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Dino Lenny returns to Rekids with the ‘Piano Lessons at Eight’ EP, complete with a Tal Fussman remix. It follows Lenny’s ‘Not About The Volume’ EP, released in December 2025.

London-based DJ, producer, vocalist, and Fine Human Records label owner Dino Lenny returns to Radio Slave’s Rekids with the ‘Piano Lessons at Eight’ EP 24th April 2026, alongside a remix from label regular Tal Fussman. The EP follows Lenny’s ‘Not About The Volume’ EP, which released late 2025, and won support from Laurent Garnier, Chloé Caillet, Catz ‘n Dogz, and more.

‘Piano Lessons at Eight’ centres Lenny’s own vocals over a dark, chugging rhythm that develops steadily, tracing a personal journey from formal piano training to the discovery of electronic music. The biographical thread running through the record gives it an identity that sits apart from purely functional dance music. Rekids regular and Survival Tactics boss Tal Fussman then provides the accompanying remix, a crunchy, percussive rework that brings his characteristic blend of deep house and raw techno to bear, adding melancholic piano stabs that add texture without crowding the arrangement. The outcome is focused, atmospheric, and built for extended play.

With releases on R&S, Diynamic, Innervisions, Crosstown Rebels, Strictly Rhythm, Bedrock, and his own Fine Human Records label, and collaborative work alongside Underworld, Missy Elliott, Wu-Tang Clan, and Madonna, Lenny holds a long-established position within both underground and mainstream electronic contexts. Consistently supported by Pete Tong, Solomun, Carl Cox, and Groove Armada, he maintains a presence that spans scenes without being defi ned by any single one. Since 2021, he has hosted Tomorrowland’s CORE radio show, platforming artists including Nina Kraviz, Ellen Allien, and DJ Tennis.

We are happy to present our french friends from Kakoona Records for a split Vinyl full of talented artists and
veterans like Manu Kenton & Marco Remus.

black.round.twelve returns with Dancing Tiger EP, a new vinyl release from Tagir exploring the deeper edges of Minimal House and Tech House. Rooted in the label’s vinyl-only ethos and focused curation, the record leans into long-form grooves, subtle detail and controlled movement.

The title track “Dancing Tiger” is a slow-burning minimal piece stretching across twelve minutes. Oboe-like tones and modular textures sit alongside processed vocal fragments and acoustic percussion, anchored by a steady low-end that develops with patience.
“Break It Love” moves into a more direct framework, combining vocal loops with an elastic bassline and a steady 4/4 pulse, while modular elements add texture and forward motion.
On “Off Smoke”, the structure becomes more abstract, with a repeated vocal phrase stretched, pitched and fragmented across a pumping groove. Subtle variations and underlying swing create a controlled but fluid sense of movement.

With Dancing Tiger EP, Tagir delivers a groove-led record that aligns closely with black.round.twelve’s approach, balancing functionality with detail and maintaining a clear focus on the dancefloor.

Our latest Holy Grail reissue is this private press spiritual jazz gem out of California from Rickey Kelly and his vibes & marimba. Features Diane Reeves (vocals) & Adele Sebastian (flute)!

Heavyweight 180g LP with tip-on sleeve, individually numbered 1-1000, card enclosed for liner notes & audio download

"Rickey, I know these are your friends, the guys you went to school with, but if you wanna record an album, you record with musicians who have been playing their whole life; whatever you write, they'll put their whole life into it. You play with your friends; they may not even play in tune."

These are the words of Slave guitarist Kevin Johnson, and they were to change the course of young Rickey Kelly's life.

It was 1978, and music student Kelly had approached Johnson with a tape of rough demos of some songs he'd written. A San Francisco native, Kelly had recently moved the short distance south to study music at LA City College in East Hollywood. He was a member of E.W. Wainwright Jr.'s African Roots of Jazz, and was spending up to 10 hours a day in practice on both vibes and marimba. He also played with Horace Tapscott, and had his own band made up of fellow students, but it was his ambition to make an album that led to the conversation with Johnson. It was a turning point in his education, and a decision was looming.

The next thing Johnson said was "You call the best jazz musicians. How'd you like to play with Billy Higgins?", a line that would seal it for anyone; for a youngster like Rickey just starting out in the business, you just don't turn down the opportunity to play with the likes of highly accomplished musicians, especially those of the calibre of legendary jazz drummer Billy Higgins.

