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Funkadelic’s eleventh studio LP, released in 1979, was more militant in tone than its predecessor 'One Nation Under A Groove' which described a Funk utopia. In contrast, ‘Uncle Jam Wants You’ stated mandate was to “rescue dance music from the blahs”. The album features a 15-minute version of what was to become the Funkadelic’s last hit single ‘(Not Just) Knee Deep’, an edited version of which made no.1 in the US R&B chart. This was Funkadelic’s first album since 1972 not to feature a cover design by artist Pedro Bell (although he did contribute the interior design). A reference to the “Uncle Sam Wants You!” US Army recruitment poster, the sleeve depicts George Clinton aka Dr Funkenstein in a Huey Newton Black Panthers pose. ‘Uncle Jam Wants You’ and Funkadelic-Parliament had a huge influence on Prince, The Red Hot Chilli Peppers, Bill Laswell, Tupac Shakar, De La Soul and many more across all musical genres. George Clinton’s genius Funk & Style will continue to be an influence for many more years to come... FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Following the launch of FABRICLIVE’s new chapter with his inaugural artist release ‘Model Collapse’, Sully returns with a heavyweight remix package led by Basic Rhythm, alongside a brand-new track, ‘Proof’.

Originally the first release on the revived FABRICLIVE label, ‘Model Collapse’ set the tone for its forward-facing vision. Here, Basic Rhythm reworks the track into a stripped-back, bassbin-driven weapon - a dubplate turned anthem already making serious impact on the dancefloor.

On the flip, Sully delivers new track ‘Proof’, inspired by conversations with Basic Rhythm around his approach to drums.

Closing the EP is the original ‘Model Collapse’, the club hit that launched the label’s new era and continues to resonate.

A two-tracker rooted in movement and memory.

It’s Girls Night / Long Hair marks a confident next step for the Amsterdam-based, Dutch-Argentinian artist, pushing deeper into darker, more physical territory. Built from warped drum patterns, low-end pressure and distorted, inhuman textures, it leans fully into a percussion-led, club-focused sound.

It’s Girls Night is immediate - fast, raw, and unrelenting.
Long Hair pulls things into a heavier, more ritualistic space - broken rhythms, slower tension, deeper atmosphere.

Shaped by formative nights in places like De School, the EP reflects a direct connection to the dancefloor - where repetition, intensity and immersion take over.

A concise, impactful release and the first in a series with fabric Originals

Drumcode returns with its flagship A-Sides series, led by a huge new Adam Beyer single that highlights the 20-track compilation.

If you want a snapshot of techno in any given year, look no further than Drumcode’s annual A-Sides compilation. The release broadly charts the evolution of the genre, while giving a platform to standout demo’s Adam Beyer has received across the course of the year with many emerging artists finding their music on Drumcode for the first time. Case in point – Wehbba, Charles D and Raxon who all debuted on the label via a track on the A-Sides series and have gone on to become regular contributors to Beyer’s influential labels.

This year’s compilation features an exciting mix of established heavy-hitters, alongside a slew of new faces set to make their mark on the genre. ‘We Don’t Say Please’ – is emblematic of Adam Beyer’s sound in 2025 – fresh, experimental and thriving on cross-genre pollinations, as elements of bass music, rap and techno collide, underpinned by a distinctive UK vocal. The results are inspiring.

Elsewhere, the 20-track compilation brims with highlights. HI-LO’s ‘NYC to Amsterdam’ has inflections of New York house fused with driving techno elements. Nicole Moudaber returns to DC in cahoots with the rising ZLATA for the super-charged ‘Report to the Dancefloor’. Oscar L & Charles D mint a new collaborative partnership with the immersive, spacey cut ‘Lift Me Up’. LUSU continue their red-hot run following the recent ‘Move 2 the Groove’ EP, and craft a straight-up mind-mashing single ‘LIKE THIS’. Mark Reeve is in trademark strong form with hypnotic ‘My Mind’, which comes to life via a massive synth led. The fantastic Kaufmann shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.

As is tradition, a troupe of ascendant producers land on Drumcode for the first time. They include Uruguay’s Enzo Monza, who delivers the crisp ‘Late Night’ – a favourite of Beyer’s; Mattia Saviola, whose ‘Parallel Dimension’ is a powerful cut with fantastic sound design; Romanian artist Tao Andra, who shares the celestial ‘Unity’; and long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.

KKYV09 is a four-track EP by Helsinki-based producer and DJ Valeria Croft, exploring a refined intersection of house and minimal shaped by funky rhythms, rolling grooves, and detailed, tactile sound design. Alongside three original cuts, the release features a remix by Romanian DJ and producer Lumieux. The EP opens with Measured By The Silence, a hypnotic, groove-led track that defines Valeria Croft's sound through subtle progression and layered detail. Floating within a vibrating minimal house framework, the track delivers warm, positive dancefloor energy across its eight-minute journey. Lumieux's remix flips the mood, pushing the arrangement into a tighter, more driving house direction while carefully reworking elements of the original into a fresh, high-impact version. On the B-side, Flex Your Body leans into an old-school minimal feel, enhanced by sensual vocal sampling and a darker, late-night atmosphere. The EP closes with Night Shift Funk, a deep, immersive track that pulses with nocturnal energy, unfolding slowly and methodically as textures stack and tension builds. Together, the tracks form a cohesive, dancefloor-focused release designed for extended DJ sets and late-night sessions.

