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He's worked as an artist, producer, songwriter, and scorer for the past decade, "winning a MOBO (for his work on Bashy's Being Poor Is Expensive)", as well as being nominated for GRAMMY, Juno, and Ivor Novello Awards, along the way. Recently, Runkus felt a deeper calling towards the world of visual art, which has lead to working with Bahamian artist Tavares Strachan, whose multi- disciplinary output has earned him a MacArthur Genius Prize. With the new album, SUPERNOVA, which includes guest appearances by Sean Paul and Peter Tosh, they have reignited a seamless collaboration of music and art, following in the footsteps of pairings like The Velvet Underground & Andy Warhol, Kanye West & Virgil Abloh, and (closer to Runkus's home country of Jamaica) Bob Marley & Neville Garrick. Roots reggae, thumping bass, dancehall energy, and deep lyricism merge together to tell a story of life and death, the sheep and the wolf, the version of you that has to die for the next one to be born, all elements of SUPERNOVA

WRWTFWW Records is very excited to announce the first release from its new City Pop Series with Japanese singer, actress, entertainer, scholar and all-around legend Momoko Kikuchi’s sun-drenched classic Ocean Side album, available now as a limited-edition transparent vinyl LP in a heavyweight sleeve with obi.

A cult classic among Japanese music collectors, Ocean Side was originally released in 1984 by mythical label VAP and features lush compositions and arrangements by J-Pop icon Tetsuji Hayashi (Mariya Takeuchi, Miki Matsubara, Omega Tribe, Junichi Inagaki, Urusei Yatsura anime, soundtrack…). Momoko Kikuchi’s city pop gem is a flawless mix of heartwarming beachside funk, breezy grooves, and silky-smooth vocals - the feel-good music we all need in our life right now.

The 9-track summer-is-forever adventure notably includes the ultra-funky megahit “Blind Curve”, the fan-favorite title song, and the insanely romantic ballad “Futari No Night Drive”. A vibrant reflection of summer in 1980s Japan, Ocean Side masterfully balances nostalgia and elegance, and provides part of the origin story for revered modern music genres such as chillwave, and future funk, and vaporwave.

The official reissue licensed from VAP, Inc. is sourced from the original masters with an audiophile-cut by Sidney Meyer at Emil Berliner Studios.

WRWTFWW’s City Pop Series and its Lopetz/Büro Destruct-designed logo also includes jazz-fusion-AOR-mellow-funk treasure Safari (1984), a limited capsule collection of merch, and much more to come in the near future.

The second season of the funny and heartfelt fiction series by Flo Van Deuren and Kato De Boeck takes us along as Bibi and Ama move on to the next chapter of their lives and into their new, unexpected home: an old daycare building. With school no longer providing structure and their wallets running on empty, they dive headfirst into adulthood.

This results in eight new episodes that, like the main characters, have grown up, yet remain just as hilarious and moving as ever.

With the second season of Roomies, the show’s award-winning music makes its return. This time with a powerful soundtrack featuring Eefje de Visser, Ategha (Ahlaam Teghadouini) & Mickael Karkousse (Goose), Maria Iskariot, and Porcelain ID.

“(Tijdbom) Tikkend” is a dark, electronic track that feels like a constant run: sometimes away from the other, sometimes right toward them. It captures the feeling of running out of time, losing each other, and wanting to reconnect. That push-and-pull dynamic felt like a perfect fit for Roomies, where relationships, drama, and fun are always intertwined. - Eefje de Visser

“Whatever Happens” came together in a very organic way, and you can hear that in the track. Raw, genuine, and effortless. What’s unique is that we hadn’t even met until a few days before. Ahlaam walked into the studio and said, “I’ve prepared something.” That opening line alone was fantastic and immediately showed confidence and courage. “Perfect,” I thought. Then we turned the volume up to maximum, and I listened as Ahlaam sang right by my ear. Instant goosebumps! - Mickael Karkousse

Are U Mad At Me marks a huge, cowboy boot-wearing step for the Brooklyn-based songwriter. Fields proves that genre is as fluid as sexuality, as the album saunters across country, pop, disco, grunge, and classical with ease. Across 12 tracks, Fields traverses bangers like power pop lead single “Party Girl” and two-stepping second single “Hands Off The Hat” (co-written with Grammy award-winning songwriter Melody Walker) all the way to tragic ballads like “Apalachicola to Tallahassee” (co-written with Karen Pittelman of Karen & The Sorrows) and the closing “Uncle Charlie’s.” He makes light of gender-neutral bathrooms marked with unicorns instead of stick figures in the guitar-driven “Pronoun Meltdown” and calls out a husband cheating on his wife with another man in the tragicomic ballad of “You Should Tell Your Wife.”