Some calls were made and the date was set to record at Studio Masters on Beverly Blvd, a studio set up just a few years previous in 1973, owned and operated by Dot Records founder Randy Wood with his son John. Some of the other music professionals set to record with Kelley that day were flautist Adele Sebastian, bass player Tony Dumas, saxophonist Charles Owens and vocalist Diane Reeves, none of whom had previously played with Kelly before.

Kelly was impressed with the studio, with the gold records displayed on the walls and the famous musicians hanging out. 'It took a lot of humility for me to record with them, I mean I was nobody, nothing, and for not a lot of money either' remembers Rickey in a later interview with Calvin Lincoln, 'It taught me a lot, to practice hard, and study for the rest of your life, to give your all, and there's a lot of all to give'.

As the recording session took place, John Wood was listening in. He was impressed. Kelly didn't have the funds to manufacture and release the album himself, so Wood suggested it was pressed up on his in-house studio label, Los Angeles Phonograph Records, and thus the LP 'My Kind of Music' was released early in 1979. The album also saw a subsequent pressing soon afterwards on Dennis Sullivan's New Note label.

Kelly remains humble and proud of his debut album to this day. 'I was still a beginner' he says, 'These masters walked in, smiling, and gave me something worth gold'.

This 12" introduces Maajo Soundsystem, the electronic, dancefloor-focused sub-project of Maajo, presenting stripped-down, club-ready versions of their 2022 album 'Water of Life' that go beyond standard remixes through newly recorded balafons, percussion, and vocals from Senegalese artist Ismaila Sané and Mauritian vocalist/drummer Gilbert K. Sané began his career in the 1970s as a percussionist and African ballet dancer before relocating to Finland in 1999, later becoming the first emigrant to receive the country's Citizen of the Year award. While Maajo tours as a six-piece live band, Maajo Soundsystem offers a flexible electronic configuration that retains live vocals and percussion. The group has released multiple LPs and EPs on Queen Nanny and Permanent Vacation, scored the silent film Lost World, received remixes from Luke Vibert and Call Super, and toured internationally, with strong radio and press support from BBC Radio 6, Worldwide FM, KEXP, Resident Advisor, WFMU, and more.

KNEECAP return to bend genre, language, and rules. The most talked about artists in the world are turning the page. A new chapter, new sounds, new manifestos.
A blistering album that revels in darkness while bursting through the void with illuminated revery. This is FENIAN.

Produced by Dan Carey (Fontaines D.C., Kae Tempest, Wet Leg), FENIAN upends expectations with an expansive sonic palate, traversing acid house, trip-hop, dubstep, and more - Masters of rave and rap theatre, FENIAN represents Kneecap’s most sophisticated exploration of language and sounds.

More darkness. More confrontation. More craic. More energy. More solidarity. More absolute bangers. And more fuel for the unrelenting engine that powers this unstoppable force. For their remarkable second album, Kneecap have come out fighting.

Throughout, the sirens and alarms ring, and the chorus’s blast. Revolutionary and rebellious, confrontational and impossibly catchy, inescapably intelligent and brilliantly rendered, FENIAN doesn’t just represent the next phase in Kneecap’s trajectory but stands as a remarkable record that thrills as much as it surprises. The mayhem of their breakout year is a memory now. But Kneecap are neither dwelling on that nor merely persevering through it. In FENIAN they excel, reaching a new peak that is undeniable in its mastery.

Pressure makes diamonds, and FENIAN glistens with Kneecap’s uncut gems.

KNEECAP return to bend genre, language, and rules. The most talked about artists in the world are turning the page. A new chapter, new sounds, new manifestos.
A blistering album that revels in darkness while bursting through the void with illuminated revery. This is FENIAN.

Produced by Dan Carey (Fontaines D.C., Kae Tempest, Wet Leg), FENIAN upends expectations with an expansive sonic palate, traversing acid house, trip-hop, dubstep, and more - Masters of rave and rap theatre, FENIAN represents Kneecap’s most sophisticated exploration of language and sounds.

More darkness. More confrontation. More craic. More energy. More solidarity. More absolute bangers. And more fuel for the unrelenting engine that powers this unstoppable force. For their remarkable second album, Kneecap have come out fighting.