MP06 introduces DHAEUR to the Moving Pressure catalogue. The Berlin-based producer carves his sonic worlds through a strong sense of rhythmic architecture and a deep understanding of dancefloor dynamics. Here, he channels club-driven sensibilities into a mature and conscious 4 tracker.

The concept behind the EP reflects the principles of the label - namely, the pressure of sound and its resulting movement. Minimalism meets maximum technical intention, where swollen basslines and tightly coiled rhythmic progressions open up in signature DHAEUR style. The groove carries a distinct elasticity, punctuated by vocal inserts that add a subtly funky, almost soulful essence to the flow. Every element sits with purpose: dynamic yet
stripped back, intricately offset in ways that keep the body locked and the mind wondering. While the A-side leans into this physical immediacy - driving, playful, and sharply articulated - the B-side slips further into the tunnel. Atmospheres thicken and the palette turns eerier, stretching its essential rhythmic backbone into darker territories. Spatial details begin to seep through the structures, pulling the listener deeper while maintaining that firm gravitational pull toward the dancefloor.

Together, the two sides reveal different shades of DHAEUR's language. The result is a beautifully balanced narration between propulsion and immersion, where groove-led functionality meets a more shadowy, atmospheric depth.

Bladehouse VI continues the series with three cuts from the Bladehouse crew, as usual under Unknown Artists.

The EP presents a trio of tactile, groove-led tracks moving between Tech House, Deep House and Minimal House, with a subtle touch of funk. Each piece develops its own character while falling into a cohesive flow, shaped by a balanced sense of tension and release. It opens with a raw, direct statement, moves into a more hypnotic, driving space, and closes on a stripped-back groove with a distinct bounce—restrained yet effective.

Born from a profound devotion to the piano and a reverence for the organic flow of life, byt’ surprises listeners by presenting paths of sand, a remarkable creation by Amsterdam- based composer xico, offering sound and soul to those willing to listen beyond the surface.

Through the magic of experimentation, xico captured the fleeting beauty of the muse of improvisation, as described by Nachmakovich, transforming the ephemeral into something lasting. Performances recorded on the same old piano during the 2023 Kaalstaart Festival in the Netherlands have since evolved into a fully realized work.

A journey of nearly three years of dedicated silence that began with Telva’s intuitive recognition of xico’s voice, starting with an invitation to her radio show and blossoming into a captivating fascination with what unfolded. This process led to the art of shaping the selected live recordings into a collector’s item, now materialized as a limited edition of 200 pressed vinyl copies, forever remaining as an artistic memento.

paths of sand unfolds as an intimate reflection of music’s ability to hold what cannot be held, to speak what cannot be said, and to embody what can never be described.

Drumcode returns with the ever popular A-Sides series, kicking off with tracks from big names HI-LO, Nicole Moudaber, and Mark Reeve.

HI-LO’s ‘NYC to Amsterdam’ has inflections of New York house fused with driving techno elements. Nicole Moudaber returns to DC in cahoots with the rising ZLATA for the super-charged ‘Report to the Dancefloor’

Mark Reeve is in trademark strong form with hypnotic ‘My Mind’, which comes to life via a massive synth led stomper. Showcasing new talent we have Mattia Saviola, whose ‘Parallel Dimension’ is a powerful cut with fantastic sound design.

This perfectly formed EP brings together Dutch duo Fouk with a selection of collaborators across four groove-led cuts blending house, disco, and nu-disco influences.

The title track sees Fouk teaming up with The Phenomenal Handclap Band, delivering a vibrant vocal cut driven by warm basslines, uplifting melodies, and classic disco instrumentation. Importantly, both the vocal and instrumental versions appear here as extended mixes exclusive to the vinyl release.

Further collaborations with Archil & Leon and 79.5 continue the EP’s groove-heavy approach, combining soulful vocals, live instrumentation, and dancefloor-ready arrangements.

Already receiving strong support across radio, DJs, and streaming platforms, including plays from Bill Brewster (NTS Radio), Colleen Cosmo Murphy, Dom Servini, Francois K, Graeme Park, Hot Toddy, Massimiliano Pagliara, Pete Herbert, Slothboogie, Tim Zawada / Star Creature Universal Vibrations, Dave Pezzner, Nadiem Shah, Luxxury, Dj Supermarkt, Luke Solomon, Seamus Haji, Sophie Lloyd, J-Kriv, DJ Rocca, Faze Action.

The release has also landed #1 placements on Spotify’s Nu Disco editorial playlist.

With warm grooves, uplifting vocals and strong crossover appeal between disco, house and nu-disco scenes, this EP offers high playability for DJs and strong appeal for modern disco and house collectors.

2026 Repress

This relatively new Stockholm duo have been making waves with their latest vinyl output. This EP conveys their love for the disco house sounds of Chicago, spearheaded by the likes of DJ Sneak. ‘Spoon Bait’ leads the way using an almost dreamlike vocal hook over a deep bass led groove with dub effects to boot. ‘Tuborg Translate’ picks up the tempo, chopping up a Philly style hook, underpinned by crisp beats and otherworldly space effects. Title track ‘Silja Line Superstar’ keeps the peak-time action going utilising warm emotive strings and brass whilst ‘Kenneth Knaster’ bounces along on a sublime disco ride bringing the EP to a close.

The Spoiled is an Italian post-punk project led by Giovanni Santolla, blending electronic beats, distorted synths, and reverb-soaked guitars into a dark, romantic, and nostalgic sound.

