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King Street Sounds Sampler Vol. 6 continues the long-running series from the legendary King Street Sounds catalogue, bringing together a selection of classic house cuts from some of the label’s most respected artists.

Featuring productions from Dennis Ferrer, Mood II Swing, Studio Apartment and Blaze & Palmer Brown, the release highlights the soulful, vocal-led house sound that has defined King Street across decades of dancefloor culture.

Including standout King Street favourites such as Dennis Ferrer’s Touched The Sky and Mood II Swing’s Closer, the sampler brings together several proven catalogue moments in one DJ-friendly vinyl package.

With warm grooves, powerful vocals and timeless club arrangements, these proven King Street records offer strong crossover appeal for both long-time house collectors and DJs looking for reliable dancefloor material.

As the sixth edition in the King Street sampler series, this release presents a selection of essential catalogue moments on one highly playable vinyl release.

A strong catalogue addition for stores serving soulful and deep house buyers.

London Jazz Classics originally came out in 1993 - the first album ever to be released on Soul Jazz Records. The album brought together rare and obscure dance tracks in a unique mix of jazz dance and fusion, funk, Brazilian and Latin grooves. 

The album was ironically titled - none of the music was from London, none of the music was traditionally classified as jazz, and all of the tracks were at the time practically unknown to most people. Instead these were tracks that were filling dancefloors in a nascent jazz dance scene in London being created by a small group of DJs – Paul Murphy, Gilles Peterson, Sylvester, Patrick Forge and a few others.

As demand for these rare groove jazz tracks grew, previously unknown records such as Alive!’s ‘Skindo Le Le’, Doug Richardson’s ‘Salsa Mama’, Carlos Franzetti’s ‘Cocoa Funk’ and Emilio Santiago’s ‘Bananeira’ became sort after and even-harder-to-find items with original copies going for £100s of pounds. 
These tracks became part of the soundtrack to this jazz dance scene which has now spread across the world. This music paved the way for the arrival of many of the UK’s new wave of current artists such Shabaka Hutchings, Nubya Garcia and Ezra Collective who today offer a uniquely London sensibility of fusing jazz with wide-ranging cultural influences – everything from afrobeat to soul.

London Jazz Classics was the first album to bring this jazz dance music featured here to a wider audience. More than 30 years since its initial release Soul Jazz Records are releasing this new 2026 edition, bringing the music once more to a new generation of listeners.

Wewantsounds is delighted to continue its extensive reissue program of Meiko Kaji"s early discography, originally released by Teichiku Records in Japan between 1972 and 1974. The Quentin Tarantino muse-famous for her starring roles in Lady Snowblood and Stray Cat Rock-was also a gifted singer. Otoko Onna Kokoro No Aika is another collection of superb cinematic songs featuring Kaji"s signature mix of Japanese Pop and Groove, backed by lush, atmospheric orchestrations. This includes her rendition of "Tokyo Nagare Mono," the theme song for Seijun Suzuki"s cult 1966 film Tokyo Drifter. This reissue features the original artwork, an OBI strip, and a four-page insert with new liner notes by Hashim Kotaro Bharoocha, who interviewed Meiko Kaji for the occasion.

Sometimes the title of an album tells you everything you need to know. Laurence Pike’s Possible Utopias for Jazz Quintet is like that: The music within represents a search for freedom, potentiality—liberatory strategies that transcend the ego and the solitary, atomized figure.

But in this case, the album title is also a red herring, because there is no jazz quintet here—just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits.

And the results, strictly speaking, aren’t really jazz, though they incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. They are some other thing, cognizant of genre but never beholden to it. Again, we’re talking about a search for freedom here.

The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings—including four albums for the Leaf label between 2018 and 2024—but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community’s Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003; and even post-punk titans Liars, whom he joined in late 2018.

Of his first album for Balmat, Pike says, “My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealised culture of the future, or even another world, utilise musical language when the conventions of style and marketing are no longer a factor in music making?”

That inquiry, he says, connects to his “guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously.”

Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces—in the ruminative piano of opener “Guardians of Memory,” for example—but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads.

Pike’s imaginary quintet is hardly without precedent; it’s a continuation of concepts floated across Jan Jelinek’s Loop-Finding-Jazz-Records, Burnt Friedman’s many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM’s catalog in the late 1970s and 1980s, which Pike says have been integral to his development since he was a teenager. Possible Utopias for Jazz Quintet is a point in a continuum, a voice in a conversation, a question with no obvious answer: How can the search for otherness in music manifest something true about ourselves?

