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Hardt Antoine returns to Crosstown Rebels with emotive new release ‘One More Night’, featuring Charlotte OC. Set for release on 24th April 2026, the French-Jamaican artist links with the UK singer-songwriter, backed by a remix from Echonomist.

A warm, late-night glow pulses through ‘One More Night’, as Hardt Antoine returns to Damian Lazarus’ Crosstown Rebels for his first original release on the label, adding to his captivating remix of Henri Bergmann & Wentink’s ‘Guardian Angel’ in 2024. Anchored by Charlotte OC’s striking delivery, the track draws on the pull of classic disco and modern club sensibilities, balancing introspection with pure dancefloor drive.

On remix duties, Greek DJ/producer Echonomist reshapes the original into a blissful voyage, layering skippy rhythms and shadowy textures for an emotive late-night ride. Rounding out the release, ‘Dreamstate’ offers a complementary original from Hardt Antoine, leaning further into his melodic instincts with a fluid, atmospheric groove.

Hardt Antoine’s output and sound draws on his French and Jamaican heritage, weaving house, techno, soul, and 80s influences into a sonic identity defi ned by rich melodies and groove-led songwriting with recent releases on the likes of Innervisions and KompaktMeanwhile, Charlotte OC brings her distinct vocal talents to Crosstown for the very first time. Following a return to her hometown of Blackburn and a renewed creative focus, her recent work leans into raw, self-assured songwriting, blending vulnerability with strength - qualities that sit at the heart of ‘One More Night’.

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.

The Cure are to release the 1986 mix of Boys Don’t Cry, making it available digitally for the first time ever in line with its 40th Anniversary. Initially released as a standalone single in the summer of 1979, Boys Don’t Cry became the title track of the US edition of the band’s debut album, Three Imaginary Boys.



The song went on to become one of the band’s signature tracks and achieved international success in 1986, when Robert Smith re-recorded the vocal and remixed the backing track. Although this new version was created to promote the best of collection Staring At The Sea – The Singles, the LP itself featured the original recording, and the 7-inch version of Boys Don’t Cry (New Voice – New Mix), now retitled Boys Don’t Cry (86 Mix), is being released on vinyl for the first time in 40 years.



Boys Don’t Cry (86 Mix), the 12” mix, and the B-Sides, Plastic Passion, Pillbox Tales, and Do The Hansa have been remastered by Matt Colton.

This vinyl edition of Repairing the Clock delivers five hard-edged cuts: four remixes by Thomas P. Heckmann, Umwelt, Legowelt, and Crystal Geometry, plus a raw original. Driven by analog grit and human tension, each track pushes the project into darker, heavier territory.

Already backed by Dave Clarke, Marcel Dettmann, Ben Sims, Terence Fixmer and more..

UGHH – Underground Hyper Hero is the moniker of Vítězslav Špalek — composer, multi-instrumentalist, and singular sonic architect hailing from Karviná, a gritty coal-mining town in industrial Silesia, now living out his days under the sundrenched skies of southern Corfu. He improvises across synthesizer, trumpet, and voice, weaving musical collages from poetic texts spanning genres and movements. His collages carry an unsettling depth and pull you somewhere you didn't plan to go. They are distant lands beyond the water — where the trumpet cuts through space and time lurches forward in a sudden rush, only to nearly freeze and turn inward, listening to the echo of a far-off voice calling out from nowhere. A flock of birds drifts over a vast landscape while a powerful, repetitive beat pulses through all matter — living and dead alike. EP 49.923827, 14.221380 takes its name from the coordinates of its creation, and marks the first released material from the artist's yet-to-be-unveiled catalog. Three original tracks are joined by an eclectic postpunk remix from Berlin-based Menqui, an ethereal minimalist take from fellow Berliner Nadia D'Aló aka DALO, and local scene staple Mike.H — a devoted digger of obscure trance.