In 2024, the project self-released the debut EP Time distributed by Manic Depression, followed in 2025 by the full-length Living Ghosts via Swiss Dark Nights—an album that firmly established The Spoiled within the contemporary post-punk scene. Following the album’s release, Giovanni collaborated with international acts including This Eternal Decay, Darkways, Corlyx, Chaos International, and Hinfort, while maintaining a dense touring schedule across Europe and sharing the stage with artists such as Traitrs, Hinfort, Darkways, and Ductape.

The new album When It Rains, set for release on Avant! Records on April 17, 2026, expands The Spoiled’s artistic vision with a focus on intense, romantic soundscapes that delve deeply into human intimacy and interpersonal relationships. Embracing a warmer and more personal sonic direction, the record blends elements of indie rock and electrogaze music that enrich and revitalize the dark, melancholic palette that has defined the project’s earlier works.

Still playing homage to the forefathers of the genre such as Clan of Xymox, The Sound and Pink Turns Blue, When It Rains opens the path of The Spoiled to new soundscapes, exploring broader emotional territories while preserving the atmospheric depth and introspective tone that have become its signature.

FFO: Twin Tribes, Clan of Xymox, She Past Away, Mareux, The Soft Moon, Pink Turns Blue.

Błoto has never cared much for dominant aesthetics. Instead, the band has consistently chosen paths less travelled, unexplored territories and uncharted routes where experimentation is not so much a conscious decision as a natural state of being. After years of a rather hermetic approach to recording their albums, the time for change has come. A trip to Bucharest and the opportunity to collaborate with the community of musicians associated with the underground label Future Nuggets, led by Ion D, resulted in many hours of recordings, which will be presented by Astigmatic Records in a series of releases across 2026. It opens with a 7-inch vinyl titled Zmiany / Schimbări, recorded in collaboration with Ion D and Plevna.

With Black Koyo, Mattias De Craene enters a sound world at once intimate and vast. Born from journeys in Morocco and Brussels, the project traces the rhythms, chants, and spirits of the Gnawa tradition, revealing a quiet resonance that echoes De Craene's own search for depth and presence. Guibri, qraqueb, call-and-response chants, saxophone, loops, and electronics come together in a trance-induced dialogue - ritualistic, elemental, and dreamlike - creating a space where listening becomes immersion, tradition meets imagination, and music unfolds as a shared act of reflection and wonder.

About Mattias De Craene
Mattias De Craene's artistic path is marked by rare coherence. As a central voice in Nordmann and MDC III, he developed a physical, rock-inflected jazz language driven by propulsion, volume, and trance-like collective energy. Over time, a period of personal rupture - burnout, tinnitus, depression - shifted his focus inward. The saxophone became a breathing, textural presence, and in his solo work, he weaves saxophone, electronics, loops, and minimal forms into a cinematic, hushed world where repetition, resonance, and silence slow perception. Rooted in ambient and introspection, his music prizes attention over impact, precision over excess - a quiet intensity recognized with a nomination as Musician for the Music Industry Awards (MIA's).

About Black Koyo
Black Koyo is a Brussels-based ensemble and one of the most compelling voices of the Gnawa tradition outside Morocco. Led by maalem Hicham Bilali, the group brings guibri, qrraqueb, and call-and-response chants to life with trance-like intensity and ritual precision. Their music is both rooted and contemporary, weaving earthbound rhythms and vocal invocations into ecstatic, immersive soundscapes, creating a space where ancestral resonance meets present-day imagination.

About Jan Bang
Jan Bang is a pioneering Norwegian producer and musician, celebrated for his mastery of live sampling and his ability to merge electronics with improvisation, rhythm, and texture in real time. He mixed the album and occasionally joins live performances, bringing his signature approach to sound as co-founder of the influential Punkt Festivaland collaborator with artists such as Jon Hassell, David Sylvian, Arve Henriksen, and ECM Records' roster. As a performer and sound architect, Bang creates immersive, trance-like sonic textures where silence and sound carry equal weight. Within Mattias De Craene ftBlack Koyo, his live sampling becomes an organic instrument, weaving saxophone, electronics, and Gnawa rhythms into hypnotic, physically charged soundscapes.

Line-up & credits
Mattias De Craene - sax, electronics | Hicham Bilali - guibri, vocals, qraqueb |Ismael Akhraz - vocals, qraqueb | Marwan Abantor - vocals, qraqueb
All tracks are original gnawa traditionals played by Black Koyo and arranged by Mattias De Craene.
Album produced & recorded by Mattias De Craene in Essaouira, Morocco and hometown Ghent, Belgium 2025.
Text by Hicham Bilali.
Mixed by Jan Bang at Punkt Studio
Mastered by Lieven Van Pee
Artwork by Marina Sviridova
Design by Benoit Van Geel
Manufactured and distributed by N.E.W.S.
Executive production by W.E.R.F. records
Supported by Flemish Government, Jazzlab, nona, HA Concerts, Aubergine artist Management,
KAAP, La Bestia (Wout Van Putten) & mdcmu.sic vzw.
2026 (c) W.E.R.F. records

Horsemen make their debut on Small Great Things with Southbound, a warm and colourful EP made to ease the winter blues.

Drawing from a wide palette of house influences, the record showcases the duo’s versatility and depth beyond a single formula. The release follows Horsemen’s first year as residents at Small Great House, the label’s monthly party at OXI Berlin, including its beloved summer open airs that helped shape the sound of this EP. Southbound also introduces their first collaboration with vocalist Guya.

While the A-side sets a relaxed tone with disco and jazzy influences, perfect for those summer open-airs, the B-side shifts firmly into club territory, delivering two dancefloor-proven cuts for the night.

