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Notes: Outer Sleeves - 3 mil HDPP, Crystal Clear, Wrinkle-Free

Beautiful Heavy-Duty Protection

Vinyl record outer sleeves by Big Fudge are made from durable, crystal clear high-density polypropylene. Unlike industry-standard polyethylene record sleeves, which are opaque and easily clouded, our outer sleeves allow your album art to stand out and last longer.

Like all our other products, our outer record sleeves are designed by record geeks who want to make products worthy of their own standards. Other protective covers may split at the seams or wrinkle, but our sleeves are designed to forego all of those issues. These clear vinyl sleeves will fit both single LPs comfortably and accommodate your prized gatefold or double albums snugly. Big Fudge have streamlined the vinyl outer sleeve design further by removing the bulk that resealable flaps cause in other brands' sleeve styles.

These vinyl record outer sleeves will fit single records, gatefold, or double albums comfortably.

Review: The first vocal album by beloved Ethiopian nun, composer, and pianist Emahoy Tsege Mariam Gebru, Souvenirs is a profound and deeply moving home collection of cassette recordings made amidst political upheaval and turmoil. These are songs of wisdom, loss, mourning, and exile, sung directly into a boombox and accompanied by Emahoy's unmistakable piano. Though written and recorded while still living at her family's home in Addis Ababa, Emahoy sings of the heartache of leaving her beloved Ethiopia, a reflection on the 1974 revolution and ensuing Red Terror in her homeland, and a presentiment of her future exile in Jerusalem. Rich with the sound of birds outside the window, the creak of the piano bench, the thump of Emahoy's finger on the record button, they create a sense of place, of being near the artist while she records. Emahoy's lyrics, sung in Amharic, are poetic and heavy with the weight of exile; she dreamt of releasing this music to a larger audience before her passing in March of 2023, so in her honour, Mississippi present this album in collaboration with her family now, in what would have been her 100th year.

Review: Dutch crew Body N Deep are back with more music that is aimed at both head and heel. This fourth volume in its BND Project series welcomes four more venerated names starting with Marc Cotterell whose 'Deepha' (Plastik Factory Vox mix) is all warm, smeared chords and 90s vibes, while Matt Gillespie's 'Movin' is more stripped-back to sustained pads and shuffling, dusty drums that soon get under the skin. Jovonn's 'Play 4 Today' (Ben Rebel remix) is a more driving affair with libidinous vocal whispers and Jeremias Santiago shuts down with the strong laced and Latin-inspired sounds of 'Soul Festival.'

Review: Following the success of their previous Tokyo Glow compilation, Wewantsounds once again team up with Japanese Tokyo-based DJ Notoya to dig up the rich Electric Bird catalogue, and come with a subsequent, versatile selection of sunny jazz-funk gems recorded between 1978 and 1987 for the label. A tasty selection featuring Yasuaki Shimizu, Toshiyuki Honda and Mikio Masuda, together with a few American musicians such as Ronnie Foster and Bobby Lyle, most tracks here are making their debut outside of Japan, the album comes with a full annotation by Notoya and is a multifarious meander through every angle of the polygonal gamut of J-jazz, disco, city pop, and funk. Highlights include Masuda's 'Let's Get Together' and Foster's prototypical wonky funk number, 'Night Life'.

Review: Groovin Italy landed a monumental reissue for the label with C'hantal's 'The Realm'. Originally released way back in 1990 on the dance and early Brooklyn based Powertraxx records. Staying true to the original release, it offers the 'Love In D Minor' mix but does one better in tucking in the Acapella version to the A-side so the B-side 2 versions have a little more room to breathe. The added bonus has to be putting on the more rare "Wild Club mix' to the party along with the original 'Rave Mix'. All and all, a very packed reissue of some of the best versions of the track, all on one record. This might just hold the number one spot for best techno reissue so far of 2024.

Review: Lost Miracles present the third release in their eponymous V/A series, collating a number of atmospheric deep, progressive house cuts under a single waxen orbit. For starters, we've got the breakthrough fogs of Volen Sentir and Makebo's 'Alchemist', which prefers to chug than let loose, and establishes the same vibe thereafter; Raw Main's 'Citadelle' recalls floating on high above a city of glass, delivering a similar atmosphere but with added melody; Sebastien Leger's 'Blazing Ice' dives into said metropolis' heart; before Eli Nissan's 'Wonders' explores the osbcene underside, its stranger backstreets. The theme continues into eight further wonderments.