DJ Ron's forgotten classic 21st Century finally gets the release it deserves, arriving on 12" black vinyl alongside a brand-new Bladerunner remix Originally recorded for DJ Ron's debut album Quintessence back in 1997, Hospital Records proudly welcomes it back into the world in style. The A side carries the original in all its glory. 21st Century is a timeless and futurefacing weapon - analogue at heart, hand-controlled automation and carefully curated sounds take you centre stage, giving it a unique, personal texture and depth that has lost nothing with age. Flip it over and Bladerunner steps in with an equally powerful B side remix, bringing his own vision to a track that was always ahead of its time. Born and bred (and still resident) in Hackney, career-long Rinse/Kool FM DJ, the first jungle/ D&B artist to record an Essential Mix for BBC Radio 1, host of the London Something podcast and more, DJ Ron is a multi-faceted creative and an uncontested foundational figure within jungle and drum & bass. This 12" is long overdue. The first time that DJ Ron's '21st Century,' taken from his unsung debut album, will be available digitally & physically alongside a fresh remix from Bladerunner. One for the heads - this one is all about flying the flag for DJ Ron, one of the foundational figures of jungle and drum & bass.

Originally released on vinyl in 2012, H2DAIZZO quickly became one of the NYC duo’s most sought-after records, with original copies fetching over $100 on Discogs. Now widely considered a timeless club essential, this deep, minimal house cut returns via a long-awaited repress on Defected Records.

The release is further elevated by three standout remixes, each bringing a distinct perspective: Peggy Gou delivers a signature 2017 rework, slicing and reshaping the groove with her unmistakable flair; Butch injects his 2018 remix with driving, dancefloor-focused energy; and Josh Baker offers a fresh, contemporary take, rounding out the package with a modern club sensibility.

A long-awaited vinyl press: the now-legendary Makebo remix of Planet Funk’s timeless anthem “Chase The Sun”.

Flipping to the B-side reveals another gem - massive remix of G-Pal by Simon Vuarambon.

12 Inch Picture Disc in Picture Sleeve

Few voices possess the immediate recognition and infectious soul of Starley, the Australian artist whose talent captured the world's attention. Her landmark hit, ‘Call On Me,’ is far more than just a song; it's a global phenomenon, boasting well over one billion streams and achieving platinum and gold accreditation in over 26 countries worldwide.

Marking the 10th anniversary of the iconic ‘Call On Me’ in 2026, Starley is celebrating the milestone by releasing an exclusive, highly anticipated vinyl pressing for her global fanbase. This commemorative edition will be a picture disc, including essential remixes from Ryan Riback, Odd Mob, Dexcell, and Anton Powers.

Exit Records expands on dBridge' sophomore album A Love I Can't Explain with two new interpretations by The Fear Ratio (James Ruskin & Mark Broom) and Kahn. In keeping with the label's ethos the artists were left alone to deliver remixes without any stylistic requests and as a result we have two tracks that are personal & uncompromising.

dBridge has been a firm supporter of both Kahn and TFR so it's very fitting that Exit Records releases TFR's debut remix and Kahn's rework, which repurposes what you thought you knew about him as an artist. The ALICE remixes are another leap forward for Exit Records.

The eight long play on the label comes from none other than UK electro royalty – Transparent Sound. If you have been following the music world for a while, then you would know this name as it’s been on the radars since the 1994. From the beginning it was a synergy between two artists Orson Bramley and Martin Brown, now the project solely run by Orson and he is presenting us Potent Mystery, an electro album in the best possible execution of this genre filled with melody and mystery. For the remix duties stepped up Acidulant the Maltese based hardware guru and the master of live sets from Bristol – Ben Pest. Each of these men and stellar artists have spent numerous years perfecting the craft of the electronic music which have resulted of this album being born as we can hear it now. Electro. Magnetic. Radiation.

Zero Netcost returns with “Ten Years Later”: an elegant downtempo cut driven by delicate piano and a spellbinding vocal. To beef up the maxi, the legendary duo Bent reunites once again with Zero Netcost, delivering two remixes packed with warm, finely textured detail. And there’s more heavy company: Funki Porcini drops an instrumental version with an oblique, late-night twist. A vinyl made to glide from warm-up to after-hours without losing the thread.