The A-side opens with Make Me Feel Excited, an almost disco-tinged summer anthem driven by a distinctive sample. It is followed by Napoliballa, featuring Guya on vocals, a sun-soaked jazzy track with playful rhythms. The side closes with Lighter Days, a moody piano-led track that adds a deeper, more dreamy tone.

The B-side moves into club territory, with Running offering a driving, floor-focused cut led by a bold organ hook, followed by a faster, more club-oriented version of Napoliballa.

"After being praised as one of the best releases of 2025 by multiple platforms, the highly praised debut album from Obeka lands on vinyl via YUKU.

The rhythmic dynamics and emotive attitudes of A World No More captures the density of soundsystem culture in Obeka's ancestral roots. YUKU presents the Bermudians debut album capturing a Neo-Colonial dystopia, protest and Afro-Futurism hyperextended through decaying sonic structures of a dark past and its grievances which very much exist today.

Growing into adulthood within the walls of British and European Colonial systems meant the disconnection and lostness in a new country hid me from the world at a young age. Unlike London's vast and culturally engaging migrant communities, the industrial milling town of Stockport introduced a coldness towards people from other countries I experienced in my first year after relocating from Bermuda. I couldn't understand why. Whether cold words thrown towards me or actions upon other people who look like me, it has shown to be a dooming societal virus with no cure. The most comfort was found through what was familiar - drums and rhythmic spirituality of my homeland. It was a safe-haven, a place to empty the anger and confusion. It's been 15 years since relocating and as my sound evolved, it seems classism, racism, oppression and civil control of ethnic peoples has become worse - even now more legalised and normalised. Ogun (a powerful Yoruba deity associated with anger, justice and war) acts as the opening sequence of the record and its symbolism. Using distorted bass frequencies and dissected Regga-Dub immersed in live-sampled ghostly voices of the lost ones. This sonic exercising is also applied in Drillaman - a stampede of industrial framework and metallic instruments wielded over moody Dancehall MC'ing, magnifying two parallel worlds in cocooned evolution. The resurrection of Transatlantic African cultures and identity have never been silenced, rather carried elsewhere through trade routes of enslavement, which was pivotal when composing and completing the album upon returning home to the Caribbean for the first time ever. After reconnecting with my heritage my blurred vision of what's wrong in the world became so clear. Guidance in empty plains seek truth throughout the pain - A statement of finding oneself expressed on the poetic closing track A World No More.

On Fawohodie (A West African Adinkra symbol that represents independence, freedom, and emancipation stamped on the album cover) the motive and atmosphere begins to change. Afro-Caribbean idealism which refers to the philosophical concept that emphasizes the interconnectedness of individuals and the importance of community, often contrasting with Western individualism, begins to take shape in a new universe. We can co-exist. The track framework uses machine-led software forming frequencies we have no control over, then manipulated through decomposing soundscapes, scattered hand-drums and human-made weapons of control - exposing the hidden disparity that's been carried over generations whilst balancing hopeful and musical foundations towards equality and peace. On Pressure and Kuduro! the writing direction attempts to wake people up. Not settling for a composed approach like in past projects, quite the opposite. A call for native sonic awareness, dismantled vocals of protests, eroded percussion using chains, gears and motorised harmonies sculpted in challenging abstract behaviors far outside my comfort zone. A direct abrasiveness and weight I want people to feel, whilst finding hope and solace through enchanting choirs and hypnotic basslines in complete synchrony.

"Purity in sound manifests when you least expect it. The smallest memory or feeling grows from a seed into a sonic language that you, and only you can interpret and release back into the world." "

Calibre announces his new album 'Tricklemore Sea', set for release on vinyl and digital on 1st May via Signature Recordings.

A deeply personal and exploratory body of work, the album moves through ambient, shoegaze, electronic, blues and folk, all subtly shaped by the low-end sensibility that has defined his music for decades. It resists easy categorisation, reflecting an ongoing interest in blending bass culture with forms that sit outside it. Following the release of 'They Want You' at the end of 2025, this new project marks a clear shift in tone. Where that record leans into intensity and forward momentum, 'Tricklemore Sea' turns inward, occupying a more introspective space. Featuring entirely his own vocals and production, it carries a more exposed and vulnerable quality.

The album has taken shape gradually, drawing from material written in the years after 'Planet Hearth'. Rather than forming around a fixed concept, it emerges as a collection of pieces connected by tone and instinct. Tracks move between simplicity and abstraction, with piano-led compositions sitting alongside field recordings, improvisations and bass-driven works. Ideas often begin quickly, then evolve over long periods of revisiting and reworking. His voice takes on a more central role throughout, bringing a heightened sense of vulnerability. Lyrics and delivery are often left open, allowing space for interpretation. His process remains fluid and instinctive, with ideas written quickly, revisited over time and combined across different periods.

Moments such as 'Little Blend' carry a quiet melancholia balanced with hope, while 'Free One' reflects on the pressures of contemporary life. The title track considers the scale of human existence within a wider universe, framing individual lives as small but meaningful within something larger. Elsewhere, 'Deflower' and 'Pigeon Luncheon' draw from recordings made in Berlin at the end of lockdown, capturing a sense of movement and return. Older material, including 'Living In Your Head' and 'Hyndsight', is recontextualised and sits naturally alongside newer work. Threads from his wider catalogue remain present. 'Able Son Dub' nods to longstanding reggae influences, while 'Bit Broken Stream' appears here in a downtempo form alongside its drum and bass counterpart from 'They Want You'. Tracks like 'United Pull' and 'Mizzle Mine' lean further into abstraction, using minimal language and space to suggest mood rather than define it.