Philip Glass, the great American composer, was already in his mid-30s before his first album appeared, and then only because he produced the double LP himself. Music With Changing Parts was the inaugural release on his own Chatham Square imprint in 1971.

At this point, Einstein on the Beach, Glass' first opera, was still five years away. Yet in Changing Parts, one can already hear much of his vocabulary in full bloom: the buoyant arpeggios, the melding of electronic and acoustic instruments, the elongated drones of human voice, the primary emphasis on pulse (an interest he shared with fellow composer Steve Reich) and the ecstatic potential inherent in repetition.

The album features the original Philip Glass Ensemble – the composer himself, along with Jon Gibson, Dickie Landry, Art Murphy, Steve Chambers and Robert Prado – playing Farfisa organs and woodwinds as well as Barbara Benary on electric violin.

As Glass describes in his memoir Words Without Music, he secured a $500 interest-free loan for the recordings' initial release from the Hebrew Free Loan Society – an organization intended to help immigrants from the Old World upon arrival in the US. Though Glass was merely the grandson of immigrants, the venture wasn't far off the society's charter as Changing Parts helped usher in a new world of sound that would become known as Minimalism.

Chatham Square went on to release albums by other composers in Glass' circle, including Gibson and Landry. The label was named after the Manhattan intersection where Landry had a studio and the ensemble rehearsed.

Born in Baltimore in 1937, Glass first moved to New York to attend Juilliard at just nineteen, having already graduated from the University of Chicago. A staple of the Downtown scene, he can perhaps be appreciated as akin to the likes of sculptor Richard Serra or filmmaker Jim Jarmusch: mavericks who became major cultural figures entirely on their own terms.

This first-time vinyl reissue reproduces the original side-breaks and gatefold sleeve.

WRWTFWW Records is thrilled to announce their 5th archival release taken from cult Tokyo label FORM@ RECORDS' catalogue, this time with the first-ever vinyl edition of Re-Form Ver-1.0. The remarkable, yet not widely known, 1999 remix compilation is now available as a limited edition 45rpm cut double LP housed in a heavyweight sleeve, as well as in digital format.
Originally only available on CD in extremely limited quantities, Re-Form Ver-1.0 resurfaces as a fascinating document of FORM@ RECORDS' late-1990s creative peak. Re-imagining key pieces from the label's catalogue, the remix collection offers a rare glimpse into Tokyo's electronic underground, where techno, house, ambient, and IDM breathe freely through FORM@'s soulful and exploratory vision.
Highlights include two remixes of Missing Project's adored gem "Poisson D'Avril" (including its well known ethereal ambient Galaxy Dub which appeared on Music From Memory's Virtual Dreams II) as well as the otherworldly Fossil (aka the legend Virgo) Mix of Penance's "Cure & Soul". Throughout, the compilation balances dancefloor sensibility with introspective listening, embodying the warm human approach to machine music FORM@ RECORDS excels in.
Another essential time capsule from a crucial era of underground music, Re-Form Ver-1.0 echoes the spirit of Warp's Artificial Intelligence era, alongside the forward-thinking energy of Ken Ishii, Carl Craig, The Black Dog, and Ian O'Brien, while keeping its feet and individuality firmly rooted in local context - the magic recipe for creating a universal, timeless language of electronic expression.
Re-Form Ver-1.0 follows the vinyl edition of Virgo's Landform Code (1998) and Remnants (1999), as well as the FORM@ compilations Art Form I (1997) and Art Form 2 (1998), further expanding WRWTFWW's archival series dedicated to uncovering hidden gems of late '90s Japanese electronic music.

As the first release of Flux Code Recordings, Ferplay brings us this 4 tracks EP called “Electric Waves”.

Blending trance and breakbeat elements, acid sequences and punchy old-school drums, each track captures the energy of the 90s underground electronic music spirit.

Flux Code Recordings is a record label inspired by old-school and underground electronic music, exploring styles such as trance, breakbeat, acid and more.

It is born from the concept of music as a living language, an ever-changing code and a continuous flow of rhythms and melodies in constant evolution.

Flux Code channels the raw energy and the rave spirit of the underground electronic music culture, connecting past roots with future sonic pathways.

Nate Krafft (Nathaniel Killins IV) is a visionary Detroit producer whose 1990s work were released under his own name and aliases such as Super Nova and Naquil and have since become highly collectible. He later re-emerged as Nate Nubia, continuing to experiment techno infused with machine soul and cosmic imagination.