Kaleida are Christina Wood (vocals) Cicely Goulder (keys, production). Their demos of Think and Tropea racked up over a million plays on Soundcloud and YouTube between them in early 2014. The Knife’s mixing engineer, Christoph Berg, has fine tuned the demo versions of Tropea and Aliaa for their debut with four additional tracks including a cover of Al Green’s Take Me To The River, delivered as android soul.

Roberto Zanetti, better known as Savage or Robyx, is without a doubt a fully realized artist. When he stepped into the world of dance electronics in 1983, success came instantly. Not only across Italy, but far beyond its borders. Alongside his own chart-defining run as Savage, Zanetti was simultaneously shaping the scene from behind the desk, developing talent and refining a signature sound that would define an era. By the late ’80s, Robyx was already an established powerhouse producer. Around that time, he wrote three tunes for Maurizio Felici, performing under the alias Wilson Ferguson. These tracks carried all the hallmarks of Zanetti’s late-’80s aesthetic: lush melodies, smooth, flowing arrangements and high-energy grooves built for the dancefloor. In Europe, where house music was rapidly taking over, this sound faced tougher competition, but in Japan, where Eurobeat was exploding into the mainstream, these productions were untouchable. Felici’s rich, throaty vocal delivery gave the tracks an unmistakable emotional weight and identity.

Responding to long-standing requests from fans, Vintage Pleasure Boutique now revisits the most melancholic and emotionally charged of these three recordings: “I’m Singing Again”, a bittersweet tale of lost love told through the language of Italo disco. It’s a perfect fusion of Savage’s late-’80s sonic elegance and a truly distinctive vocal performance.

For this new release, the story is pushed one step further with a fresh remix, slightly faster in BPM and clearly nodding to Robyx’s classic Eurobeat instincts, a version built to move bodies while keeping the original’s emotional core intact.

Last year, following the special vinyl 45 release of Samba De Flora - the Romero Bros from Argentina presented a full LP of Latin and Brazilian club flavours to be exclusively distributed worldwide on vinyl by Echo Chamber Recordings.

It received brilliant feedback from a wide range of DJs across the planet and the full version of Samba De Flora was licensed to Acid Jazz Records for their legendary Totally Wired Compilation LP - so it was a natural idea for a couple of those people to be involved in this next release on a vinyl 45 - with the two tracks that gained the biggest feedback

Side A - “Cravo E Canela” with the Romero’s great take on the classic Brazilian anthem from Milton Nascimento originally on their LP from last year which gained a lot of airplay at the time. This 45 release this has been given an extra special remix / update from the legendary Chris Bangs. He adds more bass bounce to the ounce and a funky shuffle to make it even more club friendly

Side B - “Gabriel” - their Latinized version of Roy Davis Jr’s 90s club smash. LA based DJ Greg Belson was such a fan after he got the LP, that he immediately made an exclusive edit to put on a 45 dubplate - to pack on his 2025 UK Tour - dropping it to devastating effect in place like Glastonbury and club dates across the country. So it was a natural choice to include this version on the flip of the 45 - under his Preacher monicker to align with his other releases on the sister label - Echo Edits

2xLP Black Vinyl. Jane Remover is something of an internet legend. They are credited with playing a key role in the creation of the digicore music microgenre, an overstimulated relative of hyperpop.
In fact, everything Jane Remover does has an overdose of stimuli: their songs are like the Tasmanian devil from Looney Tunes. A whirlwind of warped and excessive digital pop.

For its 23rd release, Daydream is very happy to welcome Argentinian talent Castoldi to the label. The rising artist delivers a classy deep house EP built around dubby textures, warm grooves and timeless underground energy. The record also features a pumpy, punchy remix by label regular Nick Beringer, who adds his signature touch to round off a sophisticated and club-ready release.

long content, you may need to expand row to see all... Begin Here features fan favorites “She’s Not There, “Summertime,” and “The Way I Feel Inside,” plus three US bonus tracks including “Tell Her No.”