Are U Mad At Me arrives at a pivotal time in the roots music scene and the world at large. Fields, who is now rapidly becoming one of New York City’s queer country leaders — through his East Village residency at Lucinda Williams’ new honky tonk and dive bar and through his musical mentorship work through The Recording Academy — has been working tirelessly for this moment for more than a decade. Performing under this moniker since 2013, Fields has released three LPs and two EPs. He’s recorded on queer country pioneers Lavender Country’s 2022 reunion album, Blackberry Rose, and served as the band’s touring pianist. Additionally, his 2023 protest song duet with Mya Byrne, “Burn This Statehouse Down,” made it onto NPR music critic Ann Powers’ list of favorite songs of the year.

Seefeel sind mit ihrem ersten Album seit fünfzehn Jahren zurück – einer wunderschönen, verträumten und entrückten Sammlung fragmentierter Melodien und ätherischer Klangtexturen.

In gewisser Weise kann man dieses Album als Seefeels "Dub"-Album betrachten: Die täuschend wolkenartigen Arrangements von Mark Clifford wirken bei geringer Lautstärke fast wie Ambient, doch über eine gute Anlage kommen der wuchtige Bass und der gekonnte Einsatz von Effekten deutlicher zum Vorschein und verändern die Wahrnehmung von Zeit und Klangort. Wie immer bei Seefeel driftet das Album jedoch nie zu weit in kalten Experimentalismus oder synthetische Klangfarben ab. Der stark bearbeitete Gesang von Sarah Peacock verleiht den Stücken eine wichtige menschliche Note, während bearbeitete Gitarrenloops Melodiefragmente durch die Hallfahnen schweben lassen.

Da die Band lange Zeit als Schnittpunkt zwischen elektronischer Musik und experimenteller Gitarrenmusik wahrgenommen wurde, wurde sie während ihrer Anfangszeit oft übersehen, da ihre Musik keiner der beiden Szenen sofort zugeordnet werden konnte. Im Laufe der Jahre erwies sich diese Verschmelzung der Genregrenzen jedoch zunehmend als prophetisch für die zukünftige musikalische Entwicklung. Seefeel schufen sich einen Musikkatalog, der im Gegensatz zu manch anderen Bands nicht so schnell gealtert ist. Ihr Einfluss wird von einer neuen Generation von Künstlern wie Maria Somerville und Yu Su hervorgehoben, und 2026 melden sie sich mit "Sol.Hz" zurück, einer Sammlung neuer Tracks, die die Annahme bestärkt, dass Seefeels Zeit endlich gekommen ist.

Frits Wentink’s Bobby Donny returns for the sixth various artist 12” vinyl release in the Ace Series. This all killer no filler release kicks off with two heavyweight cuts from Frits and Malin Genie before Wim Waldo closes out the A side. On the flip we welcome two new artists, up first Quinn Davis followed by two tracks by Fabian Feld. Six heavy heaters for house fans of the deeper persuasion. Another essential release from Bobby Donny!

Relive three decades of Belgian clubbing history.

We're celebrating the 35th anniversary of Cherry Moon withan essential collection of the anthems that defined a generation. Hard to find tracks, classics and sounds from the underground combined in a splendid 10x12" Vinyl Box Set.

From the first beats of 1991 to the peak of the "House of House", this is the ultimate tribute to a legendary venue.