In 1995, he dropped two cult 12"s on his own Infra label: Man ?? Machine and Crimson Arsenal, blending Detroit techno with electro edges and sci-fi atmospheres exploringuncharted territories. These sought-after EPs, which sounded futuristic long before their time, are brought together for the first time as one limited edition red vinyl 2x12".

Please also consider his Planetary Invazion EP, under his Super Nova alias, reissued in 2018 on the same label.

Moondata’s little-known sole single, 1984’s decidedly Balearic, jazz-funk/boogie fusion gem ‘Let The Moonshine In’, is a very important record to the Rotation Sound System crew. It has become a familiar favourite at their annual Rotation Garden Party micro-festival and formed the centrepiece of their first compilation, summer 2025’s superb Everything You’re About To Hear Is True Volume 1. It’s increasingly rare these days for an artist from the 80s to still have their master tapes but even rarer still for them to have the multitrack tapes too. This is something of the holy grail when it comes to licensing old music so when it happens the opportunity to remix and create new versions needs to be grabbed with both hands.

The original record, a genuine rarity beloved of synth-loving crate-diggers, had an unusual gestation. Originally recorded in demo form by musician Jean-Marie Gogniat, it was turned into a finished single by a group of German musicians with a little help from lyricist and vocalist Joe Mwenda, and a crew of backing vocalists whose number included a locally based American singer – a pre-fame Jennifer Rush. Fittingly, the pre-vocal instrumental mix, which has sat unreleased since 1984, is included as a bonus track on the digital edition of this new remix package. The Rotation Sound System crew’s mixes, headed up by long-serving producer Dean Meredith, sprinkle 21st century magic across Gogniat’s one-off masterpiece while retaining core elements of the original and offering nods aplenty to club-focused sounds of the 1980s. They are, in effect, the versions the track deserved – but never got – back in the mid 1980s.

To begin, Meredith reunites with long-time production partner Andrew Meecham for the pair’s first remix as Chicken Lips in three years – a typically sparse and spaced-out ‘Malfunction Dub’ with delay-laden synths, vocals and guitar snippets sit over a sparse post-electro beat and bass guitar. Meredith then joins forces with fellow Rotation Sound System member Ben Shenton for takes under their two bestknown aliases. First, they don the T-Kutt guise for some dubbed out, funky bass guitar-propelled boogie-meets-proto house action that rocks out a killer, Clavinet-expanded groove while spinning in talkbox and backing vocals.

The pair then re-emerge as Mind Fair, famed for their releases on Golf Channel Recordings and their own Rogue Cat Sounds, and deliver a warmer, deeper and more organic-sounding take that’s as languid and tactile as it is warm and saucereyed. To round off the vinyl version of the EP, Rotation Sound System’s other core members – Rob J, Rich Hall and Stuart Robinson – don the now-familiar Wrekin Havoc guise and re-invent the track as a raw, analogue-rich shuffle through 1980s electro – all squelchy synth-bass, stabbing, cut-up vocal samples, chiming synth melodies and echoing beats. The expanded digital download edition of the EP contains a trio of additional bonus rubs. Alongside instrumental versions of the T-Kutt and Mind Fair mixes, we also get a full vocal T-Kutt rework that adds back in Joe Mwenda’s beautifully delivered verses. These additional DJ tools round off a beautifully rendered set of re-imaginations of a genuine cult classic. Gogniat, the man who started it all way back in the summer of 1984, certainly approves.

Celebrating three decades of geek-rock history, Nerf Herder returns with Nerf Herder redux, an acoustic reimagining of their seminal 1996 self-titled debut originally released on Arista Records. Produced by the legendary Joey Cape (Lagwagon), this 30th-anniversary collection breathes new life into fan favorites, featuring stripped-back versions of the hit single "Van Halen" and the streaming powerhouse "Sorry." With a tracklistbolstered by refreshed takes on "Golfshirt," "Diana," and "Nosering Girl," the album serves as both a nostalgic deep-dive for longtime fans and a fresh entry point for the band's massive digital audience. Nerf Herder's enduring cultural footprint_from composing the iconic Buffy the Vampire Slayer theme to lead singer Parry Gripp's Emmy-winning career and 2 million YouTube subscribers_ensures a multi-generational appeal. Having shared stages with titans like Weezer, Circle Jerks, and Reel Big Fish, the band maintains a loyal, active fanbase. This release arrives ahead on their European 30th Anniversary Tour in late May and early June.