Review: The second part of Sushitech's three-part vinyl-only series looking at the work of Dexter is another 12" doozy. The UK underground mainstay has been behind many cult and much sought-after records over the years and they all fuse obscure dub and acid tech house in smart ways. They were recorded between 1997-2004 and if you can find any OGs then you will be paying upwards of 100 quid for them. This slab has three driving but deep sounds carefully detailed with wispy pads and filtered vocals for perfect backroom deployment.

Review: Alongside the wicked new 7" 'Dues And Don'ts / Fraud Fades', Amsterdam producer Soul Supreme simultaneously drops another 45 - of no less import - this time enlisting the fiduciary flows of American producer and emcee Thes One. 'Taking The Stand' includes both the original vocal number and the instrumental on the flip side, with Thes One musing on life's (in)justices, trials and negotiations as Supreme the wunderkind himself segues through wildcard turntable scratches, knocky drum hits and blue-note piano hits.

Notes: G-Sonic is a special ultrasonic wash formula that offers a more pure and focused blend of additives than can be commonly obtained off the shelf. The result is greater groove penetration for a superior ultrasonic cleaning.

Add ten drops of G-Sonic concentrate to each gallon of distilled water. Replace the cap and shake for at least five seconds to mix. Add the mixed solution to your ultrasonic tank and proceed to clean your vinyl records per your desired methodology. A one ounce bottle of G-Sonic will make up to 60 gallons of ultrasonic bath.

HumminGuru Users: One drop of G-Sonic added to the bath tank, after it is filled, will break the water's surface tension for improved cleaning. G-Sonic is a gentle surfactant and emulsifier blend.

Review: The cheeky junglist mash-ups continue unabated on Vibez 93 as the Dutch label very clearly spells out its plans on the r&b vs d&b 12". On the A-side we're treated to some crisp and direct flips of Blu Cantrell's 'Breathe' and TLC's 'No Scrubs', and the original songwriting content of the all-time classics is kept well and truly intact. All you need is a snappy, rolling beat dropped into the blend, and crowd-pleasing dancefloor magic is right there in the palm of your hands. On the flip Mary J Blige and Queen Latifah get the treatment too, giving you lot of bang for your buck on this big bad and bold record.

Review: Club U Nite Records has been making some great house records since making their welcomed comeback in 2018. Manhattan Project aka Mellow Man (Andreas Marek) is the label owner is here with his latest EP of new music. Work It offers four classy house tracks for the late-night dancefloor fanbase. No surprise by the title of the track 'Work It!', that it has all the makings of a classic Chicago-inspired track. For those who like Jasper Street Co. sound then you are sure to like 'This Luv You're Giving Me'. There are moments when these give us a gospel house vibe. The B-side has some deep groover in 'Bring It Back' while 'What Does That Make You Feel' verges on a more serene, ambient house vibe. If you are looking for smooth house music with some Chicago influence then look no further than Work It!

Review: Due to persistent demand and soaring prices for the original pressing, this reissue of 'Why Don't You Go Home' on striking red transparent vinyl could not be more essential. Featuring the dynamic vocals of Diane Ward, the title track delivers a powerhouse performance echoing the King and Federal r&b sound. On the flip side, 'Cocktail De Medianoche' serves up a delightful blend of Boogaloo and Northern Soul, a cherished favourite among aficionados of Latin grooves and Uptempo Soul. With two phenomenal tracks, this reissue promises a perfect double-sider experience! for lovers of soul.

Review: Chicane's 1997 album Far From The Maddening Crowds not only reappropriated a famous Thomas Hardy literary title, it also helped lay the groundwork for a new form of breaks-driven trance music. Now on Modena comes a brand new version of the album, its Symphonic Rehearsals version: a full rerub consisting of total string versions of each track, with brand new string compositions written and performed by Joe Duddell (whose extant performance credits also include James, Elbow and Daughter). The new versions are utter tearjerkers, and not merely for the nostalgia value either; all build on the originally subtle apogees of the original LP, and remind us of why it was so well-received as a landmark release in the first place.