Obwohl es sich nicht eindeutig einem bestimmten Genre zuordnen lässt, hat ,A Way In" was von Afrobeat, Cumbia, Salsa, Jazz, Reggaeton und Soul - eine Mischung aus kraftvollen Rhythmen und geheimnisvollen Melodien, die Mitchum Yacoubs zweites Album in der Welt der Groove-Musik hervorstechen lässt. Zwischen synkopierten Dance-Tracks, ätherischen Klanglandschaften und gleichmäßigen Backbeats finden sich Geschichten über Angst, Liebe, Aufstand und Heilung. Zehn Tracks, die den menschlichen Geist offenbaren und feiern. Yacoub hat das gesamte Album selbst aufgenommen, produziert und abgemischt und damit den sorgfältig geschichteten Sound sichergestellt, den die Fans seines Debüts ,Living High in the Brass Empire" so schätzen. Wir treffen wieder auf Travis Klein, Bradley Nash und Wesley Etienne, seine unnachahmliche Bläsersektion, die man weder auf Platte noch auf der Bühne verpassen sollte. Mit den aufstrebenden Stimmen von Divina Jasso und Lourdes Iri auf der Hälfte der Tracks mangelt es ,A Way In" nicht an herausragenden Singles, die dich von morgens bis abends begleiten werden.

Antônio Carlos & Jocafi, das legendäre Duo aus Bahia, dessen Musik seit über fünf Jahrzehnten den Soul Brasiliens verkörpert, kehrt mit einer kühnen neuen Zusammenarbeit zurück: Jazz Is Dead 026. Beto Barreto von Baiana System stellte Adrian Younge und Ali Shaheed Muhammad vor, und die Begegnung war sofort von Magie geprägt. ,Als wir uns zum ersten Mal trafen, war es wie bei einer Familie", erinnern sie sich. Diese Verbundenheit veranlasste Younge und Muhammad, das Duo nach Los Angeles einzuladen, wo sie eine Handvoll Ideen mitbrachten und vor Ort neue Songs schufen - ein intuitiver, improvisatorischer Prozess, der die Philosophie von Jazz Is Dead ausmacht. Mit dieser Veröffentlichung bekräftigen Antônio Carlos & Jocafi ihre kreative Vitalität und bringen gleichzeitig einer neuen Generation ihren zeitlosen bahianischen Geist näher. ,Adrians Liebe zu Brasilien ist größer als die vieler Brasilianer", sagen sie und betonen, wie aufmerksam er zuhört, studiert und die Rhythmen, Geschichten und Gefühle ihrer Kultur vermittelt. Das Ergebnis ist ein Album, das eine Brücke zwischen dem Mercado Modelo in Salvador und der globalen Bühne schlägt und die folkloristischen Traditionen Bahias mit der analogen Seele von Jazz Is Dead verwebt.

Toneblind returns with its second release, welcoming 26-year-old Catania native Edo Ecker and his new EP, “Fall In Love.”

With one full EP already behind him, Edo steps confidently into his next chapter, presenting a sound that bridges eras with effortless ease. Rooted in the golden age of Italian house music yet
sharpened by a modern edge, Fall In Love blends Italo and Euro house influences with his distinctive melodic touch.

Warm, romantic synth lines meet crisp, contemporary production, while subtle Mediterranean nuances nod to his heritage — adding depth and character without overpowering the groove. The
result is a record that feels nostalgic yet current, intimate yet undeniably dancefloor-driven. With its second chapter, Toneblind continues to define its path — honouring timeless influences while spotlighting a new generation shaping what comes next.

Cloud Management return to Altin Village & Mine for a unique collaboration with New York writer and creative polymath Vivien Goldman.

A pairing spanning generations and geography, but with a musical overlap that is quite fitting in both process and result. Cloud Management’s jammy, improvisational approach to their dubby electronics blends well with Goldman’s idiosyncratic vocal style, which has its origins in the early days of post–punk and UK dub experimentalism. Cloud Management blend many historical aspects of German electronic music into something distinctly their own, while retaining a view well beyond those borders or any particular era. This approach fits well with Goldman’s deep multidisciplinary career, not easily defined because of its eclectic abundance across disciplines, yet always orbiting around music as its foundation.

When it comes down to it, these are great tracks created in the same way they sound: loose but refined, circling and turning inwards and outwards, back onto themselves. A dub of a dub of a dub, but never falling too far from the source — the minimalism necessary to deliver a direct, steady resolve and a gripping listen.

