, a rolling groove, tight drums and enough lift to move from a soul room into a dancefloor set without forcing it.

There’s a nice full circle moment with this one too. “House Of Fun And Love” was one of the earliest releases on Discs of Fun and Love, the label run by miche and Frederika. It sold out quickly the first time around and years on, it feels like the perfect record to bring into the Celestial Echo catalogue, another holy grail for 2026.

On the B-side is “I Love You”, a sweet ballad that is smooth, heartfelt and beautifully understated. A beautiful slow number that’s common on a lot of these early soul records.

A rare soul grail made available again, respectfully cut, properly pressed, and ready to play.

Dave Hamilton revived ‘My Sweet Baby’ his 1967 release by J T Rhythm on a harmony group from Flint, Michigan called the Mark-Keys. The backing tracks are similar, but the harmonies are softer and it is this version that appeals to the Lowrider scene devotees. The beautiful ballad flip ‘Heavenly Thing’ adds further interest for the collectors and DJs who are so influential nowadays; the high demand has brought about this Repro pressing.

The album that launched a thousand heavy-hearted singer-songwriters on their not-so-merry way, Sweet Baby James was arguably the first shot in what became the soft revolution of the early '70s. Taylor struck commercial gold with Sweet Baby James by augmenting his acoustic guitar and soothing vocals with laid-back accompaniment and penning a slew of songs that drew upon folk, soul, and rock influences. Musically mellow and lyrically restive, it put Taylor in the Top 10 and set the tone for a popular school of '70s sound.

2026 Repress

LILDAVE215 is a proud Philly representative who channels funk, soul and acid jazz into his delicious take on disco. For this new outing on the young but already promising Sweet Breeze Sound label, he kicks off with 'Music Takes Me' which rides on slinky drums that slide irresistibly on nice dusty cymbals and has funky riffs down low. The vocals add simple but effective colour that adds to the feel-good nature. 'Carnaval Del Tiempo' is more Latin influenced, with prickly percussion and big vocals, even bigger drums and sax energy all added for when the sun shines down hot.

First-ever physical release from internet sensation Jimothy Lacoste, recently sold out Colours (250 capacity venue in Hoxton) in one hour, he’s played Glastonbury, has been featured in The Guardian, New York Times, and currently has over 60,000 monthly Spotify listeners, and over 125,000 followers on Instagram. He will be promoting the release on there as well, directing people to stores….

Earlier in the year, Washington, D.C-based Sol Power Allstars launched the Sweet Breeze Sound imprint, seemingly as a vehicle for oddball re-edits and nostalgic, sample-rich productions. Handling side A on release number three in San Fran's King Most, who crafts a hybrid 80s electro/proto-house jam out of echoing electronics, bobdypopping beats, and all manner of effects-laden samples (including a wealth from InDeep classic 'Last Night a DJ Saved My Life' ). Over on side B, Sol Power's own Marc Meistro takes over, laying down his own sparse, lo-fi, analogue-rich tribute to electro-era synth disco that once again nods to a variety of cult classics from the early 1980s.

Sweet Breeze Sound's first 12" is inspired by DC's long-running DIY party Extended Play. Local legend and veteran Marc Meistro knows the room he's building for here and opens with a wildly inventive flip of an Earth, Wind & Fire classic, full of hefty Daniel Meinecke's Rhodes and organ solos. 'Be More Bruk' takes a tougher route through Baltimore club energy and the flip cut 'Roll Em Up' leans into early-80s NYC spirit for a proper outdoor-jam feel. 'Julien, Sammy, et Jojo' closes things out with an 80s-inspired African disco flip of an obscure Central African cut. Playful and fun.

Remastered from the original recordings and now presented on a 45rpm 2 LP deluxe audiophile edition, this is first time the complete 7-track album has been available on vinyl. 'In My Own Sweet Way', recorded during a month- long European tour in 1987, captures Woody Shaw in peak form playing with a spirit and a sense of adventure that identify him as a jazz giant. Woody calls the trumpet "the prince of all the horns". Woody is the king of all the trumpet players.

Nobody around plays with such a big, round, ravishing sound - a sound which could easily fool you into thinking that you are listening to a flugelhorn. Woody's musical asociates on this album are Alex Deutsch, a young drummer from Austria who has worked in Europe with many American jazz stars; Neil Swainson, a highly gifted bassist from Toronto who has worked with Pat La Barbera and Peter Leitch but is perhaps best known for his superb collaboration with George Shearing; and Fred Henke , a pianist from Montreal whose credits include backing Clifford Jordan, Steve Grossman and Junior Cook

Following their recent appearance covering Sylvester and Patrick Cowley's 'I Need Somebody to Love Tonight' on Rocksteady Disco, the enigmatic cosmic pairing of Glenn Echo & Daniel Meinecke channel deep, shimmering disco and nu-disco vibes while calling on ethereal, cosmic textures. The throbbing 'Home Rule' opens with a warm, hypnotic pulse and well-worked vocals that deliver recognisable rhymes, while 'Love Letter' slows down to a heavyweight crawl with warped and twisted pads and plenty of texture. Both tunes here highlight the duo's skill at blending dancefloor immediacy with atmospheric nuance and feel like a journey through mirrored lights and late-night reverie.