Over more than 30 years, Calibre has built a catalogue that moves across drum and bass, ambient, dub, techno, house, jazz, soul, blues and folk. His work is marked by restraint, quiet melancholy and a singular approach that continues to evolve. Complete authorship remains central, with all vocals, lyrics and production on both 'They Want You' and 'Tricklemore Sea' created solely by him. This breadth extends into his DJ sets, where he draws heavily from his own catalogue, often performing entirely self-produced material across a wide range of tempos and styles. His ability to move between contexts has seen him play at Boomtown, Houghton and Atonal Berlin, delivering distinct sets while maintaining a clear identity.

With 'Tricklemore Sea', that identity leans toward stillness, introspection and emotional depth. It is a record that prioritises feeling over definition, holding space for ambiguity while remaining grounded in a strong sense of authorship. Each release carries an element of exposure, a moment of vulnerability in letting the work go. At its core, the album seeks to capture something fleeting but recognisable, a sense of beauty that sits just beyond language.

He describes it simply: "The river inside of me flowing into the sea."

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.

Tied returns with its next vinyl-only release, timed for the spring and summer season. Mr Chic EP brings together four groove-led House & Tech House cuts from two emerging artists: three originals by Lose Endz, alongside a remix from Velvet Velour.

“Mr. Chic” opens with a smooth combination of tight drums, warm chords, and soft pads. Subtle ’90s House references sit within a modern, functional framework, resulting in a steady, floor-focused track.

Velvet Velour’s take on “Mr. Chic” introduces his characteristic swing and rhythmic phrasing. While retaining core elements, the groove and structure are reshaped, giving the track a more dynamic, driving feel.

“Churruca” moves deeper, built around a driving groove and evolving chords that gradually unfold into a Detroit-leaning progression. The arrangement develops patiently, creating a hypnotic, immersive feel.

On “Let The Acid Begin”, a rolling 303 line introduces a rawer edge. Vocal snippets and acid textures interact with a consistent groove, keeping the track direct and effective for later hours.

Across all four tracks, the EP stays grounded in groove and function—crafted for extended play, from warm-up through to more intense moments on the floor.

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'.

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.

4am Kru make a return to vinyl with the Love On The Line EP, an exploration of the familiar, bittersweet story of a romantic relationship between two people, from start to finish.

Across seven tracks led by collaborator Layla Sibelle, we feel every facet of this universal human experience. Exploring the more vulnerable shades of 4am Kru’s proven dancefloor technique, each track on the Love On The Line EP shakes sound systems, while staying true to the record’s emotional core.

From the tingle of excitement depicted on 'Rush', to the disappointment of being let down on ‘Boy’, the relationship ending on ‘Hush Now’, alongside everything in between, Love On The Line EP keeps bodies moving, while pushing the sound and songwriting of 4am Kru in unexpected new directions.

Soda Stereo is a band that never made the same album twice. After the commercial success of Canción Animal, singer Gustavo Cerati went deeper into the art of sampling, electronic music, the Madchester scene from the UK, shoegaze and neo-psychedelia. This change in sound led to some confusion among fans, but also gathered a lot of praise for embracing modern genres. Up this day Dynamo is seen as an essential classic in the Soda Stereo catalogue and also a must have for 90s shoegaze fans.

Dynamo is available as a limited edition of 2000 individually numbered copies on transparent vinyl and includes an insert.

Stevie Cox and Ansboy: two powerhouses of the Glaswegian club scene join forces for their collaborative debut EP on Rhythm Section INTL- ‘Twice Like Rice’. It’s a weighty four-track EP designed for the dancefloor, taking in myriad influences from dub techno, breaks, trance and good old fashioned house music. The Ep is full of deep, pulsating rhythms, lush textures and emotive peaks - all road tested in Stevie’s Iconic home turf: Sub Club.

Stevie Cox has long been a name long ruminating on everyone's lips, as a resident DJ of the iconic ‘Sub Club’ with an ever-growing tour schedule and back catalogue of releases via the likes of Klasse Wrecks and Optimo. Whilst the name Ansboy may be new to some, it is a fresh alias for the grammy nominated producer and mixdown engineer Robert Etherson who has long been a staple in the Scottish scene with an international touring repertoire under his belt.

The two friends met in their hometown of Glasgow and began their musical journey together last year after Robert taught Stevie how to do mixdowns. The pair clicked effortlessly, quickly discovering they shared the same passion for emotive, deep and progressive dance music. Their first track together - which took shape in the form of ‘Drift’ - a high-energy synth led anthem, came out with a special selection of tracks curated by Bradley Zero for his exclusive SHOUTS Summer sampler in 2025.

For the Twice Like Rice EP, their work evokes all corners of the dancefloor, kicking things off with ‘GC’ - a peak time breaks-infused trancey-heater - a master class in building dancefloor tension which gives way into a searing crescendo. Things spin towards a darker percussive focus on the more intense ‘Twice Like Rice’.

On the b-side things return to blissful euphoria with ‘Virgil’ - a warm up dub-techno ballad, before the emotional release of ‘Subculture closure’ inspired ‘Carter21’.

Regal delivers his first full EP on Backspin, marking a defining moment for the label he founded. More than just another release, the Forgotten Heroes EP captures the essence of Regal's vision: groovy, forward-moving techno that balances raw club energy with atmosphere, emotion and narrative.