The B–Side of the record features three remixes by artists from across the globe, all with strong connections to the front line of dancehall, dub, and electronic music experimentalism. Longtime Equiknoxx member Time Cow from Kingston (Jamaica), delivers a version of »Quick Cover Up« that represents a major overhaul of the original. This remix strips away much of the looseness of the source material and leans into a lush yet slightly darker atmosphere, created by layered synths and a masterful use of underlying percussion and melodic stabs.

Up next are Twin Cities, Minnesota–based Feel Free Hi Fi, who take on »Judge Judge.« The duo tighten things up, overlaying weighty vintage string synths and digi–flute melodies. This version feels designed for smoky, late–night dub sound system sessions, harkening back to dub’s foundations.

Last but not least is London’s Pat Orburn. Stripped way down, the remix rides an interplay between alternating minimalism and a more lo-fi but lush exuberance, somewhat reminiscent of a bossa nova–esque minimal synth sound. This version’s lo–fi pop sensibility provides a fitting contrast and completes an eclectic yet copacetic trio of remixes for the record.

Two turntables and a microphone. There is a truth in the clarity of that simple coda, a truth that also belies the breadth of what is possible within its confines. Sometimes you gotta get reminded. I Guess U Had To Be There, the new album from NYC rapper ELUCID and veteran producer Sebb Bash, is one of those ones. So fresh it sounds like it was made tomorrow, but bet money you could put this on in ’89 and get heads bopping.
There are moments in music when masters of their craft cross paths at the height of their respective powers—records like Madvillainy, Liquid Swords, Dr. Octagonecologyst, and Hell Hath No Fury—where the result is more than the sum of its parts. ELUCID and Sebb Bash find themselves in this heady, seemingly effortless ephemera on I Guess U Had To Be There. Everything is both familiar and groundbreaking. The beats shift and flip under ELUCID’s feet but he tightropes it all, delivery nimble as a mountain goat, producer and rapper moving in perfect synchronization. Some shining stars make memorable appearances: billy woods, Breezly Brewin, Estee Nack, Shabaka Hutchings. But this is a two-man show, and the duo keep the spotlight where it belongs. I Guess U Had To Be There is a captivating, convention-defying listen and a high-water mark for two of the best artists in the genre.

Matias Aguayo drops debut single on Rekids‘El Internet’ is a prelude to the Coméme founder’ upcoming album on the label. Chile’s Matias Aguayo debuts on Rekids with ‘El Internet’, the first single of his upcoming album on Radio Slave’s acclaimed label. Coméme co-founder Aguayo’s ‘El Internet’ is a dancefloor-tested, pumping and uptempo track with personal, intimate vocals phoning in.

“El Internet” tells about walking through the city in hot summer nights looking for the perfect dancefloor and about moments in life where you feel (musical) freedom and change, revolutions in music and dreams in community, about YouTube, MySpace, Fotolog and about people who dance in their houses, yards and on the streets to primitive, raw, and direct music (like the rhythm of the track itself).” - Matias Aguayo

Chilean-born musician and DJ Matias Aguayo has been active for three decades, co-founding the Cómeme label in 2009 and releasing work on the likes of Kompakt, Pschent, Hard Fist, and Permanent Vacation. Beyond music, he has organised underground parties and led social projects, including a theatre production at Le Châtelet in Paris.

Radio Slave’s Rekids was founded in 2006 and has since spawned successful offshoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts operating in House and adjacent genres, having recently featured the likes of Hilit Kolet, William Kiss, Tal Fussman, Tiger Stripes, Harry Rimero, The Hacker, Sean Johnston, and many more.

The classic Fearless Iranians From Hell Die For Allah LP is now back in print after a twenty-five year hiatus. Remastered and repressed on nuclear green vinyl, this hardcore punk arsenal also includes all tracks from their literally explosive Blow Up The Embassy 7-inch debut. FIFH was a mysterious Texan monstrosity formed in 1983 by Iranian expat (and modern day hashashin) Amir Mamori, who gathered to his side various mutants and apocalyptic freaks from the San Antonio punk rock blast zone, even throwing in two Butthole Surfers rejects for good measure (including none other than the notorious Anus Presley himself). The subsequent recording sessions were a chaotic affair, as guitars were rarely in tune and the drums were seemingly scavenged from the trash. It was all directed by Amir who, with fanatical focus, would inspire the band on to victory from behind a stupifying cloud of hash smoke. The resulting releases were widely praised; from places like Maximum Rock n Roll and the Village Voice in the US, to Sounds and New Musical Express in the UK. They were even cited as forerunners of the musical genre known as Taqwacore. After touring the US in the late ’80s—and leaving in their wake crowd turbulence, police intimidation, and even bounties being place on the heads of the members—the band disbanded in 1989 upon the death of the Ayatollah Khomeini (may Allah have mercy on him). “We’re stoned as shit, and we’re ready to roll.” - F.I.F.H. ’87