DJ Support: Louie Vega, Kenny Dope, Dave Lee, Dj Spen, Terry Hunter, Jimpster, Kevin Yost, Brian Tappert and more.

For the true listeners who still value the art of the record.

This project pays homage to the funk-disco aesthetic that defined the 70s and 80s crime-thriller genre. Paolo Fedreghini’s personal, cinematic journey through the American cityscape: an atmospheric landscape of high-speed chases, corrupt lawmen, and V8-powered escapes. The narrative weaves through gritty criminal underworlds and shady dealings, always balanced by the allure of the disco era. Rather than a mere imitation, the album distills the essential Blaxploitation sound for a modern audience, blending jazz-funk and disco with subtle, sophisticated electronic layers.

Paradox finally returns to his main label after a 3-year hiatus with a 12” of Jungle and Breakbeat excursions.

The A side Drumline skips with ‘All I need is beats that Rhyme’ vocals, 90’s Reinforced records style pads and intricate loops. Another cut of B-boy culture
On the defence AA side Trident kicks back at 143 bpm with raw Funk breaks, wobbly subs, strings and vocal tricks.

The green artwork jacket projects Paradox Music in Blue & Yellow alongside traditional Ukrainian Vyshyvanka patterns.

Shot Caller present 1000 Lamentos, a promising debut without artifice.

Three different cultures and paths converge here for stripped-down songs, unvarnished, where every element feels immediately exposed, the simplicity as its best. There is neither easy nostalgia to lean on—only instinct, balance, and a sensitivity that cuts through the whole listen experience without raising its voice, echoing some of the label’s most defining releases and hinting at a strong path ahead.

The structures are simple, almost primitive. Bass guitar, and rhythm move with quiet urgency, leaving space for what truly lingers: a voice that doesn’t demand attention, yet stays with you. Fragile, intimate, and deeply enveloping—as if each line could break or reveal too much.

1000 Lamentos doesn’t aim for impact—it settles slowly, and refuses to leave. A debut that will leave its mark on the scene.

Whodamanny reworks Italian Electronic Disco & Boogie gems from the late ’80s! 2nd volume of 2. Strictly Limited Edition on vinyl.

Featuring virtuosos of "Contemporary Armenian" music such as Bei Ru, Lara Sarkissian and Armen Ra, as well as shedding a light on the independent music scene in Yerevan, "YERAZ" is an exercise in ethnomusicology. Classical songs and instruments collide with the full spectrum of electronic-based music from ambient to techno and everything in between, building a mosaic inside of a specific cultural context. Whether you are looking to get lost in meditation or bring dynamic energy to a room, this record serves as a tool kit for all intents and purposes with a traditional touch. The double-LP is split between Angeleno artists (Sides A and B) incorporating folk instruments and melodies to reinterpret the "Contemporary Armenian" idea outside of the established pop landscape, and Yerevani artists (Sides C and D) emulating popular musical trends of the West through their native lexicons. Critique will be donating 100% of its net profits from sales of YERAZ to Kooyrigs, a non-profit organization providing resources for women and transparent aid to the Armenian homeland.

Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After his first group KMD’s sophomore album Black Bastards was shelved by Elektra in 1994, and his blood brother Subroc — one half of the sibling rap duo — passed away, surviving frontman Zev Love X slowly mutated into the supervillain MC known as MF DOOM, and the rap world is better for it.

The 1999 release of Operation: Doomsday marked MF DOOM’s official debut, reintroducing a mysterious figure who would soon become one of underground rap’s greatest voices. Within its 19 tracks, Operation: Doomsday reveals the confluence of DOOM’s tragic past, personal interests and daring creativity. His clever rhymes and remarkable schemes stood out against the landscape, and every sound he touched — from cartoon theme songs, to ‘80s soul, to rap classics and more — got reinterpreted into something brand new and surreal.

Decades later, MF DOOM is still celebrated for all facets of his work and influence. In the face of tragedy, DOOM re-infiltrated the rap game on his own terms, and crafted an instant cult classic. Operation: Doomsday stands as a testament to the power of betting on yourself against all odds.

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.



The Release:
Striking the sweet spot between sampledelic downtempo and earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humour.
Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

'Chemistry' and 'Rankine', plus an exclusive print of Catherine Brennand's watercolour painting that graces the front of the album. All editions also features liner notes by veteran music journalist John McCready.