2026 Repress

140g vinyl, remastered, double LP with the original LP along with a second record of 14 rare tracks

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marica Griffiths. It’s reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original’s opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn’t mess with magic.

Marcia’s version of “Here I Am (Come and Take Me)” has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It’s followed by the sophisticated, rollicking wah-wah funk of “Everything I Own” and the slice of smooth lovers soul par excellence that is “Green Grasshopper” and her ace, lilting Neil Diamond cover “Play Me”.

The thundering, humid funk of “Children At Play” “sounds uncannily like a precursor of Massive Attack”, as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody and essential.

Side two keeps the fire burning. “Sweet, Bitter Love” should leave you swooning, and is also one of the album’s alternate titles. Curtis Mayfield’s already-eternal “Gypsy Man” is up next, recast as proto-lovers rock.

“There’s No Me Without You” is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia’s heartbreaking delivery. And if this doesn’t get you then surely the next track will: arguably the definitive version of Ewan MacColl’s “The First Time Ever I Saw Your Face”. Yes, seriously.

“I Just Don’t Want To Be Lonely” re-takes its rightful place at the end of the LP’s second side… but we couldn’t leave it at that. So we added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Some of these songs have only ever been found on now unattainable 7" singles and no, rarity doesn’t always correspond with quality, but in this case we’re talking about some seriously jaw-dropping music.

Amongst 14 extra tracks you’ll find the exquisite late-60s singles “Melody Life” and “Mark My Word” which, along with the sumptuous reading of “Band Of Gold”, are now £100 records, if you can find them! Just sayin’. There‘s also a fantastic version of “The First Cut Is the Deepest” and an alternate take of “Play Me” with producer Lloyd Charmers adding his own vocals.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.

Brooklyn's elusive Tom returns with the first release on Sweet Breeze Sound, a new label launched by Washington, DC's Marc Meistro of Sol Power All-Stars, aka Glenn Echo. He has already turned heads with a fine set of 12"s on Razor-N-Tape and Sol Power Sound, and here brings some dubby disco grooves and infectious samples. Side A leans into loved-up feels, looping an irresistible 80s r&b vocal over bouncing bass and layers of percussion. The B-side shifts to a more melancholic mood and is run through with a feeling of longing through a single repeated phrase supported by deep dub bass and driving disco rhythm. This is a great inaugural release from a label sure to become essential.

"Next up in Mr Bongo's Groove Merchant Records reissue series, we present the only solo album saxophonist Ramon Morris recorded as a bandleader. Having cut his teeth playing with the iconic band Art Blakey & The Jazz Messengers and working with other jazz greats, including Reuben Wilson, Shirley Scott, Rashied Ali Quintet, and Woody Shaw, 1973 saw Ramon take the step into solo territory. The resulting album Sweet Sister Funk became a certified classic and a landmark showcase of the cherished ‘70s jazz-funk sound, later sampled by the likes of DJ Premier, The Alchemist and DJ Shadow.

Originally released on Sonny Lester's iconic Groove Merchant record label and produced by Lester himself, Sweet Sister Funk is a jazz-funk masterclass. It features a slick line-up including Cecil Bridgewater on trumpet, Mickey Roker on drums, and Albert Dailey on electric piano. Rich and beautiful, the seven songs ebb and flow in energy, fusing jazz funk and soul jazz with style and swagger. There are bags of groove with Ramon and Cecil trading off on sax and trumpet in an effortless conversation throughout the LP, supplemented by brilliant solos from the rest of the players.

A gold mine of sampling material, the album includes a sublime cover version of The Stylistics' much-loved 'People Make The World Go Round', which was sampled by DJ Shadow on Blackalicious's 'Swan Lake' in 1994. Elsewhere, the percussion and bass intro of the opening track 'First Come, First Serve' is a sampler's delight - a deep, heavy groove with a fine saxophone workout by Ramon. Head to 'Don't Ask Me' and you’ll find the swinging horn intro that formed the basis of 'You Came Up' by Big Pun featuring Noreaga from 1998, whilst 'Wijinia' has echoes of ‘70s indie jazz by labels such as Strata East & Black Jazz.

Here at Mr Bongo, we are proud to be delving into the vaults of Groove Merchant Records once again, reissuing this iconic LP from Ramon Morris."

The 12-track record is the first album on SHDW's influential label and explores the past, present, and future of techno.

Planet X label head and 20-year scene veteran Exos, hailing from Iceland, draws on his native country's influences in his work, which explores the interplay between light and dark, warmth and cold. His high-octane sounds over the last 20 years have appeared on vital imprints like Tresor, X/OZ, and, of course, Mutual Rytm, with his releases for
the label having been extremely well received, garnering support from the scene's key DJs. Whether dubby or hard, his techno is always authentic and channels the purity of the 90s style. This new album follows Exos's inaugural X-Release, the Infrared 10", the Icebreaker 12" from last year, and his track on the latest Federation of Rytm IV compilation. It's a real journey through all facets of his sound, including a trip back to his dub techno roots, ambient
explorations, and emotional vocal pieces with lifelong memories fused into sounds that reflect the artist's decades spent in Iceland.