Throughout, the sirens and alarms ring, and the chorus’s blast. Revolutionary and rebellious, confrontational and impossibly catchy, inescapably intelligent and brilliantly rendered, FENIAN doesn’t just represent the next phase in Kneecap’s trajectory but stands as a remarkable record that thrills as much as it surprises. The mayhem of their breakout year is a memory now. But Kneecap are neither dwelling on that nor merely persevering through it. In FENIAN they excel, reaching a new peak that is undeniable in its mastery.

Pressure makes diamonds, and FENIAN glistens with Kneecap’s uncut gems.

Die Original Vinyl-LP von 1984 wurde in einer kleinen Auflage neu aufgelegt. Die Songs wurden von Barrington Levy im Channel One Studio eingesungen, mit den Roots Radics als Backing Band, um dann von Soldgie Hamiltion, Scientist und Sylvan Morris im Harry J und Channel One Studio abgemischt zu werden, als Produzent zeichnete Henry "Junjo" Lawes verantwortlich. Das Titelstück "Prison Oval Rock" war als Single bereits 1982 erfolgreich in Jamaika erschienen und ist hier neben dem Original auch in der Dubversion zu hören, und wurde später von Collie Buddz in "Hustle" (2001) und von Mr. Vegas' "Mus Come A Road" (2008) gesampled. Als weitere klassische Reggae Riddims wurden identifiziert "Skylarking" ( Song"Good Loving"), Pressure And Slide (Song "Please Jah Jah") und "Boops" (Song "Rip & Run Off").

Introducing The Hard Line is available on translucent green vinyl
Neither Fish, Nor Flesh is available on red coloured vinyl
Symphony Or Damn is available on gold coloured vinyl
Vibrator is available on blue coloured vinyl
JUST 400 AVAILABLE IN UK!!

180 gram audiophile vinyl, Newly remastered audio, processed at Artone Studio, approved by Sananda Maitreya
Anti-static black poly lined inner sleeves, Deluxe heavyweight sleeves on uncoated paper
All 4 albums include separate inserts with brand new introduction liner notes written by Sananda Maitreya
Box set is a limited edition, Hype sticker
Sananda Maitreya proudly announces “JUVENILIA : The Columbia Years”, a meticulously curated 4-LP box set bringing together
his first four groundbreaking albums, originally released between 1987 and 1995 Introducing the Hardline, Neither Fish Nor Flesh, Symphony or Damn, and Vibrator.
Set for release on February 6th, 2026, JUVENILIA mark the first time these iconic works have been remastered and presented together on
premium 180-gram vinyl, complete with restored artwork and new liner notes by Sananda.

Produced in collaboration with Sony Music UK, Music On Vinyl and Treehouse Publishing, “Sananda Maitreya’s JUVENILIA : The Columbia Years”,

pays tribute to a pivotal creative era that helped redefine the sound and spirit of modern soul, pop, and rock in the late 1980s and 1990s.

When Henry Street & Sacred Rhythm Music join forces for a remix outing, it should be obvious the source material and resulting productions are of the utmost caliber. This record proves such a case in point: Johnny "D" DeMairo & Joe Claussell team up for two takes on Candi Staton’s 1979 disco opus 'When You Wake Up Tomorrow.’ The original, whose pedigree could be inferred simply by reading Patrick Adams’ and Jimmy Simpson’s names on the label, is a faultless dance floor cut featuring all the elements you’d expect—lavish horn and string arrangements, sparkling synthesizer accents, and plenty of hand-beat drumming—along with with Staton’s peerless voice. Johnny D’s mix starts carefully, the vocal refrain accented with auxiliary percussion until the rug is pulled out from under us, the ensuing chasm making the following thrust of the track that much more powerful. On the flip.

Claussell’s take starts with reinforced four-on-the-floor, along with a studio count-in, perhaps alluding back to his previous ‘It Seems To Hang On’ edit. As the track establishes itself, ample room is afforded for interplay between bass and guitar, with all the interlacing elements aggrandizing the mood with careful shots of delay and expertly-timed pivots in atmosphere. Both sides are proof of what shouldn’t need evidence: two masters of their craft assembling two wholly new mixes that far surpass the banal copy and paste, add and subtract methodology slung by the less blessed. Pressed on white vinyl, with a custom jacket to boot.

