Back in stock: All genres

Review: For Record Store Day 2025, Bloom Japan presents a lovely 7" from the 45TRIO, who reimagine Minnie Riperton's classic 'Inside My Love.' This reinterpretation delivers a lush, jazz-infused instrumental take that honours the original's unique sensuality while introducing a fresh, soulful groove for modern 'floors. 45TRIO's tasteful blend of live instrumentation and vintage tones helps breathe new life into this timeless gem while the B-side offers a stripped-down version perfect for late-night spins or sample hunters. This is one to pick up and drop during those loved-up moments.

Review: Spanish musician Bass Lee comes through with a dynamic rockers-style instrumental on his latest 7" release, 'Enlightenment.' The single has a killer groove and smooth dub vibes and comes from Lee's upcoming album, which, on this evidence, is going to be a vital pick up when it drops. The single was recorded and mixed by Roberto Sanchez at A-Lone Ark Muzik Studio and he does a fine job of fusing deep, roots-inspired rhythms with rich melodic elements that cut through nicely. The band's stellar lineup includes Sanchez on drums, percussion and piano, with Lee providing bass and lead strings, while additional contributions come from Reuben Telford on strings and clavinet, and Saioa Jorrin on alto sax.

Review: Busta Rhymes' 7" release on Kickin Kutz features two dynamic tracks from his fifth studio album, Genesis. Side-1 boasts 'Break Ya Neck,' a high-energy hip-hop track produced by Dr Dre, with additional vocals by Truth Hurts, originally released as the album's second single in 2001 and incorporating an interpolation of the Red Hot Chili Peppers' 'Give It Away.' The official remix, featuring Twista and Do or Die, further elevates its appeal. Side-2 presents 'As I Come Back,' featuring Kelis, which showcases Busta Rhymes' rapid-fire delivery and innovative style. Two classics of Busta Rhymes' early 2000s sound.

Review: There is nothing subtle about these mash ups. They are big tunes to blast mud from any sealer you can get your hands on. Block party starting rip snorters, each one draws on a wealth of hip hop standards from Slick Rick to Notorious BIG. Audacious, shabby hitting and full flavour, they are restless and energetic edits designed for nothing other than dance floor destruction. "Love Be Faithful" kicks off with big beats and flutes, iconic vocals and more, while "How We Rumpshake" is a slicker rap jam turned low riding bumper.

Review: Emapea is a bonafide Polish beat-wizard and man being many highly collectible albums, 12"s and 7"s. This lates is another call to action for when the sun arrives, a laidback fusion of soul, funk and jazz with lazy hip hop beats that just melt the heart. The opener '7 Inch' is a crisp boom-bap joint, 'True Fam' brings a steamy sax line and golden keys to the fore, then 'Smuggling Town' rolls us into downtown Jamaica on a blissed out dub. 'Takeover' is another lounge beat masterpiece amongst many in his arsenal.

Review: Two more battle weapons handpicked from the eponymous UK armoury. Label motto ("You want this party started, right?!") and A-cut refrain ("la-di-da-di, we like to party"), converge in perfect sync here on this latest 7": the obverse samples Doug E Fresh & Slick Rick's 1985 mover, peppering slight but bright brasses over a punctuated beat mix. 'Tambou' on the B-side honours a historic canonical Swizz Beatz crunk bit with a re-edit of 'Tambourine', produced and released in 2006 for blase partystarter Eve.

Review: Gitkin returns to Wonderwheel with a spirited release, Don't You Want Me Baby,' a playful instrumental Cumbia rendition of The Human League's timeless 80s hit. Driven by guitar in the verses and accented by Simon Moushabeck's accordion in the chorus, Gitkin delivers a faithful interpretation that promises to ignite dancefloors this spring. Released on 7", this fun and upbeat track captures the essence of the original while adding a fresh, lively twist, ensuring its place as a catchy addition to any playlist.