'Sweet Dreams' opens with an atmospheric intro in the form of a 28-year-old collaboration with his father. This full-bodied analogue ambient piece is rich with the mysterious tones of the Nord Modular and was recorded during their shared studio days at D17 in Reykjavik. The title track is a hypnotic, linear groove with icy synth modulations and glistening melodies. 'Hinn Vioforli' then brings dub warmth while 'State of Mind' recalls the spirit of the legendary Reykjavik club 'Thomsen', a cornerstone of Iceland's late 90s underground scene. 'Glaour Og Reifur' and
'Fogur Er Hlioin'pay homage to the echoes of ancient Viking heritage, 'North of January' conveys the cold of Exos's homeland, and 'Hvarvetna' brings textured percussion and darker undertones before '101 After Dark' slows to a bass-heavy broken beat exploration of texture and post-dubstep pressure.

After the heady and atmospheric sound of 'The Dolphin Oracle', another key collaboration comes with 'Freefall', an emotional breakbeat piece featuring vocalist Amelia Rodriguez,' who also lends her voice to 'Shock', a magnificent track that channels Exos's modern techno energy. The album closes with a haunting paradox, 'Paradise Lost,' questioning whether our sweet dreams are truly moments of bliss or simply reflections of what we've already left behind. The three bonus digital cuts offer sleek minimalism, punchy deep techno, and suspenseful ambient.

Berlin-based upstart Gadget Recs makes an entrance into the world with a display from four fresh European producers. With their scope on the melting pot of global bass music, they document the ever-morphing, liminal fringes of breakbeats, electro, dubstep, techno, and beyond! A multi-tool for any bass-facing DJs.

Wewantsounds is delighted to announce the release of "Sweet Rebels - The Golden Era of Algerian Pop-Raï" Selected in Paris by Cheb Gero. The set features the raw energy of the Algerian Raï scene from the 80s and early "90s and its young stars Cheb Zahouani, Chaba Zohra and Abderrahmane Djalti. Newly remastered and including liner notes from Raï authority Rabah Mezouane, the compilation brings together eight cassette tracks from the electrifying period when Raï music was evolving from a more traditional sound to the mesmerising electro funk sound of the 80s.

Quinoa Cuts proudly presents its 4th release: Marvin's 'Sweet Analog Memories' EP

This record is a sonic journey that bridges past and present, blending nostalgic analog warmth with a modern edge. A message that resonates loud and clear as you dive into both sides of this vinyl opus.

Side A opens with two tracks that deliver a lush, analog-driven soundscape, evocative of the iconic synth-wave movement of the ‘80s. These compositions are delicately interwoven with electro-inspired nuances, creating a bittersweet atmosphere that dances between melancholy and romance. It’s music that strikes deep emotional chords while transporting you to a dreamlike, neon-lit past.

Side B takes a darker turn, shifting the narrative entirely. While the golden-era analog textures remain present, these tracks explore a more progressive, shadowy, and haunting realm. They generate an intense sense of entropy, awakening the psyche and stirring emotions in unexpected ways. This side is a deep dive into a more introspective and visceral space, one that challenges the listener to confront their inner world.

Marvin’s EP is a record that demands to be felt as much as it is heard. Whether you’re a synth-wave enthusiast, an electro explorer, or simply a lover of forward-thinking electronic music, this release will resonate with you.

Multi-award-winning singer-songwriter and leading UK jazz vocalist Zara McFarlane releases Sweet Whispers – Celebrating Sarah Vaughan on 14th June. The album honours the jazz great who inspired her on her own artistic journey and whose centenary year is marked in 2024.

‘Sweet Whispers’ is more than a run-through of some of Vaughan’s most popular songs. It’s not hard to imagine the immense task in selecting those songs, after all, Vaughan’s recording career spanned 50 years notching up almost 60 albums (plus nearly 30 again in compilations and box sets). Through a thoughtfully chosen selection of songs, formed across months in collaboration with producer, and the album’s clarinettist and saxman, Giacomo Smith – Zara journeys through the musical life of Sarah Vaughan, from her first to last recording, bringing to life and breathing new life into some of her best and less familiar songs. But importantly, the songs that mean the most to Zara.

Zara McFarlane said “It was when I started to listen to Sarah Vaughan that I really began to appreciate jazz vocals. She had such control across her range and a vocal command that was cheeky, playful and fun yet sophisticated and articulate. I really wanted to pay homage to her as I feel she has been somewhat overlooked amongst the jazz singers. Although I do love Ella and Billie, it's all about Sarah for me.”