Losh is a series of parties held at the magical Chapala lake in Ajijic and Guadalajara, Mexico, aimed at preserving the essence of underground sound and its culture. The event has hosted performances by artists such as Satoshi Tomiie, Shonky, Priku, Arapu, Markus Nikolai and more. Now, Losh is exploring new horizons with the launch of its own vinyl label. The music for this second release features tracks by Tomodachi Club owner and Real Gang founder Miller, Head Honcho of Vatos Locos Héctor, Perlon legend Dandy Jack and one of Losh Team member James Bott.

Introducing The Hard Line is available on translucent green vinyl
Neither Fish, Nor Flesh is available on red coloured vinyl
Symphony Or Damn is available on gold coloured vinyl
Vibrator is available on blue coloured vinyl
JUST 400 AVAILABLE IN UK!!

180 gram audiophile vinyl, Newly remastered audio, processed at Artone Studio, approved by Sananda Maitreya
Anti-static black poly lined inner sleeves, Deluxe heavyweight sleeves on uncoated paper
All 4 albums include separate inserts with brand new introduction liner notes written by Sananda Maitreya
Box set is a limited edition, Hype sticker
Sananda Maitreya proudly announces “JUVENILIA : The Columbia Years”, a meticulously curated 4-LP box set bringing together
his first four groundbreaking albums, originally released between 1987 and 1995 Introducing the Hardline, Neither Fish Nor Flesh, Symphony or Damn, and Vibrator.
Set for release on February 6th, 2026, JUVENILIA mark the first time these iconic works have been remastered and presented together on
premium 180-gram vinyl, complete with restored artwork and new liner notes by Sananda.

Produced in collaboration with Sony Music UK, Music On Vinyl and Treehouse Publishing, “Sananda Maitreya’s JUVENILIA : The Columbia Years”,

pays tribute to a pivotal creative era that helped redefine the sound and spirit of modern soul, pop, and rock in the late 1980s and 1990s.

Auf ihrem zweiten Album erweitern Psyché ihre einzigartige Mischung aus Groove und Psychedelia um eine subtile politische Dimension. In Psychés Vision dient ihre Heimatstadt Neapel als pulsierender Schmelztiegel, in dem Klänge aus Nordafrika und dem Nahen Osten auf die Echos ferner Küsten wie Brasilien und Kolumbien treffen. Ihr Sound bewegt sich zwischen Cosmic Funk und Desert Blues, Cumbia, Dub und Jazz und wird durch den Einsatz analoger Synthesizer und treibender Basslines getragen. Die LP gewinnt dank der Zusammenarbeit mit dem tunesischen Sänger Ziad Trabelsi und der türkischen Sängerin MERVE (Altın Gün) an internationaler und politischer Bedeutung. Psyché II ist die Essenz einer Reise durch Kulturen und Identitäten: ein Album, in dem die gegenseitige Befruchtung und ein nomadischer Geist die Grundpfeiler eines zeitgenössischen Sounds bilden – verwurzelt im Mittelmeerraum und gleichzeitig weltoffen.



b 02: Hurriya (We Must Resist) feat. Ziad Trabelsi


b 02: Hurriya (We Must Resist) feat. Ziad Trabelsi


[b] 02: Hurriya (We Must Resist) [feat. Ziad Trabelsi]


[b] 02: Hurriya (We Must Resist) [feat. Ziad Trabelsi]


[b] A2 | Hurriya (We Must Resist) [feat Ziad Trabelsi]

After a five-year hiatus, Basic 7 returns to Tripmastaz "Respect The Craft.Enterprises" sublabel with his highly anticipated new EP. Renowned for his dynamic live sets, he delivers a solid four-track release that fuses quirky electronics with infectious dancefloor beats.

Glasgow’s Fortified Audio returns after at least a ten years long hiatus (No pun intended) and now returns to the world of bass with a full length album from local music firestarter Ten Years Lost. Modern day trap instrumentals at its core whilst sub-consciously giving hints of Drexciya, Moroder and the Memphis & Croydon bass music regions alongside some real deft sampling but still remains Glasgow at its core!

From the subterranean grooves of deep techno to the cosmic pulse of electro and IDM, Deep Space Protocol sees Japanese legend DJ Compufunk navigate a vast sonic universe with precision and feeling. A veteran of Osaka’s celebrated Compufunk Records scene — where he’s sold and spun cuts for nearly three decades — Compufunk seamlessly weaves together influences that span Detroit-infused machine rhythms, hypnotic electro textures, and the thoughtful intricacies of left-field IDM.
Pressed as a limited vinyl release, Deep Space Protocol feels like both a nod to classic techno lineage and a forward-thinking exploration of sound — perfect for listeners who cherish the raw pulse of the dancefloor as much as the cerebral depths of an immersive listening session. With roots that include releases on Detroit’s Motech and connections to Underground Resistance figures, this is an album that bridges cultures and decades while leaving plenty of room for the future.