Review: Los Angeles-based ASHRR are back with a new cut which comes from their forthcoming Sunshine Low album which they have re-interpreted as their ASHRR Soundsystem alter ego, while System Olympia also steps up with a remix on this fine new package from 20/20 Vision. In the hands of the latter, 'What's Been Turning You' is a remix with plenty of hi-fidelity cosmic details over mid-tempo deep nu-disco drums. The version from ASHRR is a chugging and Italo-tinged classic with loose-limbed and jumbled drum funk and plenty of bright, shiny arps. A great collection then.

Review: One of the most important pop albums of the last decade, responsible for shaping radio pop for many years to come, '1989' is a well-beloved part of the Taylor Swift canon. Deservedly so, featuring some of the most important hits, not just of the discography of America's sweetheart, but of the century. 'Shake It Off' and 'Bad Blood' were playing on every speaker around the world at one time, letting the world know exactly the grip Swift had, and would continue to have to this day, on the music industry. Now updated with never-before-seen alternate art and images, TS is continuing full steam ahead with the re-recordings of her iconic catalogue, reclaiming her masters for herself and giving her old tracks a new lease of life as well as including 5 previously unreleased tracks from the vault. No modern Taylor release would be complete without multiple coloured vinyl variants, the sky hue of the vinyl reflecting the vast blueness beyond the smiling 33-year-old as birds freely fly overhead. It's a far cry from the candid, faceless polaroid that the original record donned; A defiant image of freeness from the shackles of her past.

Review: From the artwork to the vocal stamps to the beats themselves, this is a brilliantly retro-tactic release that brings plenty of nostalgia to the dance floor. Ursula 100 serves up the goods with 'Movin' 2 The Sound' - a dense and intense cut with vocals musing on drum beats and rocking the house, electro-tinged bass and lashings of acid with plenty of analogue percussive sounds. The Acid Jerks Refix strips away some of the noise to focus on the 303 and loopy vocal fragments and Fort Knox 5 up the acid-electro vibes on their rework. Last of all, the DJ Absolutely Shit remix brings some big jungle breakbeats and lively sax. A fun and destructive EP for sure.

Review: Boo Williams is in good company appearing here on Sushitech's sub label Pariter where he joins the illustrious likes of Delano Smith and Norm Talley in its ranks. You wait for a Boo Williams record and then, of course, two come along, 'Day Rise' being accompanied by the simultaneously released 'Night Fall', each with their own corresponding vibe. 'Day Rise' is definitely more upbeat of the two but it's a subtle distinction - it's certainly not full of 4AM bangers designed to keep you awake until the busses start running again. 'Talley Up' is a very straight forward affair, circling around a two note synth riff and gradually building percussion. 'The Take Over' is similarly spritely, another builder with crashing cymbals, jazzy chords and drum machine tumbles steadily building an insurmountable wall of funkiness. Breezy, bumping closer 'Teleport' completes the set, meaning three ultra-handy, raw but sophisticated tunes that house and techno DJs alike will find slipping into their sets with a natural ease.

Review: Beautifully arranged, elegant and wistful, Dream Talks is a set of ten carefully crafted classic songs; From the autumnal opener 'Today is the Day' to the hot summer night finale of 'Turquoise Moon', Still Corners have created a sound that is focused, stylish and seductive. Written in various places - the south of France, East Sussex, UK and Woodstock, New York - the album is matchingly riven both in style and subject matter, with the former spanning ethereal electronica and crystal-clear dream pop, and the latter moving to themes of obsession to reality to "ships in the night".

Review: This is the first official vinyl release of the previously CD only collection of Pixies live performances on the BBC. Fans of the band know what a mythical live band the Pixies are. And what better way to experience that emotion then these recordings collected from their earlier years of the late 80s and early 90s? Included are many of the early hits like 'Monkey Gone To Heaven', 'Wave of Mutilation' and 'Allison', mainly from BBC studio sessions and the occasional live recording. 4AD have done an amazing job with this release spreading it across three pieces of vinyl too.