Review: Will there ever be a time when the refrain of "Too Much War" won't be true? We can but hope. In the meantime, we can enjoy this impassioned anthem from 1978, recorded by George Hunter and Melvin Trusty as The Ovations. It's a meaningful cry to stop the war with a serious message but an easy to love rhythm and smooth groove that stays with you long after it has stopped playing. The version is tweaked with more noodling bass and spaced out effects for extra heady appeal. Of all this outfit's numerous singles, this one is the most perfect and prescient.

Review: Chicago multi-genre music collective Patchwork Inc. offer a distinct, subtle blend of pianistic soul and cinematic warmth on their latest 7" for Colemine. Elusively cryptic and seemingly not entirely willing to divulge their membership, we do know that North Carolina native Taylor Williams and Chicago journeyman Wyatt Waddell are nonetheless involved: their conjoined hands craft heartfelt ambles through smoothly arranged backbeats and ride-tsking R&B phrases, evoking farewell-bidding moods and last-ditch begs for togetherness.

Review: Stefan Ringer brings his signature depth and smoky soul to another one of his crucial releases this time on FWM Entertainment. This limited 7" kicks off with 'Wanna Be Bad' which is a cut drenched in Detroit style. The warm pads rise out of the mix over crisp snares and a melodic bassline. It's melancholic and enchanting in equal measure. 'Got Me 123' then brings some roughshod drums and perc and chopped-up vocals to make for a perfect backroom beatdown. Do not sleep on this limited 7" from one of house music's most original artists.

Review: And now, for the first time everrrrr... two of Swollen Members' most iconic tracks are available on 7" courtesy of FlipNJay Records. These standout singles from the Canadian hip-hop group's early 2000s era left an indelible mark on underground rap. 'Fuel Injected' delivers high-octane thrills with its hard-hitting beats, while 'Lady Venom' delves into Swollen's darker, more introspective lyrical style. Both jams reconnect with the raw, groundbreaking sound that defined Swollen Members' swift rise in the scene.

Review: Alice Taylor, a prominent session singer in the 1970s Philly Soul scene, recorded two tracks in 1974 under producer Emanuel 'Manny' Campbell Jr. and composer Charles R. Bowen at Sound Room Studios. The resulting songs, '(I'm In Love With A) Rock 'n' Roll Singin' Superstar' and 'Sounds Ridiculous,' showcase Taylor's vocal prowess. The former is a pop-soul track capturing the era's fascination with rock 'n' roll, while the latter delves into a girl's affection for a daydreaming boy. Despite the initial poor pressing quality in 1975, Soul Junction has remastered these tracks and included a newly discovered alternate mix of 'Superstar' in a three-track EP, preserving Taylor's legacy for soul aficionados.

Review: Raised on gospel in Mobile, Alabama, Lynn White's path to soul stardom began in Ike Darby's record store, where her habit of singing along to the songs that boomed from the speakers spiralled into a recording deal, not to mention eventual marriage with the store owner. Her 1978 debut on Darby wove a string of local releases, but it was her smouldering 1982 single 'I Don't Ever Wanna See Your Face Again' that caught the attention of Memphis soul legend Willie Mitchell. Signing to Waylo, White spent the 80s carving out a distinctive place in Southern soul, with highlights like the modern soul favourite 'See You Later Bye'. This reissue brings together two standout tracks from her early 90s period: the Lanier & Co. assist 'I Don't Know Why' and a tender cover of George Jackson's 'The New Me'.

Review: Wilfully naive, disco-soul edit editions from Tito Wun, the uptempo alias of Cologne-based Cool Bap producer and Groove Attack Record Store owner Twit One. This three-track journey will have you loose and lytic in no time: Wun's production extrudes sensitively across a tactful edit of Ecstasy, Passion & Pain's 'Touch & Go', not long before dropping into a driven-loopier version of an obscurer sample source, with 'Home'. We're just as hard-pressed to source the UK rap sample used in 'Raise Dat', but its celeritous confusion with conga hits and jovial ragtimey background moods prove a hit.