‘Sweet Whispers – Celebrating Sarah Vaughan’ was recorded analogue at Durham Studios, London. Giacomo assembled a stellar cast of musicians - Joe Webb on piano, Ferg Ireland on double bass, Jas Kayser on drums, Marlon Hibbert on Steel Pan and Gabriella Swallow on cello – to record 11 tracks live to tape; with minimal overdubs, the recording has retained a live, vintage feel. A celebration of Sarah Vaughan could be in no better hands than that of Zara McFarlane, who makes an inspired homage to the ‘Divine One’. Beautifully performed in Zara’s own inimitable style, with her own playful swoops and slides, she has added her own
touch to the music. With a silken voice and timbre that bring emotional depth, attitude and personality to this collection of SaraH Vaughan songs, this is a masterful celebration

Originally released on CD in Japan in 2003, as a love letter & thank you to his Japanese fans. Recorded at home, produced, engineered & mixed by Matthew Sweet (bass, guirars & vocals) with the classic ‘Girlfriend’ era lineup of Ric Menck (drums), Greg Leisz (guitars) and the genius electric lead guitar of Television’s Richard Lloyd. The sleeve art is by renowned artist Yoshimoto Nara. In the liner notes, Sweet describes the album's title as an attempt at reverse English: "If I did it correctly, the title should seem a little strange or wrong, but still meaningful! The true definition is supposed to be a 'love you' life, one devoted to loving someone or something, even life itself!"

“an excellent modern guitar pop album, filled with great hooks and harmonies and irresistible ringing six-strings”
Allmusic

“Kimi crackles with Girlfriend‘s energy, as Lloyd and Sweet’s guitars provide antagonistic foils as they did more than a decade before on cuts like “Tonight We Ride.”
Rolling Stone

Dub Steady style. Oldschool.

Laura Nyro was an astonishing talent. She was born into a musical family in The Bronx, NY in 1947; her father, Louis Nigro (pronounced Nigh-gro), was a jazz trumpeter, and music was her coping mechanism during a difficult childhood. By the time she was 8 she had taught herself to play piano and was composing her own songs, and during high school she would sing with a group of Puerto Rican friends, harmonising on street corners and in subway stations.

Originally released in 1978. A Classic Reggae album re-released on 180 gram vinyl and produced by Linval Thompson with extensive sleeve notes.
Recorded at Channel One Recording Studio & Harry J's Recording Studio.
Cornell Campbell is one of an elite group of Jamaican reggae singers who has weathered the changes throughout the music's development - in his case, from the ska era to right up to date - whilst retaining their relevance. Witness his recent alliance with UK Afrobeat/reggae band The Soothsayers or Jazmine Sullivan's R & B hit Need U Bad, which sampled his classic 'Queen Of The Minstrel' -a song that still sounds fresh more than thirty years later.
Sweet Baby was pressed on bright red vinyl, which only added to the excitement when you saw the selector position it carefully on the deck.
On the LP cover was a painting of Cornell wearing an emerald green shirt and framed by a lurid sky, which might have left some people wondering if it was a soul album. It wasn't, although there is certainly soul in the grooves, and especially on R&B covers like Gonna Take A Miracle - first recorded by the Royalettes -and Darling You Send Me, which Sam Cooke had introduced to the US Billboard charts some twenty years earlier.
Both are among the highlights but then the whole album is good in truth, and a heartfelt I Need Somebody and My Sweet Baby, plus the two-step favourite Just Enough were regularly played on sound system. Blinded By Love, I Didn't Know and Can't Hide My Love are tinged with melancholy and like the seductive Whenever You Need Me, display all the hallmarks of a classic Cornell Campbell side -swooping vocals, a driving rhythm and seductive lyrics included.

Nearly forty years later, it is gratifying to know there is still no mistaking him when his records are played in a dance. That relaxed vocal style draws you in but it's his falsetto, quivering with understated emotion that hooks you and turns you into a lifelong fan.

Brixton Heights Records proudly presents the brand new single “Sweet Things”, a radiant lovers reggae release that blends classic roots, soulful warmth and contemporary finesse into a timeless feel‑good anthem.

Fronted by the legendary Keith Coley from The Silvertones, this masterfully crafted track features a heavyweight lineup of musicians and producers: Mafia & Fluxy on drums and bass, The Ital Horns on brass, Gavin Tate-Lovery on Saxophone and Gaudi on Piano and backing vocals, co-production and mixing. The track delivers a smooth, romantic groove rooted in classic Jamaican sound while feeling fresh and modern, making it equally at home on sound systems, radio playlists and summer sessions.

The Silvertones’ vocals remain rich, melodic and instantly recognisable, carrying the emotional warmth that has long defined their sound. The arrangement is layered with a bubbling organ, deep bass and tasteful percussions, guitars and keyboard, making The Brixton Heights Orchestra come together to create an irresistible groove.

Mixed and co‑produced by Gaudi at Metatron Studio in London (UK) and mastered at Anchor Studios in Kingston, Jamaica, “Sweet Things” is a celebration of romance, rhythm and authenticity.

In the B‑side the Brixton Heights Orchestra shines through in a full instrumental version of “Sweet Things”. The brass section takes centre stage throughout, weaving into the fabric of the song soaring trumpet lines, expressive saxophone melodies and rich trombone passages.

With the vocal removed, Gaudi shifts the focus on brass work, rhythm section and layered instrumentation, creating a continuum of different phrases, solos and riffs, carefully carved together into a reggae-jazz theme that executes in a cohesive and coherent way.

