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Betty Harris (born 1939, in Orlando, Florida) is an American Soul Singer with a reputation that far exceeds her commercial success of the 1960s. Her recordings for the Sansu record label are highly sought after by fans of both Northern and Deep Soul.
In 1964, Betty Harris switched record labels from Jubilee to Sansu, a New Orleans label, where she was introduced to and produced by the legendary New Orleans producer Allen Toussaint. Her recordings with Sansu produced 20 singles. Of those, only "Nearer to You" charted (Billboard Hot 100 # 85), an atmospheric, dramatic soul ballad, now considered one of the milestones of deep soul. However, practically all of her recordings for Sansu featuring Allen Toussaint's raw yet sophisticated Southern Soul arrangements are considered prime specimens of the classic soul era. Notable recordings include "I'm Evil Tonight"; “Show It”; "I Don't Want To Hear It" and "Twelve Red Roses", favored among Northern Soul fans, plus "Can't Last Much Longer" and "What'd I Do Wrong".
In 1969 her Sansu recordings were compiled into a U.K. album—Soul Perfection—now highly prized around the world and reissued here in its original form for the first time.

Held on the Tips of Fingers (2005) was the album that launched Polar Bear into the spotlight, earning a Mercury Prize nomination and cementing their status as one of the most influential British jazz groups of the 21st century. Now, for the first time, this landmark album will be available on vinyl, bringing new life to a recording that helped redefine jazz for a new generation. Expanding on the ideas introduced in Dim Lit, Held on the Tips of Fingers saw the band refine their sound while pushing their compositions further into uncharted territory. The interplay between Rochford, Pete Wareham, Mark Lockheart, Tom Herbert, and Leafcutter John was sharper, the structures looser, and the music more expressive. It was a rare feat: an album that felt both urgent and timeless, raw yet meticulously crafted. Held on the Tips of Fingers was widely acclaimed, securing a 5-star review in The Observer and a place in Jazzwise’s 100 Jazz Albums That Shook the World and The Guardian’s 1000 Albums to Hear BeforeYou Die. This long-awaited vinyl edition revisits an album that shaped modern British jazz and inspired a wave of experimental music that followed. Held on the Tips of Fingers remains as vital and forward-thinking today as it was in 2005, standing as a testament to the groundbreaking vision of Seb Rochford and Polar Bear.

In what ways does human consciousness transcend time, crafting subconscious connections that unite humanity’s primordial past with a future yet to be defined? Fittingly, Memory Implant took shape by following the latent threads of this concept, emerging from dream theories and anthropological explorations organically into the realm of Fourth World Music.

Finding a middle ground between atmosphere and rhythm, moving forward while remaining grounded in space, the music progresses with subtle shifts in texture and energy.

The concept of genre re-invention is irrelevant when rhythm is a building block of collective consciousness. Instead, Glaesha brings a fresh perspective, using sound as a way of seeing.

Ursprünglich für den RSD in UK exklusiv, Restmenge jetzt überall erhältlich.

LP-Neuauflage auf blau-schwarzem Splatter-Vinyl.

2012 kamen Dokken mit „Broken Bones”, ihrem elften Studioalbum, zurück. „Broken Bones” ist eine Rückkehr zum klassischen Sound ihrer Hochphase und folgt damit dem Weg, den sie schon auf dem letzten Release „Lightning Strikes Again” eingeschlagen haben.

„Broken Bones” rockt ordentlich, ohne dabei die samtenen Melodien außer Acht zu lassen. Genau darauf haben die Fans gewartet!

Sneaker Social Club is pleased to direct your attention to this sparse and weighty club gear incoming from a sizeable new talent on the scene, Beton Brut.

Following on from his previous drops on Plasma Sources and Coyote Records, Beton Brut steps onto this latest platter with a surefooted sound. It’s informed by weightless grime, minimal techno and brittle electro, but he carves his own incisive path towards the hoods-up-heads-down Dancefloor.

This is stark, moody gear to get lost in — the dexterous sound design slipping around the rhythm core of ‘Tobacco Earthworm’; gleams in high-definition, but never at the expense of the eerily stripped-back atmosphere. ‘Booters’ snips up a clutch of clippings from grime and scatters them across the timeline in a scrapbook style, making a deadly, dislocated love letter to the sound in the process. Approaching mutant, hybrid club music with a considered poise, this is exactly the kind of forward-thinking bassweight gear that Sneaker thrives on.