Esbe returns to Cold Busted for a phenomenal new four-track EP, Sunset Girl. With previous releases on Dusted Wax Kingdom and Cult Classic, as well as his acclaimed Bloomsday and Late Night Headphones albums for Cold Busted, the Los Angeles-based multi-genre beat-maker is riding a wave. Sunset Girl is another exciting moment in Esbe's musical progression. The release starts quietly with the gentle, muted piano chords of "Special." A sparse hip-hop beat and subdued melodic layers round out the tune, cutting away to reveal a lonesome vocoder vocal. "Again" is as close as Esbe gets to a pop song, as a carefree male vocal and twinkling pianos ride over a crisp, solid rhythm track. More delights await on "Sunset Girl" with its simple piano line, reverby percussion hits, distant sax solo, and splashes of vocal collide in a sonic daydream. "I Want Love" closes things out on a vintage flavor, with echoes of a mid-century school dance reverberating into a modern day beat battle. Potent vibes all around.

With Coalescence, The Third Room brings together artists from distinct yet interconnected techno lineages, united by a shared understanding of the music as both physical and introspective. Rather than staging contrasts, the EP focuses on convergence, where propulsion, atmosphere and restraint fold into a coherent whole. Rene Wise & Ignez open the release with Anjos, pairing Wise's tactile, percussive pressure with Ignez's expansive, oceanic pads. The result sits at the intersection of functional drive and elevated, almost devotional space, reflecting a new generation's approach to techno as both tool and inner landscape. Norbak's remix draws the track further inward, deepening its hypnotic pull and extending its energy into a more meditative, slow-burning form. On the B-side, Claudio PRC & Luigi Tozzi present Onirica, a deeply restrained and immersive composition rooted in atmosphere, spatial detail and subtle psychedelia. Unfolding with patience, it rewards attentive listening and long-form dancefloor contexts. Markus Suckut closes the EP by reducing Onirica to its bare essentials, applying his signature economy and precision to heighten tension and focus. Coalescence reflects The Third Room's vision of techno as a shared terrain, where different voices and generations meet, align and quietly reinforce one another.

The open skies of Ochre's new album, Oversail, replace the dense canopies of his last, Understory back in 2020. This time, UK-born, Netherlands-based talent Christopher Leary trades rhythmic intricacy for something more exposed and reflective on a record that unfolds in measured steps, with each passage revealing fragile melodies set against sparse, shifting frameworks. There's a tactile quality to the sound design, hardware elements clicking and sighing like ageing machinery still in motion. Tracks feel suspended and the focus is on slow revelation across the quietly affecting 'Casadastra', airy beauty of 'Meristem' and hopeful synth sequencing of 'Canthropa.'

Demon Records are proud to present Osmium Deluxe - the first recordings credited to the funk-rock ensemble Parliament-Funkadelic.

Since its re-release in 1990, Osmium has been distributed numerous times by various labels in America, Europe and Japan under alternate titles – including Rhenium and First Thangs. A number of these reissues have featured material that was not included on the original album, such as unreleased tracks and singles that were taken from the same time.

This in-demand, black-vinyl version of the Record Store Day 2024 sell-out compiles together everything from that period 2 LPs and includes; the full Osmium album, the single sides that never made the album, unreleased tracks, demos and jams – all of which made their debut vinyl appearance as one package in 2024.

Many of these recordings are still as far-out as they sounded when first released. However, the tracks here represent the genesis of what would become P-Funk and the entity that would give the world ground-breaking albums Maggot Brain (1971), Mothership Connection (1975), and One Nation Under a Groove (1978). An essential addition to anyone’s collection.