Press response to Old Codes New Chaos:
"The album that made the world finally sit up and take notice of the avant funk grooves coming from Hull's immaculately stoned tech funk magicians." Frank Tope, Mixmag, UK 1994.
"This album… stands out a mile from most of its peers as a work of untouchable genius." Bill Brewster, DJ Mag UK 1994.

"Fila works because they fit into that no man’s land, the space in your record collection where ambient seems too much like wallpaper and house seems just too braindead for your bedroom " Frank Tope, Mixmag, UK 1994.

"Having already created the perfect desert island disc, "Mermaids" and explored the darker side of sub bass on the 17-minute extravaganza "Fila Funk", Fila Brazillia have just unleashed their moving debut LP, "Old Codes New Chaos", and to be quite honest, you'd be fool to miss out this time around." Mandi James, Melody Maker, UK 1994.

“Where Cobby and Man rip up the rulebook on the four to the floor and probably make the greatest afterhours house album in the word”. Tony Marcus, Mixmag, 1996.

Chloe Lula Announces Syntax: A Singular Vision Connecting Ambient Meditations and Hypnotic Techno San Francisco-born, Berlin-based artist Chloe Lula announces the launch of Syntax, a record label that codifies her unique position within the electronic music landscape. Arriving as the definitive home for her work as a DJ, producer and cellist, Syntax follows her established residency at Tresor and acclaimed releases on foundational labels including Mord, Blueprint and the highly esteemed experimental imprint Subtext. Her label is the culmination of a decade spent as both a participant in and a defining voice in the scene—a space where Lula’s deep and cohesive vision of electronic music finally converge. The label’s name refers to the arrangement of elements to forge new meaning, a philosophy Lula applies to her singular musical grammar. Whether through her slow-burning, exacting techno or her instrumental compositions, Lula’s work is characterized by a patience that understands nuance and counterpoint. This vision is reflected in the label's structure: releases will arrive in thematic series that bypass traditional genre markers to focus on atmosphere, immersion and hypnotica. The imprint’s debut, SYN-PLS01, marks the beginning of the Pulse series, a collection specifically engineered for the floor. For this inaugural release, Lula took recordings from Swiss electroacoustic composer Alexandra Bellon as a jumping-off point, molding Bellon's architectural sense of space into six tracks of driving techno. Future series will expand the catalog into ambient and instrumental territories, reconciling formal acoustic tradition with the raw functionality of the electronic landscape. With a career spanning editorial leadership at Resident Advisor and her work shaping the dialogue of the culture through her writing and interviews, Lula brings a deep, analytical knowledge to her craft. Syntax is the connective tissue between her work in the booth and her critical contributions to the field—a project that formalizes her distinct perspective as both a curator and a creator. SYN-PLS01 arrives on May 8. Follow @syntax.records for updates.

Slacker continues to deliver the unexpected with ‘Norari Kurari’, a collaboration between St. Petersburg-based former video game soundtrack producer Cable Toy and Japanese rap innovator ONJUICY. Unusual in concept, but flawless in club execution, their link-up connects two Slackers across continents and cultures, turning in an ultra-modern interpretation of hip-house that’s guaranteed to leave dancers spinning on their heads.

‘Norari Kurari’ draws on ONJUICY’s playful, positive and fully Japanese flow, easily locking into Cable Toy’s deep basslines and skipping rhythms, where his determined bars bounce alongside timeless M1 organ sounds.

Stripping things way back, the ‘Warehouse Version’ inverts the US garage warmth found on the flip: rhythm takes control of the rhyme, as CT knocks the dust off his vintage drum machines, even finding room for some pleasurably paranoid bleeps and sweeps.

Formed in Bahia in the late "60s, Novos Baianos became one of the most iconic groups in Brazilian music. Mixing samba, rock, choro, psychedelia, capoeira rhythms, and communal living, they embodied a new countercultural movement that reshaped MPB. Their albums, especially Acabou Chorare and Novos Baianos F.C., are now considered pillars of modern Brazilian music, inspiring generations of artists in Brazil and worldwide. Originally released in 1973, Novos Baianos F.C. captures the band"s communal lifestyle and fearless experimentation. After the success of Acabou Chorare, the group expanded their sound into a vibrant mix of samba, choro, folk, psychedelia, and electric street-soul. With the unmistakable chemistry of Baby Consuelo, Pepeu Gomes, Moraes Moreira, Paulinho Boca de Cantor,and Dadi, the album radiateswarmth and spontaneity. Recorded in the Baianos" legendary "football club" house, it stands as a joyful snapshot of Brazilian cultural freedom in the early "70s.