Five tracks of future electro-funk from Spanish DJ and producer Lefrenk, who makes his Gated debut.

Across five expertly warped tracks, the EP pulls from 80s Balearic sunsets, fried breakbeats, warehouse-scented house music, and electro that’s been lightly basted in funk and grilled over a lovely DAW.


‘Brainstorm’ kicks off with pummelling beats then goes widescreen, like a sci-fi epic barging into your set uninvited but winning you over immediately. It’s bold, abstractly beautiful, and absolutely means business.

‘Clocks’ loops squelchy bass and a twinkling melody that develops masterfully, intent on living in your head proudly — like a tenant who pays rent on time and doesn’t play the saxophone.

‘Funk Awake’ could soundtrack a very stylish chase scene between two people in vintage tracksuits.

‘Ocaso’ slows it down a little — warm and woozy, but with snappy, electrified beats holding it up like a drunk at a bar vying for the bartender’s attention.

Rounding things off, ‘Relative Point’ floats somewhere between VHS nostalgia and late-night contemplation, where the insistent beat and bass hold steady and the synths do the wandering.

Bruch once again proves to be a grim and bighearted crooner and multi-layered genre-bender between repetitive pulsating electronic music and brilliant organ minimalism, between destructive rock'n'roll and world-embracing pop. Bruch is Philipp Hanich's alter ego as a music producer. Born and raised in Munich / Germany, he has been living and working in Vienna / Austria as a visual artist and musician for 20 years now. He is equipped with a long pedigree of DIY-counterculture, gathered since the early 2000s whilst touring with different bands, creating off-spaces and co-running the labels Totally Wired Records (2012-2016) and Cut Surface (since 2016). The Harbour of the Broken Hearted (THOTBH) can be a state of mind, ramshackle but transcendent. Oscillating between the repetitive pulses of electronic music and organ-orchestrated minimalism, Bruch throws out comforting loops of sound just like fishing nets, that suck you into his stories unwaveringly. His evocative and unadorned vocal style adds to Bruch's depth, soul and sincerity. Drifting and driven amidst uplifting gloom. At times, solemnly striding against foggy and dogmatic black-and-white-thinking, rearing up in opulent resistance, then again just hopelessly beautiful and achingly wistful. Occasionally, Bruch's laid-back observations can also end in a wild ride. By introducing The Crusher, Bruch enters the harbour with full sails of self-reflexion - and we realize, sometimes it's all just about having to endure yourself. Or_ is it all about love? In the end, each and every of THOTBH's songs turns out to have a cathartic quality. Bruch's THOTBH might not be a safe space, but it accepts us as we are. With our doubts, our own frailties and our shortcomings. No need for embarrassment within the fragile. No need for shame and fear in expression. No need to shy away from creating something beautiful. You better learn to spell ,Sehnsucht" - as it turns out to be the everlasting keyword!

Release number 9 is the second 7" on the label, this time from Fradinho with two Jazzy Broken beat / Bruk cuts that feature the legendary Portuguese Jazz Musician (Sax, Flute, EWI) Nanã Sousa Dias!

A-side sees the original version with Nanã's absolute magic on Tenor Sax, Baritone Sax and EWI, on a jazzy funky Fradinho Broken Beat cut! B-side has a Fradinho "Broken Swing" Remix with a bouncier feel for the jazzier dancefloor!

We’re proud to present the first-ever official reissue of Les Nkenda — a rare and genre-blending spiritual gem from 1982, originally released in the Republic of Congo by the Cercle Biblique Évangélique (C.B.E.) of Pointe-Noire and produced by Adam Julien Koubemba on the small Adamsol Record Edition label. Pressed in extremely limited quantities and virtually impossible to find for decades, Les Nkenda has become a “holy grail” among collectors of African music. Fully remastered from the original tapes, it returns on vinyl for the first time since its initial release. More than a reissue, this is a revelation — a powerful fusion of gospel, psychedelic groove, folk, soulful funk, and Afro-Latin rhythms. Recorded in Pointe-Noire, the album channels the raw spirit of 1980s Congo with vibrant multilingual vocals and rich, polyrhythmic textures. Both hypnotic and deeply emotional, Les Nkenda is music made without compromise — once lost, now revived for a new generation of collectors, diggers, and seekers of the extraordinary.

Side Effect is an alias of the main man Dave Charlesworth aka The Sorcerer AKA The Energizer. Two amazing mixes from 1993, originally released on his Time Travel Records label. Pure energy and vibes!