Review: 36's new album Reality Engine explores "the blossoming dynamics of artificial intelligence and the ever-changing definition of reality" on Past Inside The Present and does so with a continuation of his richly melodic sound while also evolving into new realms. The sheer beauty of these sounds is enough to uplift and energise, with chords ascending to the heavens on the opener 'Imagine The Truth' and then rolling out to infinite horizons on 'Axiom Haze'. 'Reality Engine' suspends you amongst the clouds and 'Beyond The Hyperreal' is a perfect marriage of immersive and organic sounds and hints of digital augmented reality engines. A sublime album, for sure.

Review: Kirk Degiorgio has made countless great records - including a number of fine full-length excursions - under the As One alias, but few remain as timeless and future-proof as Reflections, his 1994 debut album. Rooted in a mixture of stargazing Detroit techno, futurist electro and UK techno trends of the period (think ambient techno, bleep and what Mixmaster Morris dubbed 'intelligent techno', much to irritation of artists whose music didn't fit that descriptor), the album offers an enticing mix of slow-motion headphone music, intergalactic-sounding experiments, after-hours gems and full-throttle dancefloor workouts. This 30th anniversary edition naturally sparkles sonically thanks to some superb remastering, making it an essential purchase for all those who love emotive, grown-up electronic music.

Review: Following her acclaimed 2021 album, Star-Crossed, which topped Billboard's Top Albums Sales chart, Deeper Well now arrives from Kacy Musgroves. Prior to this, her groundbreaking 2018 album Golden Hour not only debuted at #1 on Billboard's Top Country Album chart but also earned her the Album of the Year at the Grammy, CMA, and ACM Awards. In 2023, Musgraves achieved her first #1 on the Hot 100 with 'I Remember Everything,' a duet with Zach Bryan, marking the first country duet in 40 years since Dolly Parton and Kenny Rogers' 'Islands in the Stream' in 1983. At the recent 66th Grammy Awards, the song won Best Country Song, solidifying Musgraves' unprecedented feat of winning in four major country categories.

Review: This unique 7" features two different artists - Raye Cole and Rachel Maxann - doing their own renditions of the same song, in this instance, 'Find Myself Another Man'. These versions bring a modern twist to a rhythm and blues banger that will transport you back to the good old days, Raye's version adding a bit more of a hop to it while Rachel's version has a garage band and surf rock tinge to it. Both are late night blues without a doubt though andit'sanother case of hats off to Original Gravity records for always keeping things fresh with their ever-changing moods.

Review: FF45 welcomes Smoove back for his third edits release, and this one surely won't disappoint: The Pharcyde reign over a beefed-up JB break - what's not to like? - while an instrumental and some bonus bits for DJs abound on the flip, making for a more measured listen in contrast to the more vocally immediate, on-the-beat A.

Review: Charles Lloyd returns with his latest musical offering, The Sky Will Still Be There Tomorrow, a majestic double LP of new studio recordings from the legendary saxophonist. Despite this being Lloyd's eleventh album for Blue Note, it still makes for a sudden comeback, as it is the first new set of sessions to appear since 2017's twin releases, 'Vanished Garden' and 'Tone Poem'. On The Sky Will Still Be There Tomorrow, Lloyd proffers a muted, tender sound, abiding by emotive progressions backed up by homespun lower bout hits and natural piano playing. Lloyd hardly needs to lift a finger to glean the reams of emotion that swell from his instrument.

Review: Move D's latest release, Something 'Bout The D, on his own label Source Records, shows his enduring ability to produce excellent electronic music. Regardless of the genre, David Moufang is a name people trust and purchase without listening. On the A-side, 'Aspiration 2010' mesmerizes with its deep, dubby vibes, infused with low-slung acid elements and techy nuances that permeate the track. On the B-side, the title track 'Something 'Bout The D' channels Detroit-style 90s melodies with ambient undertones, creating a nostalgic yet forward-thinking atmosphere. 'Marshmellow Boots' on the same side offers a departure into deep house territory, with a light jazzy touch and ambient backgrounds that envelop the listener in a gentle, smooth embrace. Move D's ability to blend diverse influences seamlessly is on full display here, making Something 'Bout The D a must-listen for fans of ambient and deep house alike.