This definitive new edition combines all 17 tracks from the UK and US versions of The Zombies’ 1965 debut album, remastered in its original mono mix. Begin Here (Mono Remastered) is the next chapter in the series of Zombies reissues via the band’s own label Beechwood Park Records, with the same team as Odessey and Oracle - again being overseen by Matthew and Jamie White, mastering by Reuben Cohen at Lurssen Mastering, and brand-new liner notes by the legendary David Fricke. The album will be housed in a single pocket jacket with poly-lined sleeves and an insert.

Kendra Morris' 2025er Brettspiel-Konzeptalbum ,Next" wurde schnell zum Fan-Favoriten, führte mehrere Jahresendlisten an und festigte seinen Platz als eine der kreativsten Albumkampagnen. Jetzt, sechs Monate nach der Veröffentlichung des Albums, freut sich Karma Chief, dir eine 45er-Single mit einem Fan-Favoriten vom Album und einem brandneuen Dub-Remix präsentieren zu können. ,Flat Tire", der Ankündigungs-Track des Albums, ist eine Hommage an den alten Reggae der 60er Jahre. Inspiriert von den Platten, die Kendras Eltern von ihren Reisen nach Jamaika mitbrachten, bietet der Song einen eingängigen, beschwingten Refrain, den du einfach nicht mehr aus dem Kopf bekommst. ,Flat Tire" wurde komplett mit Vintage-Equipment aufgenommen und über einen Tascam 388 abgemischt. Außerdem ist Ray Jacildo, der auch schon mit The Back Keys und Yola zusammengearbeitet hat, am Klavier und an der Orgel zu hören. Auf der B-Seite der 45er-Single ist ein Dub-Remix von ,Flat Tire" vom einzigartigen Paul Cherry zu finden. ,Sobald wir ,Flat Tire` aufgenommen hatten, waren Terry und ich uns sofort einig, dass es eine Art Dub-Remix geben sollte - der Song war wie dafür gemacht", sagt Kendra. Terry schlug Cherrys Namen vor und sie waren sich einig, dass er der Richtige für den Job war. Das Endergebnis spiegelt den klassischen Dub der späten 60er perfekt wider, indem es auf den Grundlagen des Songs aufbaut _ die Produktion weiter reduziert, den Hall verstärkt und an genau den richtigen Stellen Echos, Pausen und Delays hinzufügt.

Kendra Morris' 2025er Brettspiel-Konzeptalbum ,Next" wurde schnell zum Fan-Favoriten, führte mehrere Jahresendlisten an und festigte seinen Platz als eine der kreativsten Albumkampagnen. Jetzt, sechs Monate nach der Veröffentlichung des Albums, freut sich Karma Chief, dir eine 45er-Single mit einem Fan-Favoriten vom Album und einem brandneuen Dub-Remix präsentieren zu können. ,Flat Tire", der Ankündigungs-Track des Albums, ist eine Hommage an den alten Reggae der 60er Jahre. Inspiriert von den Platten, die Kendras Eltern von ihren Reisen nach Jamaika mitbrachten, bietet der Song einen eingängigen, beschwingten Refrain, den du einfach nicht mehr aus dem Kopf bekommst. ,Flat Tire" wurde komplett mit Vintage-Equipment aufgenommen und über einen Tascam 388 abgemischt. Außerdem ist Ray Jacildo, der auch schon mit The Back Keys und Yola zusammengearbeitet hat, am Klavier und an der Orgel zu hören. Auf der B-Seite der 45er-Single ist ein Dub-Remix von ,Flat Tire" vom einzigartigen Paul Cherry zu finden. ,Sobald wir ,Flat Tire` aufgenommen hatten, waren Terry und ich uns sofort einig, dass es eine Art Dub-Remix geben sollte - der Song war wie dafür gemacht", sagt Kendra. Terry schlug Cherrys Namen vor und sie waren sich einig, dass er der Richtige für den Job war. Das Endergebnis spiegelt den klassischen Dub der späten 60er perfekt wider, indem es auf den Grundlagen des Songs aufbaut _ die Produktion weiter reduziert, den Hall verstärkt und an genau den richtigen Stellen Echos, Pausen und Delays hinzufügt.