The title track 'Forgotten Heroes' sets the EP in motion with a sense of controlled urgency. A rolling, slightly breaktinged groove pushes forward relentlessly, while an eerie, almost nostalgic synth melody hovers in the background, giving the track an emotional pull. 'Concentrate' shifts the focus inward_ bleeping motifs, tight claps and restless hihats circle around spoken fragments that feel like thoughts caught between the peak of the night and the quiet hours before sunrise.

On the B-side, 'Forte' accelerates into pure momentum: sharp, bleep-led sequences and forward pressure combine into a rush that feels like racing through the city at night. 'Soft Killer' deepens the mood with a darker, dominant edge, its stripped back power and razor-sharp sounds cutting clean through the mix. Closing track 'Wild Magic' offers a final release of tension, slowing the pace into a lighter, more house-leaning groove. Warm pads and a catchy, uplifting melody bring a sense of air and openness, letting the EP drift out on a hopeful, almost euphoric note.

Regal's comeback EP 'Forgotten Heroes' stands as a personal statement and a cornerstone release for Backspin. It's techno built on groove, contrast and character, made to leave a lasting impression on the dancefloor.

“Duran Duran” aka “The Wedding Album” released in 1993 was a return to form for the band, charting in the top10 on both the UK and US album charts and spawning the world-wide hit’s ‘Ordinary World’ and ‘Come Undone’

Following in 1995, “Thank You” was an album of covers featuring songs written by Led Zeppelin, Bob Dylan, The Doors, Lou Reed and Elvis Costello. The album charted in the top20 of both UK and US charts.

Originally squeezed onto 1LP, both albums are highly sought after as neither have been re-pressed on vinyl since their original release. They are now spread across 140g 2LPs for the best sound. CDs will now be in paper sleeves as opposed to jewel cases.

“The Wedding Album” has a newly embossed sleeve and includes a 12” art card, and “Thank You” features a gatefold sleeve with a fold out poster replicating the original release.

Saithara were a leading traditional Lanna music group in the Chiang Mai area, led by Chansom Saithara who was named a National Artist in 1996.

Chansom's son, Thepthara Panyamana, fronted the related Saithara "Combo", who explored a range of international pop styles to craft their light-hearted parody tracks in the local "kam mueang" dialect. The lead single here, from 1985, makes use of a well-known German synth-pop song which had become a surprise smash a few years earlier, while the b-side snags a similarly notable power-pop tune from the USA.

Thepthara was also a songwriter and instructor for the child musical group Nok Lae, a Chiang Mai area youth band who became mainstream crossover stars nation-wide. Thepthara passed away in 2017, and Baa Records has teamed with his brother Komsan to license this re-issue in his memory.

The craft of making music and the exploration of new methods for creating sounds were at the very heart of producing markmechanik’s LP “Invest in Rest”. The months-long production process led to one key insight: music is a tool. And this tool opens up possibilities for slowing down, sets a counterpoint to the fast-paced digital age, and leaves intellectual overthinking behind.

In his second solo release, markmechanik fully dedicates himself to blending sampling with digital and analog sounds. Between the sounds, you can hear the celebrated time spent in the studio—the playful tinkering with sounds and devices has been distilled into the LP’s eight tracks.

SMIILE RECORDS launches its new vinyl-focused sub-imprint SMIILEWAX with a three-track EP from Jen Cardini, released March 27th, 2026. Marking Cardini’s first solo project since the 90s, ‘petit monstre’ delivers percussive, club-ready cuts built for modern dance floors. The EP moves from stripped, rhythm-led groove to raw acid pressure and a drum-focused homage to the New York underground. A bold, floor-tested statement from one of dance music’s most quietly influential selectors and curators.

The mysterious Gluten People return to the fold, handing over their next vinyl-only transmission. For this second helping of "glutenous" dancefloor heat, the duo has paired up with Giacomo XL, following the massive demand for their debut EP.

Expect more of the same raw, rhythmic energy that made their first outing a must-have for heads and selectors alike. This is essential, no-nonsense club material built specifically for the wax-only connoisseur.

Early Support from: Archie Hamilton, Liquid Earth, Enzo Siragusa, Huxley, La Fleur, Sean Johnston, Make A Dance, Baby Rollen, Ysanne, Eliza Rose, Bartolomeo, Ryan Clover, AGELESS, Alec Falconer, Call Super, Bas Ibellini, ADMNTi, Gearmaster (fka Abdul Raeva), Timo Maas, Christopher Ledger, Moodymanc, Nathan Colinet, Gabski, Greogorio Soave, and many more.

Travellin Music returns with its next vinyl-only release: three deep, techy originals from Prakash, blending hypnotic grooves and late-night moods, rounded off by a sleek, stripped-back remix from UK underground icon 100Hz.

That’s a project led by a flamenco guitarist who turns out to be a talented lyricist and singer.
Billy Sharp received early support from Billie Eilish on SoundCloud and later from Nils Hoffman, who fell in love with his toplines. This first glimpse into his musical landscape reveals an intriguing personality, touching contradictions, but beyond that and more simply: a voice, a guitar, and mesmerizing melodies.

We're talking about music that moves, transcends, and resonates with the listener's emotions. All the tracks are elegantly carrying the project's message: introspective and passionately intense.

Billy Sharp unveils "Rose Tint," an EP with a strong identity, destined to be one of those timeless pieces. Billy worked meticulously on each of the 4 tracks composing this debut EP, resulting in an impressive outcome. The first notes of the opening track are sure to captivate anyone with their touching vocals and top lines. The EP builds in intensity with each performance, culminating in "2013," a danceable and nostalgic track.