As time is passing...
A letter from the past

Over the course of nearly a decade making music, Alicia Jeanine and Jed Smith have charted a distinctive course through the history of pop, evoking influences as varied as the 60s folk of early Fairport Convention and Vashti Bunyan, the sunshine pop of Margo Guryan and Laura Nyro, and indiepop touchstones like Dear Nora, Marine Girls and Dolly Mixture. The new album finds Jeanines grappling with themes of personal upheaval and self-excavation, adding weight to their finest set of songs yet. With Alicia's lyrics incisively interrogating connections, ruptures, and time and its reverberations, songs like "Coaxed a Storm," "What's Done Is Done," and "On and On" combine rich melody with co-composer Jed's crisp arrangements (along with contributions from longtime live show bassist Maggie Gaster) to stellar effect. Where How Long Can It Last really shines is, as always, in the songs. While the themes are sometimes heavy, the melodies and harmonies are simply heavenly, elevating these economical songs to give each the feeling of a lost classic. From the first notes of opener "To Fail" to jaunty closer "Wrong Direction," this album announces itself as the work of a band in full command of their art (and craft).

For two decades, Trad Vibe Records has been exploring and celebrating the many facets of hip-hop, funk and soul music, always driven by a passion for authentic, organic sounds. Founded in 2005, this independent French label has made its mark on the underground scene with cult releases, transatlantic collaborations and a loyalty to vinyl culture. In 20 years, Trad Vibe has brought together beatmakers, MCs and DJs around a musical vision that is both timeless and audacious. To celebrate this anniversary, the label unveils a limited vinyl edition of 300 copies, a veritable digest of its musical universe.

Side A kicks off with "Boom Bap Introduction", a track mixing jazz and boom bap in a characteristic old-school instrumentation by DJ Vince.
This is followed by the West Coast energy of DJ King Flow & Lex Lakaiser on "Money".
The soulful groove of Moar, Raashan Ahmad and Kohndo explodes on "Stand Up (Soul
Train Mix)".
Juliano concludes the side with his blues-inspired "Nothing or All".
The B-side kicks off with the classic “Rock It Feel The Groove”, a funky bomb orchestrated and scratched by Dee Nasty, a historic figure in French hip-hop.
Moar and Raashan Ahmad return with "Sky High", a track reminiscent of the golden age of 80's Disco Rap.
Followed by LS Brigandes with the sensual "You Make Me Feel", bathed in New York, Hip-Hop, Soul and Jazzy influences.
To round off the album in style, DJ Clyde concludes with a positive message on Boom Bap sounds and Lofi with “More Love”.
This anniversary compilation is available on vinyl only, in an ultra-limited edition of 300 copies. A must-have collector's item for fans of polished beats and authentic vibes.

S4R48 is dedicated to John Richbourg’s iconic labels, SOUND STAGE 7 and SEVENTY SEVEN, featuring the main man Joe Simon and the much-missed Ann Sexton on two album tracks available for the first time on 7”. Completing the EP are two originally unreleased tracks: Roscoe Shelton’s well-known Northern Soul classic "You’re the Dream", and another Southern Soul gem by Geater Davis.

Discos Fantástico presents: Los Shapis – The Electric Pulse of Peruvian Chicha In 1980s Peru, during a time of crisis and mass migration, chicha music emerged as a joyful, rebellious sound from the people. A fusion of Andean cumbia, huayno, and psychedelic rock, the genre found its most iconic expression in Los Shapis. With electric guitars, emotionally charged lyrics, and rainbow-colored outfits inspired by Incan symbolism, they reshaped Peru’s popular music landscape. Discos Fantástico proudly presents an exclusive compilation of their best singles—restored and remastered for vinyl. A vital tribute to one of the most colorful and revolutionary movements in Latin American music history.

The lengthening days and the long beautiful evenings: it must be time to treat yourself to this wonderful (and highly limited) 10” single from Julian Cope’s Dope feat. Fuck Authority. Consisting of two 20 minute tracks, main track ‘666’ is a Deutsche sing-a-long from beyond the grave, replete with martial side drums and cacophonous orchestral strings. With raised steins, our gruff-voiced male choir recounts their bolshie nursery rhyme – a beguiling tale of a mysterious tree that predicts the future. Simultaneously traditional and avant-garde, ‘666’ will remain in people’s heads long after the vinyl has been ejected. Meanwhile, awaiting listeners on the other side of this epic release is Dope’s most overtly psychedelic offering thus far. Off-kilter and raging, this non-LP B-side is entitled ‘1381’, after the year of Wat Tyler’s Peasant’s Revolt. Unbalanced? U-Betcha! As Fat Paul’s cataclysmic FX and Holy McGrail’s Space Echo obscure and overwhelm Fuck Authority’s vast stereo bass guitar, one can only praise the poor technicians who captured it all on vinyl. Yes, with its fabulous packaging and earworm chorus, this unlikely 10” release must be a candidate for Single of the Year surely?