When the CD was issued, this album was Andy's first solo record in 26 years since Mega Shebang in 1980. It was produced by Glyn Johns with Andy's band including Dave Bronze, Henry Spinetti, Rabbit (John Bundrick), Katie Kisoon, Pat Arnold and Carole Kenyon.

With their ever-mutating brand of jazz-and-country-laced punk, Opus Kink have always cut a singular figure in a saturated landscape. Making their name with incendiary, cult-like live shows, the band - formed in Brighton (UK) in 2017 — has developed a sound as elusive as it is recognisable. Underscored by a formidable horn section and ragged, sardonic delivery, the band bear passing resemblance to post-punk and no-wave acts like The Pop Group, Birthday Party and Lounge Lizards, but it’s the weaving of older, more traditional influences - choral, folk, country, Latin, Weimar cabaret, cruise-ship-crooning - into the fabric of their music that sets them apart. Their highly anticipated debut album 'The Sweet Goodbye' is set for release on 31st July 2026 via So Recordings and follows a series of EPs and singles which have earned acclaim from NME, DORK, DIY, CLASH, SO YOUNG, BBC Radio 1 and playlisting on BBC Radio 6 Music. The album is produced by Grammy award-winning producer and mixer Craig Silvey (Arcade Fire, Florence & The Machine, Baxter Dury, REM, Kronos Quartet, Sam Fender), with album track 'The Head Tree' featuring The New Eves (No.1 Independent album in 2025). Opus Kink brings their alluring live show to audiences around the UK and Europe later this year, including a headline show at London's 2,300-cap venue o2 Kentish Town Forum, while the Summer sees them supporting The Libertines at Rochester Castle, Kent. TRACKLISTING A1. Come Over, Do Me Wrong A2. Will It Come For You? A3. I'm A Pretty Showboy A4. The Sweet Goodbye A5. Peckham Nocturne B1. I Have To Shine My Sunday Shoes B2. The Head Tree (ft. The New Eves) B3. 448C (The Colour of Love) B4. Crucify! B5. Oh, Irony QUOTES - ?"Horn-fuelled filth-funk, where punk and jazz combine in grimy circumstances." - NME - "One of the UK’s most exciting new bands?...A raucous, intense blast of guitar pop...as equally anxiety-inducing as it is sublime." - C?LASH - "Barnstorming, infectious" - Steve Lamacq, BBC 6 Music - "One of the most enjoyable genre fusions I've ever seen." - Nels Hylton, BBC Radio 1 - "(Their) ferocious live performances have earned them a reputation as? one of the best live bands in the country?." - So Young

With their ever-mutating brand of jazz-and-country-laced punk, Opus Kink have always cut a singular figure in a saturated landscape. Making their name with incendiary, cult-like live shows, the band - formed in Brighton (UK) in 2017 — has developed a sound as elusive as it is recognisable. Underscored by a formidable horn section and ragged, sardonic delivery, the band bear passing resemblance to post-punk and no-wave acts like The Pop Group, Birthday Party and Lounge Lizards, but it’s the weaving of older, more traditional influences - choral, folk, country, Latin, Weimar cabaret, cruise-ship-crooning - into the fabric of their music that sets them apart. Their highly anticipated debut album 'The Sweet Goodbye' is set for release on 31st July 2026 via So Recordings and follows a series of EPs and singles which have earned acclaim from NME, DORK, DIY, CLASH, SO YOUNG, BBC Radio 1 and playlisting on BBC Radio 6 Music. The album is produced by Grammy award-winning producer and mixer Craig Silvey (Arcade Fire, Florence & The Machine, Baxter Dury, REM, Kronos Quartet, Sam Fender), with album track 'The Head Tree' featuring The New Eves (No.1 Independent album in 2025). Opus Kink brings their alluring live show to audiences around the UK and Europe later this year, including a headline show at London's 2,300-cap venue o2 Kentish Town Forum, while the Summer sees them supporting The Libertines at Rochester Castle, Kent."Horn-fuelled filth-funk, where punk and jazz combine in grimy circumstances." - NME - "One of the UK’s most exciting new bands?...A raucous, intense blast of guitar pop...as equally anxiety-inducing as it is sublime." - C?LASH - "Barnstorming, infectious" - Steve Lamacq, BBC 6 Music - "One of the most enjoyable genre fusions I've ever seen." - Nels Hylton, BBC Radio 1 - "(Their) ferocious live performances have earned them a reputation as? one of the best live bands in the country?." - So Young

Shiverstruck, the latest album from IAN SWEET, finds songwriter and multi-instrumentalist Jilian Medford at her absolute best. Produced and mixed by Ben Allen (Deerhunter, Washed Out, Belle and Sebastian), the record centers a deliberate return to analog instrumentation, with acoustic guitars, piano, strings, and live drums at the forefront. Medford’s writing is more confident, direct, and emotionally exposed than ever, with soaring, melodic tracks like “Criminal Kissing” and “Jilian” revealing a striking new dimension of IAN SWEET.

IAN SWEET’s music has amassed millions of streams worldwide and earned praise from FADER, The New York Times, Stereogum, The New Yorker, Rolling Stone, and Pitchfork, which named Show Me How You Disappear one of the Best Rock Albums of 2021 and profiled Medford as a Rising artist that same year.