2026 Repress

French DJ/producer Mathys Lenne's artistic vision is rooted in his deep connection to rhythm. Telling stories with his sounds while drawing inspiration from poetry and cinema and blending hypnotic textures with raw intensity, his music is widely supported across the scene via labels like Mord, Hayes and more. Across five vinyl cuts and three digital bonuses, the four-deck wizard keeps it deeply atmospheric with his label debut on SHDW's Mutual Rytm imprint, combining elements of psychedelic rock, unique voice samples and saturated synths to create a sound that feels immersive and unrestrained in contrast to the fast-paced, visceral techno he has become known for.

'Detlev' opens up with hefty kicks that demand you quicken your step, while industrial effects and creepy design brings the detail that makes the track pop. The classy 'Natural Born Killers' rides on firm kicks with loopy percussive details tightly coiled, ensuring you are forever on edge as the drums march on. 'Choose Your Pill' is a stripped-back and pulsing deep techno cut with deft synths that peel off the groove, before 'Untidy Echo' delivers a cavernous sound with sparse hits and low-end rumbles that place you in the centre of an underground cavern. 'Enfer ou Ciel' featuring D.E.S brings a sense of melancholy in the occasional string sounds and watery droplets that float over more frictionless, meditative beats - while the trio of digital bonus cuts brings moody subterranean rollers ranging
from snaking and dubby to more drum-led and eerie tones.

The Sound Of Soulfuric Vol. 2 continues the label’s reputation for vocal-led, groove-driven house music, bringing together strong vocals, solid songwriting and modern club-ready production across four DJ-focused cuts.

This is a release designed for dancefloor use. Whether it’s a vocal room, a terrace set or a packed house floor, every track is built to maintain momentum and keep the room moving.

Featuring voices from Donna Allen, Pearl Mae, Bobby Pruitt and J. Soul, this EP blends classic soulful house roots with current, punchy remixes, making it highly playable in today’s sets while still appealing to long-time Soulfuric fans.

MIXED SUGAR - GANGSTER GIRL b/w IT’S A BAD FEELING / I’M SAD WE’VE BROKE UP.

MIXED SUGAR were a 70s soul group from Flint, Michigan led by Regional Garland - The main man toiled in obscurity for years writing, singing and producing a series of revered 70s & 80s soul songs, as in The Perfections, 21st Generations, Vann & Reggie and Brilliance.

All three tracks on this 7” appeared on the 2012 compilation, ‘Regional Garland - Mixed Sugar The Complete Works,1970 - 1987’ from reissue imprint masters, Now Again Records.

Two of the tracks were previously unreleased until this wonderful collection unearthed them. The raw, funky and soulful ‘It’s A Bad Feeling’ came out on F.G.S. Records in 1974 and commands a £500 price tag.

We are highlighting ‘Gangster Girl’, a song with a great storyline and now taken to a new level with an extended edit - wah wah effects, swirling strings and there’s a killer instrumental break!

WRWTFWW Records is delighted to announce the first-ever vinyl release of Art Form I, the overlooked 1997 compilation from Tokyo’s cult imprint FORM@ RECORDS, now available as a limited edition double LP housed in a heavyweight sleeve as part of the ongoing collaborative series between the Swiss and Japanese labels.
Originally issued only on CD, Art Form I is a fascinating deep dive into the rich and singular world of late ’90s Tokyo electronic music—an inspired collection of timeless IDM, techno, ambient, and electronica experiments. Showcasing a roster of visionary underground artists including fan-favorite Virgo (Landform Code, Remnants), the compilation maps the innovative spirit of the era: emotional machine music, intricate rhythmic architecture, mind-expanding textures, and the soulful heart that serves as the solid foundation of everything FORM@ RECORDS.
Art Form I reminds of the pioneering explorations from Warp’s Artificial Intelligence series, B12, The Black Dog, Ken Ishii, and early Carl Craig, all while maintaining its own distinctive local identity. This long-awaited vinyl edition offers listeners a fully immersive rediscovery of a pivotal moment in underground music.
Following the acclaimed reissues of Virgo’s Landform Code (1998) and Remnants (1999), the simultaneous releases of Art Form I and Art Form 2 (1998) continue the archival collaboration between WRWTFWW Records and FORM@ RECORDS, with a forthcoming vinyl edition of remix collection Re-Form Ver-1.0 (1999) to follow.

WRWTFWW Records is very pleased to announce the first-ever vinyl release of Art Form 2, the seminal 1998 Various Artists compilation from Tokyo’s cult label FORM@ RECORDS, now available as a limited edition double LP housed in a heavyweight sleeve, as part of the ongoing collaborative series between the Swiss and Japanese labels.
Initially available only in CD form, Art Form 2 emerges as a quiet artifact from an exploratory phase in FORM@ RECORDS’ late-1990s trajectory. The compilation drifts through the deeper layers of Tokyo’s electronic underground, where IDM, techno, ambient, and downtempo dissolve into one another within an atmosphere of deliberate experimentation. Both intimate and forward-looking, it preserves a moment in which a local scene, largely unseen, was patiently reshaping the future beyond the reach of prevailing global narratives.
Flowing with carefully sculpted rhythms, immersive sound design, and a subtle sense of machine soul, Art Form 2 reflects the maturity of the FORM@ aesthetic in 1998. The compilation resonates with the spirit of Warp’s Artificial Intelligence era, Carl Craig’s melodic futurism, Ken Ishii’s cerebral techno, B12’s deep electronics, and Ian O’Brien’s emotive touch, while remaining unmistakably rooted in its own local context. Timeless and singular, it stands as a beautifully preserved time capsule of underground electronic music.
Following the vinyl excavations of Virgo’s Landform Code (1998) and Remnants (1999), Art Form 2 continues WRWTFWW Records’ collaboration with FORM@ RECORDS. It is released simultaneously with Art Form I (1997), further expanding this archival series, which will continue with the forthcoming vinyl edition of Re-Form Ver-1.0 (1999).