The long awaited debut album from EDB is finally here. Like the title Japanese title Koeru suggests, the multi-instrumentalist producer surpassed his previous work and brought things to the next level.
From the futuristic ballad ‘True Love’ featuring UK soulstress Summer Pearl, to the electro tones of ‘Sculptured’ and broken beat abstractions of ‘Neurocloud’, to the cosmic uplifting tones of ‘Voices From Down Under’ featuring the legendary Nathan Haines, the record shows a perfect balance between light and darkness, sophistication and rawness, smooth and angular sounds.
The dancefloor moments are equally present here with Detroit’s Monica Blaire stepping in as a vocalist in ‘Automatic’, powerful instrumental deep house joints like ‘Phaze Shift’ and even a new updated version of his classic ‘This Can’t Be Life’ featuring Chicago’s very own Swaylo.
A cohesive, coherent and inspiring debut album from a true talent who will guide you step by step into his world.

Mark Funk and Danny Cruz's Cruise Music label continues to offer-up the best of its digital-first EPs via the popular Vinyl Jams sampler series. There's a real sun-splashed, dancing-on-the-terrace feel to much of the music contained on this 14th volume in the series. Mark Funk steps up first with the loopy, filter-rich disco-house release of 'Never Never', which rises and falls in all the right places in search of hands-aloft action, before Makito drops the vibraphone solo-laden deep house-meets-garage-house flex of 'Heavy Vibes' (think Masters at Work collaborating with Roy Ayers and you're close), Over on side B, Danny Cruz serves up 'Sugar', a tooled-up, house-style re-edit of a joyous disco gem, while Filth & Smell's 'Panama Sweet Spot' is an electric piano and sax-loop-fired slab of thickset house funkiness.

Cruise Music continues to serve up irresistible nuggets with its Vinyl Jams series, now reaching volume 15. Once again, it is a various artists affair that blends high production value with the right amount of emotional depth and dance floor kicks, this time looking at the warmer side of house. Keller's 'Stressed Out' is clean vocal house with a catchy wiggle and soulful bass roll, Mirko & Meex that layer a soaring diva vocal into 'There's A Light' that could well become an instant classic. Pianos rule on Oliver Knight & Angelala's 'Your Sunshine,' which is a perfect outdoor cruiser for the hotter days and Dino DZ closes down with the well-sampled 'I Like It.' These are refined, accessible summer house sounds but done with a touch of class.

A true disco anthem collides with French electronic elegance as Bon Entendeur reimagine the iconic Boys Town Gang classic Can’t Take My Eyes Off You for a new generation.

Originally released in 1981/82, Boys Town Gang’s explosive hi-NRG reinterpretation of the 1967 Frankie Valli original became one of the defining dance records of the era. The track stormed to No.4 in the UK Singles Chart while dominating dancefloors across Europe and beyond, hitting the top of the charts in countries including France, the Netherlands, Belgium, Spain and Japan.

Decades later, its euphoric energy still feels timeless. Now, Parisian duo Bon Entendeur inject the record with a fresh wave of sophisticated French touch cool. Renowned for their seamless fusion of nu-disco, house, funk and nostalgic pop culture references, the duo have become one of France’s most distinctive electronic exports. Bon Entendeur have built an international following, mastering the art of blending retro emotion with modern electronic production.

Their connection to iconic French musical heritage has become a signature. Following the success of their celebrated collaboration with Jeanne Mas on Toute Première Fois, Bon Entendeur now turn their attention to another record deeply woven into France’s club culture DNA. And it makes perfect sense. Bon Entendeur tap directly into that shared musical memory, delivering a remix that feels both nostalgic and effortlessly contemporary.

The result is a dazzling crossover of generations and styles: disco emotion, uplifting grooves and sleek French electronic sophistication wrapped around one of the most instantly recognisable hooks ever recorded.

French touch meets disco immortality. Et voilà.

a A1 Bon Entendeur Remix Ben Liebrand 12" Edit