On At Tubby’s Dougie Poole plays stripped down live versions of his most treasured songs in a venue beloved by musicians for its’ intimacy & acoustics as well as its’ exceptional treatment of touring musicians. This set was a natural for release as a live album as it was a special night for the band. One of those nights when the music, audience and space all come together. It was recorded right from the board with minimal mixing work in post from Dougie himself.
The version of Dougie’s live band on At Tubby’s features main stays Mike Etten on electric guitar and Connor “Catfish” Gallaher on pedal steel. On the night’s first song “Los Angeles,” Etten’s classic country licks and Catfish’s soaring slide lines perfectly compliment Dougie’s formidable acoustic work and golden baritone. You can tell these three have been playing together for years and are road tested in this formation. They tackle some of Dougie’s most loved songs, from rave-up’s (“Beth David Cemetery” & “Vaping on the Job”) to country balladry (“Must Be in There Somewhere,” “Don’t You Think I’m Funny Anymore”) and all points in between.
There are some tracks here that might be new to fans of Dougie’s recent albums. “Toshiba Sky” is a one off digital single from 2020 and “Wild Motion” is a track Dougie wrote for L.A.’s Drugdealer, who recorded it for their 2020 album Raw Honey. Live at Tubby’s also sees the recorded debut of a new Dougie composition, “Heaven Sent an Angel” which closes out the set on a heartfelt note. At Tubby’s brings the listener to a spacial place and time, and will be a thrilling listen for fans old and new.

The highly anticipated 3rd full-length by this Finnish band. Morbific is a rotten-to-the-core Death Metal trio deformed in the filthy and profaned boneyard of Kitee in early 2020, featuring Olli (guitar), Jusa (vocals / bass) and Onni (drums). The band’s Pestilent Hordes demo was unleashed in the summer of 2020, and it rapidly gained them some following amongst the finest gourmets of the variety of festering, moldering and disgusting Death Metal that’s malignantly influenced by Autopsy, Rottrevore, Deteriorot, Mortician, Grave, Maimed, Undergang, Impetigo and ancient Finnish masters of death and decay, such as Funebre and Disgrace. Shortly after, in the spring of 2021, the debut full-length Ominous Seep of Putridity saw the odious light of day to unanimous praise by both the fans and the media. Just a year later, and now aligned with Memento Mori, Morbific released their second full-length, Squirm Beyond the Mortal Realm. Aptly titled, the album quickly became a cult favorite of utterly uncomfortable, slimy Death Metal. Now, Morbific are prepared to eclipse such a sewer-dwelling “highwater” mark with Bloom of the Abnormal Flesh. Whereas its not-inconsiderable predecessor confronted the listener with a blown-out, almost demo-level feel, the Finns’ third full-length proves that they can move and mesmerize and maim no matter what the soundfield is. And on Bloom of the Abnormal Flesh, it’s a raw-yet-robust show of strength, “classic” Death Metal production in a most late 80’s fashion; just witness that gurgling, fuzz-tinged bass and feel its radioactive waves envelope you. But production is one thing and songwriting is another, and with the latter, Morbific are truly hitting their stride here. Lumbering and stomping, with well-timed bouts of disgusting gallop or even ragged blasts, their songwriting twists and indeed squirms with off-kilter insanity; some would call it chaos, if not for the exceptionally tight musicianship on display here, with the sum result being an uncomfortableness that bubbles up from a deeper gutter. Thankfully, Bloom of the Abnormal Flesh conveys its dark, disgusting and unconventional aura across every element -said chops simply heighten these sensations- and is, thus far, Morbific’s best melding of form and content. Cro-Magnon as ever but somehow enlightened in the creepiest sense possible, Morbific continue their reputation as Finland’s filthiest and Death Metal’s untrendiest weirdoes. Vividly captured by Chase Slaker’s cover artwork, Bloom of the Abnormal Flesh is the foulest stench only for the brave!