2026 Repress

Sweet Fortune, the fourth studio album by Grammy Award-winning artist Ryan Beatty.
Sweet Fortune arrives after nearly a decade in which he reinvented himself time and time again, traversing the spectrum of the music world. 2023’s Calico became that year’s word of mouth record, and while he toured North America both headlining in clubs and supporting in arenas, he was secretly working on what would become Beyoncé’s blockbuster 2024 album Cowboy Carter. Beatty would go on to win the Album Of The Year Grammy for his contributions to the record.

Originally released in 1981 on the New Jersey-based Debbie Label, Sweet Magic is the one and only album by Lee McDonald. Produced by Ron Foster -
best known as a member of Ecstasy, Passion & Pain—the album is widely regarded as a standout modern soul classic, covering everything from uplifting
Philly-style dancers to sweet and mellow slow jams.

The album also features superb arrangements that update well-known classics into vibrant Philly soul, including The Carpenters’ smash hit “We’ve Only Just
Begun” and Ecstasy, Passion & Pain’s “I’ll Do Anything For You.” This reissue is pressed on limited yellow-colored vinyl inspired by the album’s iconic
illustrated sleeve, long cherished by rare groove collectors.

Violet Grohl, eine der spannendsten Stimmen ihrer Generation, veröffentlicht ihr 1. Studioalbum ”Be Sweet
To Me”. Das Debüt, welches 11 einzigartige Titel umfasst, unter Anderem die zuvor veröffentlichten Singles
wie ”Thum”, ”Applefish” & ”595”, ist geprägt von ihrem unverkennbaren Indie-Alternative Stil, welcher
gespickt mit Heavy-Rock Einflüssen und ihrer selbstkreierten, als ”Farm Goth” bezeichneten, Ästethik ist.
Zwischen lauten, rohen und teilweise explosiven Klängen wiegt sich Violet Grohls besondere und berührende
Stimme auf eine träumerische und verspielte Art und Weise in die eher rauen Töne ein.

Cult reissue label Sticky Buttons returns with ‘Sweet Edits’, their first official foray into dancefloor edits featuring 4 remixes of Nigerian boogie legend Dizzy K by a hand picked set of superstar producers specially designed to get the party moving.

Starting with a bang, the A Side features a double hit of remixes to Dizzy K’s 80’s sleeper hit “Afrikan Jamboree”. First up is Clive From Accounts, frequent contributor to Razor-N-Tape and hot off the heels of his 2025 debut full length LP, Clive’s edit has gifted us a complete foot stomper, filled with popping synths and squelchy baselines the track has already been getting big plays by the likes of Optimo over the past 18 months. On track A2, well known dance floor magician Lipelis takes the reins, creating his Disco Dub version, expertly layering traditional african drums and vocal loops from the original to build a wonky club track laden with energy and soul as come to be expected from the artist.

Over on the B Side, South London based duo Make A Dance (M.A.D) take the formula from their own widely popular house inspired edits imprint to take apart Dizzy K’s “I’ll Never Love Again”, stripping it down into a teetering, chugging acid sprinkled weapon overlaid with a ferocious drum pattern destined to move even the stiffest hips. Last but not least, Japanese producer Mayurashka brings her signature subversive style to Sticky Buttons, flipping Dizzy’s K’s “Konga Mama” into a hypnotic tribal masterpiece, pulsating with a psychedelic techno edge ripe for blending in smokey club venues and dark mainrooms.

Four heaters not to be slept on. Hearing is believing and on this limited edition vinyl release the legend of Dizzy K sings again, finely tuned for 2026 dancefloors but always carrying the raw spirit of the original.

Mastered by Submarea Estudio
Cover Art Illustration by Alex Ram

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.

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.

During a job in Cologne, I stayed in a room with a loft bed that had no electrical outlets at the top. Every night, I would listen to my TB303, which runs on batteries, through headphones to help me fall asleep. I loved the sequences, it was like meditation. The TB-303 bassline is iconic in acid music, so I created the Acid Lullabies to bring these two elements together. In 2017, the label Doom Chakra Tapes released ten of the Acid Lullabies on tape. Last year, I felt the urge to rework the tracks, so I mixed them again and created some new ones. I also
asked friends to contribute their own versions.

I’m very glad that the following artists contributed the Acid Lullabies: 47IN4 (Pudel Produkte, Doom Chakra Tapes), Museum of No Art (Séance Center, Cosima Pitz), N:in and Philipp Otterbach (Music from Memory, Offen Music). Two violinists from Ensemble Resonanz performed my piece 'Afternoon Lights' for Acid Lullaby 6. Alex Solman designed the cover, which captures the essence of the project perfectly. Have fun with the Acid Lullabies!