Rave At Your Fictional Borders is not beyond borders. The band simply denies any notion thereof. Driven by a sense of community, it defines human existence as one bio-organism with planet Earth. Now comprising members Dave De Rose, Marius Mathiszik, and Salim Akki, this incarnation of Rave At Your Fictional Borders first released the 'Entanglement' and 'Utopia' tracks in March 2025. Analogue Nomadism is the project's first album release. Recorded in Morocco and then co-produced and mixed by Dan Nicholls, it is an album of dizzying, trance-inducing scope. Rave music stripped of all external signifiers. Repetition, noise, krautrock, avant-garde sensibilities. This is a search for a groove that both connects and interlocks. The soul of improvisation and exploration runs through all seven pieces on Analogue Nomadism. Genres are referenced and transcended. The open-ended is perpetually embraced.

It is neither night nor day, but there is a half-light all the time. What used to be disconcerting is now not alien anymore. The sky boasts a faint light. Certain shapes are laid out, but get changed through communal ritual. Analogue Nomadism is the music of a feeling of community. It builds and breaks down. It is accepting of the psychedelic standards of the groove. Transportative and vertiginous. Endless.

WRWTFWW Records is proud to present THE GENTLE PEOPLE - Soundtracks for Living (Expanded Edition), ?the ultimate Lounge/Chill Out classic from 1997, reborn! Available as a limited edition white vinyl 3LP in heavyweight 3-panel gatefold sleeve.

When The Gentle People first glided into the mid-90s on clouds of strings, sugar and sine waves, they sounded like visitors from another, more glamorous planet. Signed to Richard D. James and Grant Wilson-Claridge's cult label Rephlex, this multinational "E-Z-Core" lounge unit took the aesthetics of 50s/60s easy listening and exotica and gently smuggled them into 1990s club culture.

Soundtracks for Living was their defining statement: an album that "takes the lounge scene and runs away with it entirely… blissful and heavenly," as one contemporary review put it. Imagine KLF's Chill Out or Space growing up on French 60/70s pop, bossa nova, soundtracks, vocal harmony groups, library music and easy listening then slipping out for a late-night date with dub, ambient techno and bubble-bath pop. That's Soundtracks for Living: a record that can score cocktail hour, 4am taxi rides, and daydreams in headphones with the same effortless grace.

The Gentle People - Dougee Dimensional, Laurie LeMans, Valentine Carnelian and Honeymink - began in early-90s Brixton, throwing dress-up theme parties before taking their audio-visual universe into the studio. For them, music was "a way of life": soothing to the ear, rich in pop hooks, and pitched somewhere between the playfully idiotic and the hyper-intelligent. Their debut on Rephlex was the single "Journey", later blessed with a shimmering Aphex Twin remix that pushed their sugar-coated sound even further into outer space.

This Expanded Edition of Soundtracks for Living finally gives this glambient lounge-pop milestone the treatment it has always deserved. Spread lovingly across 3LP, it features new mastering from the original sources, allowing every harp glissando, string swell and analog squiggle to float in high-fidelity widescreen. The core album is complemented by a bonus 12" of unreleased and rare material, offering a deeper dive into the Gentle world: alternate takes, lost interludes, and secret soundtrack cues for lives not yet lived.

Crucially, "Journey" appears here in its original version, Gentle Instrumental and the cult Aphex Twin remix, reuniting band and labelmate in one place and underlining the quietly radical nature of the project: this was lounge music that could sit next to braindance, acid and IDM and still steal the scene.

Pressed on limited edition white vinyl, Soundtrack for Living (Expanded Edition) invites long-time fans and new listeners alike to step back into The Gentle People's universe - a place of fondue parties, bubble chairs, star-lit elevators and endlessly rewinding sunsets, where "the pathway to the stars" is never quite out of reach.

In an era that often reduces the 90s to big-room bangers and grunge guitars, Soundtracks for Living remains a quietly subversive reminder that the decade was also about imagination, camp, softness and utopian possibility. As later writers have noted, The Gentle People weren't just a curiosity on a weird label; they became unlikely icons of a whole loungecore moment, gracing TV, compilations and magazine spreads, and proving that tenderness could be as futuristic as any drum machine.
In conjunction with this release, WRWTFWW has also unearthed The Gentle People's Peel Sessions, a 4-track EP from their 1997 BBC on-air performance, available on vinyl for the first time ever !