French composer and sound artist Franck Vigroux returns to raster with a new album called »Sonnailles«, set for release this spring.

Conceived as a sequence-driven work, »Sonnailles« unfolds through a series of tightly
structured musical passages interspersed with fragments of voices that appear within the compositions like ghostly presences. These vocal shards drift through the sonic landscape, punctuating Vigroux’s dense electronic textures and amplifying the album’s sense of tension and movement. At the heart of the project lies a deliberate contrast: the collision of raw, almost primitive sonic force with an underlying sense of compositional sophistication. Vigroux crafted the music with an ear for immediacy and physical impact, exploring how rough textures and driving rhythms can coexist with intricate sound design. The album was also inspired by two unusual invitations that pushed the artist beyond his typical performance environments: a rock and punk festival in France and a series of techno club performances in China. These contexts led Vigroux to imagine music whose primary purpose was to move bodies on the dance floor — an approach that marks a new direction in his work.

For Vigroux, the challenge was particularly compelling. Alongside his musical practice, he frequently collaborates with dancers and stages multidisciplinary performances known for their radical physicality. With this new album, he brings those parallel worlds together, completing a circle in his ongoing exploration of the relationship between sound and the moving body — where composition, rhythm, and physical motion converge.

DJ Support: Laurent Garnier, Dennis Cruz, Girls Of The Internet, Horse Meat Disco, Stacey Pullen, Elliot Schooling, Solomun,Marco Carola, Joseph Capriati, The Martinez Brothers, Dam Swindle, Soul Clap, Luke Solomon, Riva Starr, Franky Rizardo, Archie Hamilton, Silvie Loto, Fouk, Austin Ato, Salomé Le Chat, Blackchild, Jean Pierre, Black Loops, Kassian, Seamus Haji, Melvo Baptiste, Rimarkable, Sophie Lloyd

In-demand Amsterdam-based duo Makèz step into new ground with the release of their album ‘Arriving Home Elsewhere’, via ANOTR’s No Art label. A kaleidoscopic project that moves between deep house, cosmic jazz, R&B, broken beat, and club-ready energy, the record is both a declaration of identity and a dissolution of boundaries - proof of the duo’s rare ability to merge worlds without diluting or compromising their true essence.

Where most albums that span electronic realms lean on functionality, ‘Arriving Home Elsewhere’ reaches for something much more expansive. The project is a true hybrid: half shaped for the intimacy of a headphone listen, half designed for the electricity of the dancefloor. together forming a seamless continuum between reflection and release. Tracks like ‘REARRANGE YOURSELF’, ‘BE REAL’, and ‘LOOKS LIKE IT (SPACE TALK)’ are stripped to the core of house music’s driving pulse, made for bigger systems and peak-time release. In contrast, ‘Dreams’, ‘Fruits of the Universe’ (with douniah), and ‘Without The Sun’ (with Oliver Night) explore lush, textured arrangements where live instrumentation and improvisation carry equal weight to rhythm and groove.

Collaboration is at the heart of the LP, with Makèz inviting a constellation of voices who each expand the project’s palette. Ben Westbeech, Liv East, and SANITY bring soulful intensity; 30/70 and dreamcastmoe connect Amsterdam to Melbourne and DC; Cor.Ece and Oliver Night weave delicate threads of emotion; Goya Gumbani and Javonntte guide the production with their vibey, groove-led performances; while Life on Planets reprises his role as a core creative partner, appearing across the album on tracks including the standout ‘BE REAL’ and the previously released ‘ILLUSIONS’ alongside rising Amsterdam talent AVA LAVÁ. Together, these contributions shape an album that feels less like a singular statement and more like a living, breathing ecosystem.

For Makèz, ‘Arriving Home Elsewhere’ is as much about philosophy as it is about music. The title encapsulates a tension central to their art: the feeling of belonging to multiple worlds without ever being confined to one. Jazz, house, soul, and experimental club sounds are not separate influences but parallel languages, and in merging them, the duo has created a record that mirrors the fluidity of contemporary identity and expression. And while it may speak in many voices, the LP tells one clear story - that of Makèz, arriving, again and again, home elsewhere.

A limited edition collector’s piece to mark 10 years of Girlz B Like - the vinyl-only, female-led London-based party.

Side A unleashes ‘Love Echoes’, a genre bending underground heater from GBL founder Marcia DaVinylMC with additional keys from Uschi Classen. Afrobeat rhythms, lush keys, drum-pad grit, and a hypnotic bassline collide under a vibrant vocal hook - an irresistible, raw catalyst for freestyle dancers and left-field club devotees.

Side B delivers ‘Joy’ from Bristol’s DJ Emma - a bouncy, gospel-fired house stomper built to ignite any floor. Infectious energy, uplifting vocals, and classic vinyl flair collide in a radiant
celebration of rhythm and spirit, guaranteed to move feet, and supercharge the dance.

Limited Pressing Act Fast!