Review: Big Love records assembles four talented artists for the 5th edition of A touch of love. The compilation opens with Seamus Haji's 'Dance With Me', a spirited house track featuring Kathy Brown's powerful vocals and a driving beat. Illyus & Barrientos contribute 'Wait' featuring Phebe Edwards, a melodic house track with disco influences, soaring strings and rhythmic percussion. The B-side features Richard Earnshaw & Mr V's 'This House Is Yours', a party-ready disco house track perfect for the dancefloor. DJ Meme's 'Century' concludes the compilation with a deeper, more melodic offering. Together, these four tracks offer some great opportunities to make a dancefloor happy.

Notes: Latest version of the classic Technics DJ headphones, updating the classic RP-DJ1200 design, which sold more than half a million units in its lifetime. Solid stuff. Popular for a reason.

Supplier notes:
New-Standard EAH-DJ1200 DJ headphones with excellent functionality, furability, and DJ playing performance.

The EAH-DJ1200 is a successor model to the RP-DJ1200, which has sold more than 500,000 units since it was launched in 1996. While inheriting the basic concept of the previous model, the EAH-DJ1200 better meets the needs of today's DJ users, resulting in DJ headphones with more advanced functions, design and sound quality. In addition to ordinary listening, the EAH-DJ1200 provide precise monitoring of the beat even in large-volume sound environments such as those in clubs. The matte finish black colour design also makes it an excellent match for the SL-1200MK7 DJ Turntable.

The newly developed driver uses a 40mm-diameter CCAW voice coil. It achieves clear, detailed sound, and high-durability input (2,500 mW) with no distortion even at high volumes. Also, because the sound is well balanced from low to high ranges, DJ play in high-volume surroundings is not buried in noise and monitoring is comfortable.

The EAH-DJ1200 is a lightweight on-ear type design. The housing is equipped with lockable swiveling mechanisms so the headphones can be used for monitoring with one ear. It adapts to all styles of monitoring by DJs. The headphones can be folded compactly for easy portability and storage.

The detachable cord is easy to clean and maintain. A locking mechanism is provided to prevent accidental detachment of the cord during use. The stretchable coiled cord, coupled with the L-type plug which resists internal wire breakage, enables extra ease of use and high durability. It withstands harsh and intense usage by professional DJs.

Based on the RP-DJ1200, which remained as a long-selling model in the market for more than 20 years, the EAH-DJ1200 sports a contemporary black color scheme for an updated appearance. Armed with high durability and excellent functionality, the EAH-DJ1200 matches perfectly with the SL-1200MK7, which features a matte black finish.

Review: London based Sosure Records releases their next house music 12". The 'Sweet Talk' EP by Physical Education carries four prime cuts of deep house business on one sweet piece of wax. Fans of Chicago house that are on the jazzy tip are sure to like the title track and 'Work On That Soon' for their ability to move people yet still be deep enough for the discerning house music heads. Our favourite of the lot just might be the ender 'Dreamsville' for its super cool bassline and catchy piano use. This is a strong four tracker that can do some dancefloor damage. A great find.

Review: Desert funkers Khruangbin announce their latest album A La Sala, turning their efforts inward to a more personal recollection of childhood and origination, and to reach a firmer understanding of what exact influences made this troupe who they are today. In contrast to their last record Mordechai (2020), uniquely conceived as a party record from the jump of its making, A La Sala (translation: 'to the room') is the measured, self-reflective morning after; lead singles 'May Ninth' and 'A Love International' pare back the layers even further than we could imagine Khruangbin pulling otherwise, making for emotional ponderings of the external world, inextricably tied to the internal as it is.

Review: The fledgling Detach label continues to show it means business with a new 12" in a lovely screen-printed sleeve. Romanian artist Dyl is the one in charge and has been serving up consistently excellent and innovative sounds now for serval years. All of these cuts mix up great sound design with languid rhythms - the first is eerie, with watery droplets and glassy tinkles hanging in the air, while 'Glasshouse 2' has a percolating rhythm down low. 'Glasshouse 3' gets a little more dynamic with a shimmering low end and freaky abstract life forms and 'Glasshouse 4' layers in more intense and ever-shifting synth lines while the closer sounds like it's roaming through a deserted factory long after it shut down.