Was ist Sweet Soul? Vielleicht die perfekte Mischung aus Lowrider und symphonischem Soul? Eine üppige und dennoch lebendige Produktion, die in hörbare Seide gehüllt zu sein scheint und jeden Zuhörer innehalten lässt. So oder so, wenn eines sicher ist, dann ist es, dass sein Zweck vollkommen klar bleibt. Vergnügen, langsam und gemächlich, bajito y suavecito. Jeder Kuss beginnt mit Soul oder Sweet Soul für Lowrider. Sweet Soul ist der Vorläufer dessen, was wir heute als Modern Soul bezeichnen. Er kam in den späten 60er und 70er Jahren auf, parallel zu - aber getrennt von - dem raueren, funkgetriebenen Soul, der die Radiowellen dominierte. Während diese Musik harte Rhythmen und rohe Emotionen förderte, milderte Sweet Soul die Kanten. Sie bevorzugte Melodie, Wärme und Raffinesse und verlieh ihr ein ruhiges, üppiges Gefühl, das es leicht machte, zu ihr zurückzukehren und sie auch Jahrzehnte später noch zu lieben.

Was ist Sweet Soul? Vielleicht die perfekte Mischung aus Lowrider und symphonischem Soul? Eine üppige und dennoch lebendige Produktion, die in hörbare Seide gehüllt zu sein scheint und jeden Zuhörer innehalten lässt. So oder so, wenn eines sicher ist, dann ist es, dass sein Zweck vollkommen klar bleibt. Vergnügen, langsam und gemächlich, bajito y suavecito. Jeder Kuss beginnt mit Soul oder Sweet Soul für Lowrider. Sweet Soul ist der Vorläufer dessen, was wir heute als Modern Soul bezeichnen. Er kam in den späten 60er und 70er Jahren auf, parallel zu - aber getrennt von - dem raueren, funkgetriebenen Soul, der die Radiowellen dominierte. Während diese Musik harte Rhythmen und rohe Emotionen förderte, milderte Sweet Soul die Kanten. Sie bevorzugte Melodie, Wärme und Raffinesse und verlieh ihr ein ruhiges, üppiges Gefühl, das es leicht machte, zu ihr zurückzukehren und sie auch Jahrzehnte später noch zu lieben.

A 2024 remaster of the English rock group's second studio album, which debuted at #14 on the UK Albums Chart and features the single 'The Devil Takes Care of His Own'. This, along with the band's other two early albums, has been remastered for enhanced sound quality. Russell Marsden has also introduced a new lineup while teasing new music.

Sweet Pill ist eine Emo-Band aus Philadelphia, deren Songs sich zwischen Pop und Hardcore bewegen. Sie veröffentlichten ihr Debütalbum Where The Heart Is (2022) im selben Jahr, in dem sie bei Topshelf Records unter Vertrag genommen wurden, und seitdem befinden sie sich auf Erfolgskurs. Unter anderem wurde sie von Hayley Williams von Paramore wärmstens empfohlen, der ihr Song "High Hopes" so gut gefiel, dass sie ihn in ihrem Podcast "Everything Is Emo" erwähnte. Das zweite starke Album von Sweet Pill, Still There's a Glow, ist eine widerstandsfähige Antwort auf den zunehmenden Druck nach ihrem erfolgreichen Debüt Where The Heart Is. Angesichts der Erschöpfung verwarf die Band frühe Demos, um ihrer psychischen Gesundheit Vorrang zu geben, und schuf schließlich ein rohes Dokument der Selbstreflexion, das Sängerin Zayna Youssef als "das Schwierigste, was ich je tun musste" bezeichnet. Das neue Album markiert eine bedeutende Entwicklung in ihrer kreativen Dynamik und ist das erste, das vollständig als Gemeinschaftswerk von Youssef, den Gitarristen Jayce Williams und Sean McCall, dem Bassisten Ryan Cullen und dem Schlagzeuger Chris Kearney geschrieben wurde. Aufgenommen im Gradwell House mit den langjährigen Produzenten Matt Weber und Dave Downham, zielt das Album darauf ab, die kinetische Energie ihrer Live-Shows einzufangen - Auftritte, die ihnen die Unterstützung von Stars wie Hayley Williams und Doja Cat eingebracht haben. Das Ergebnis ist eine gehobene Mischung aus komplexem Math-Rock, drängendem Punk und herzlichem Emo. Als woman of color in der Alternative-Szene hofft Youssef, dass das Album und die Tournee eine vorurteilsfreie Community für die Fans fördern werden. Still, There's a Glow ist ein Beweis für das Überleben und Wachstum der Band und lädt die Zuhörer dazu ein, ihr eigenes Licht am Ende des Tunnels zu finden. CD & farbige LP erhältlich

‘Platinum Rare 1’ contains extremely rare recordings by the four original SWEET members. The legendary glam/hard rock band continues to thrill fans all over the world to this day. Over the years, SWEET have sold more than 55 million records and reached 34 number 1 chart positions. The songs on ‘Platinum Rare 1’ come from the private archive of SWEET guitarist Andy Scott and were personally selected by him. Fans of the band will be thrilled with this collection of rare and alternative takes and mixes. Many of the songs on the album have never before seen the light of day on a regular SWEET release. ‘Platinum Rare 1’ is an absolute enrichment for every true fan of SWEET.

Inspiriert von den schattigen Cabarets und verrauchten Jazzclubs des Weimarer Berlins der späten 1920erJahre, präsentiert Bryan Ferry mit seinem Orchester auf „Bitter-Sweet“ sein Solo- und Roxy-MusicRepertoire in neuem Gewand – mit einer raffnierten Jazz-Sensibilität. Das Album besticht durch elegante
Bläserarrangements, gedämpfte Trompete, Klarinettenklänge und eine Atmosphäre urbaner Melancholie,
die Klassiker wie „Alphaville“, „Reason or Rhyme“ und „While My Heart Is Still Beating“ neu interpretiert.
Ferry selbst steuert auf acht Titeln den Gesang bei, während die übrigen Stücke als instrumentale Neuinterpretationen präsentiert werden, arrangiert mit dem Können von Colin Good und gespielt von einem
Ensemble erfahrener Jazzmusiker. Das Konzept des Albums entstand aus Ferrys Tätigkeit als Musikberater
für die gefeierte deutsche Fernsehserie „Babylon Berlin“, in der einige Titel ursprünglich verwendet wurden
und die filmisches Drama mit authentischem Jazz verbindet. Perfekt für langjährige Fans, Jazzliebhaber
und Sammler: „Bitter-Sweet“ bietet eine neue Perspektive auf Ferrys Songwriting und ist damit ein herausragendes Album zum Ausstellen, Entdecken und Verschenken.
Das Album erscheint erstmals seit 2012 wieder als limitierte rote LP und CD.
Tauchen Sie ein in eine Welt, in der klassischer Art-Pop auf die wilden 20er Jahre trifft. „The Jazz Age“
interpretiert Bryan Ferrys Roxy Music- und Solo-Katalog als elegante Jazz-Instrumentals neu, präsentiert
vom Bryan Ferry Orchestra. Von „Virginia Plain“ und „Do the Strand“ bis hin zu „Love Is the Drug“ und
„Avalon“ – jeder Titel erstrahlt in authentischen Arrangements im Stil der 20er Jahre mit Banjo, Klarinette,
gedämpfter Trompete, Baritonsaxophon und Kontrabass, komponiert vom renommierten Arrangeur Colin Good. Britische Jazz-Größen wie der Trompeter Enrico Tomasso und der Saxophonist Alan Barnes erwecken
diese zeitlosen Melodien zum Leben, während die Mono-Produktion den Charme alter 78er-Schallplatten
heraufbeschwört. Ferry selbst verzichtet auf den Gesang und fungiert als Dirigent und Produzent. Dieses
innovative Projekt entstand aus seiner Liebe zum Jazz und seiner Neugier, wie seine Songs ohne Gesang
klingen würden. Perfekt für langjährige Fans, Jazzliebhaber und designorientierte Sammler: „The Jazz
Age“ bietet eine neue Perspektive auf Ferrys Werk und ist damit ein herausragendes Sammlerstück zum
Entdecken, Ausstellen und Verschenken.
Das Album erscheint erstmals seit 2012 wieder als limitierte Edition auf waldgrünem Vinyl (1LP) und
als CD.

1961 auf Impulse! veröffentlicht, ist dieses Album eine der politisch brisantesten und musikalisch vielseitigsten Aufnahmen des Schlagzeugers. Es entstand ein Jahr nach dem Klassiker “Freedom Now Suite”
und spiegelt Roachs zunehmende Auseinandersetzung mit Themen der sozialen Gerechtigkeit und der
panafrikanischen Identität wider

IDM and breakcore hard stuff, very influenced by Nature Records and Somatic responses... TEST PRESSING ORIGINAL – Not MINT

,Forever, I've Been Born" ist das erste neue Album von Jesse Sykes & The Sweet Hereafter seit ,Marble Son" aus dem Jahr 2011 und das fünfte Album der Band seit 2002. Es umfasst eine Reihe meisterhafter Folk-Rock-Songs, emotionale Lieder, die von offenem Herzen stammen und in ihrer Helligkeit dennoch tief ätherisch und melancholisch sind. Das Album, das zehn Jahre lang entstanden ist, dreht sich um die Kraft von Jesses unglaublicher Stimme, die noch nie so schön, bewegend und eindringlich intim war. Der E-Gitarrist Phil Wandscher umrahmt diese Songs meisterhaft mit klassischen und gebrochenen Tönen, einem Duett aus Verletzlichkeit und Stärke, das häufig am Rande des Abgrunds steht.

Released in 1996 at the height of Britpop’s cultural takeover, Free Peace Sweet saw Dodgy break into the mainstream with a sun-drenched sound that set them apart from their more angst-ridden peers. Bursting with optimism, melody, and a touch of psychedelic sparkle, the album became the band’s biggest commercial success. Its lead single, "Good Enough", was a bona fide anthem, climbing to No. 4 on the UK Singles Chart—Dodgy’s highest-charting track to date. Follow-ups "In a Room" and "If You're Thinking of Me" also struck a chord with listeners, hitting No. 12 and No. 11, respectively. Even "Found You", the album’s final single, secured a strong No. 19 spot, solidifying the band’s chart credentials. Free Peace Sweet reached No. 7 at the UK Albums Chart and later achieved certified platinum. Dodgy's Free Peace Sweet includes a 4-page booklet.