Review: Italian dance producer Gianni Bini debuts on Groove Culture with the House Of Glass LP, topping up his impressive discography with a solo studio effort, and bolstering the already massive stock of production credits attached to his bulging, insatiable name. Though his various monikers over the years have indeed propelled him in a many-a-direction, Bini's latest here centres on epic disco, and rewinds the tape to an earlier sound first explored in his formative days as a producer; retroactively, we hear a livelier, more contemporary take on the stabbing strings, bristling bass and bubblegum beats - all live-recorded - that first put him on the map.

Review: He calls himself the house gangster and who are we to disagree with Puerto Rico-born, Chicago-bred house innovator DJ Sneak? He has been kicking out the jams for decades now, slaws with a raw edge and loopy, infectious style that is akin to French filter house. This new Galactic Funk EP comes on Phonogramme on acid yellow vinyl and packs his usual punch across a quarter of club-ready jams that have hooky melodies fluttering away up top as the dusty, rusty drums sounds do their thing down low. Another irresistible weapon from the big man.

Review: Over the last couple of years, we've been treated to numerous reissues of classic cover versions by Japanese reggae/rocksteady combo Inokasira Rangers, including takes on Nirvana's 'Smells Like Teen Spirit', Pharrell's 'Happy' and New Order's 'Blue Monday'. Here we're treated to another, as the band's 2017 take on Underworld anthem 'Born Slippy' gets a fresh pressing. It's certainly a revolutionary revision, with Keichi Sokabe's surprisingly Karl Hyde-sounding lead vocal rising above a lusciously languid, sub-heavy reggae groove. Over on the flip they take on 'Groove Tube', a 1991 indie-pop-meets-acid house single from Japanese outfit Flipper's Guitar, reframing it as a baggy, glassy-eyed rocksteady number.

Review: The fast-rising Purveyor Underground Ltd kicks on again here with a sizzling seventh EP that is as rude as they come - in both meanings of the word - from Die Familia. It is his own East Side Gangster remix of 'U Dat Bitch' that kicks off with hard-hitting house kicks and sleazy vocals over a rugged bassline. 'House Music' (part 1 - Late Night edit) is just as raw but more deep and hypnotic with its ascending synth lines and steamy vocal coos. 'Organic (Like Weird)' might be the best of the lot - a quick and urgent house thumper with silky hi-hats and rolling bass getting you up on your toes amidst swirling pads and a melange of vocals.

Review: Pyramid deliver a wonderful new compilation of deep gospel from the 1960s and 1970s. Named after the Holy Light Jrs' eponymous slow jam, featuring as the lead track here, all the songs featured come corralled from the vaults of Pyramid's very own DJ Jumbo. Doing well to shine a light on the unbeatably sentimental mood that hung heavy over the Mississippi-born genre that emerged in the postwar period, the likes of 'Beams Of Heaven', 'Lord You Are My Burden Brother' and 'When The Gates Swing Open' all function as faithful, ivory-fingered devotionals and effective paeans for a better world to come.

Review: There's no secret to the success of Late Nite Tuff Guy's long-running Tuff Cuts series. Buyers have simply responded to the consistency of the Australian producer's approach, and the quality of loopy, house-friendly re-edits. This eighth volume features more party-starting fare, from the glassy-eyed extended breakdown of "Go For That" (yep, a Hall & Oates rework) and soft-touch house take on Marvin Gaye ("Heard It"), to the end-of-night bliss of "Dreams", a decidedly warm and rolling rearrangement of the famous Fleetwood Mac cut of the same name. As if that wasn't enough bangers in one place, he finishes with a triumphant rework of disco-era Michael Jackson ("Starting Something").

Review: Detroit house hero Kyle Hall returns with his biggest project in some time in the form of Transmissions, a new double album on his own well-regarded Forget The Clock. All six tracks have enigmatic, functional titles and the music is as idiosyncratic as ever. Each one veers more towards techno than is Hall's usual style, with pulsating synth lines and tight, dusty drum tracks making for stripped-to-the-bones grooves. Later on, things grow ever more abstract with twisted acid lines screwing their way through the increasingly ragged and roughshod drums. These are perfectly imperfect jams from a master of the form.