Solomun & CASSIM remix two of the track rake from Radio Slave’s Venti album released earlier this year. Diynamic boss and Ibiza titan Solomun remixes Radio Slave ‘The Lunatics’ on Rekids, following the original’s inclusion in Matt Edwards’ acclaimed ‘Venti’ album in May. The original, a rework itself, reimagined the 1981 Fun Boy Three track ‘The Lunatics Have Taken Over The Asylum’, with Edwards’ ode to the band’s late lead vocalist and The Specials frontman Terry Hall winning support from Saoirse, Erol Alkan, Jennifer Cardini, Laurent Garnier, Paul Woolford, and Honey Dijon. Solomun’s remix of ‘The Lunatics’ is sparkling aural nostalgia executed with total joy. Crisp 80s drums, Stranger Things-esque Jupiter 8 synth swells, the vocoded titular vocal, and a gloriously rich sliding bassline combine to drag the listener back to 1983 in the best possible way. As the track builds, rousing guitars join the ensemble, completing what is a hypnotic, melodic trip to the 80s via what’s set to be a 2024 anthem. CASSIMM’s remix of Radio Slave vs Audion’s ‘Mouth To Mouth’ continues the story of Matthew Dear’s classic, which Radio Slave revived and reinvented as part of his 2024 LP, ‘Venti’. Radio Slave’s hi-NRG disco cover of Audion’s minimal/maximal 2006 and era-defining anthem has dominated dancefloors since it emerged as a single in late 2023, with the likes of Erol Alkan, Job Jobse, Sean Johnston, Jennifer Cardini and Eats Everything continuing to play it today and the latter awarding it an Essential New Tune whilst sitting in for Pete Tong on BBC Radio 1. Now, recent Rekids alum CASSIMM continues his huge run of form with a chunky, main-room house interpretation that shows just why his recent release, ‘House of Moves,’ won DJ support from the likes of Tong, Arielle Free, Paul Woolford, Honey Dijon, and Jennifer Loveless. CASSIMS’s remix of Radio Slave vs Audion quickly follows Lindstrom and Solomun’s remixes of the ‘Venti’ LP’s tracks, which have seen support from the likes of Ivan Smagghe, Chloé Caillet, Nightmares On Wax, and more

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Radio Slave's 'Venti' is released on Rekids on May 17th and is a twelve-track celebration of Matt Edward's most prominent alias' history. Starting life as a series of singles that began in 2023, 'Venti' sees Edwards explore lower tempos, House, Disco, and the Pop reinterpretations that birthed the moniker back in 2001.

From Venti’s opening track onwards, a glistening piece of piano-led house that's become an anthem at Sean Johnston and the late Andrew Weatherall's lauded ALFOS parties, it is clear that Edwards is keen to celebrate the past but through the lens of now. A Radio Slave favourite, 'Wait A Minute', is updated to include a powerful vocal from Nez. Kylie's 'Can't Get You Out of My Head' - a track that kicked Radio Slave into the modern dance music consciousness is reinvented as an Italo-inspired cover featuring Michael Love Michael delivering glorious vocals. 'Wild Life' and 'Wake Up', another two tracks that, as singles, dominated house and disco sets of the great and good in 2023, feel simultaneously fresh while paying homage to the origins of House - message-heavy vocals and all. A cover of Audion's 'Mouth to Mouth' and Edwards' tribute to Terry Hall, the Fun Boy Three reimagining 'The Lunatics' are keen displays of Radio Slave's knack for taking on beloved tracks and making them his own. The lasers-set-to-stun cut-and-paste nu-disco of Radio Slave’s 'Jaws' is a muscular and timely reminder that the punch of a track lies in its feel rather than tempo, while Edward's command of dub aesthetics and unmatched ability to stretch grooves into a tension-filled journey shines through on 'New Balance' and the epic closer, 'Thirty-Six'. Never one to entirely give into the throes of the 4:4, the cinematic electro of 'Stranger In The Night' and Balearic Cagedbaby collab 'Amnesia' round out 'Venti' as the whole Radio Slave experience - as intense as it is subtle.

One of the most prolific and critically lauded electronic music artists of the past two and half decades, Matt Edwards was born in Catford, London, in the early 1970s. When acid house hit the city, Edwards was deep in the scene, and he's remained there since. Residencies at the groundbreaking Ministry of Sound and an 'unofficial' residency that has seen him become one of Panorama Bar's most booked DJs during his 15-year stint living in Berlin have provided the grounding for an enviable tour diary that continues today.

His Rekids imprint, a label that has platformed some of dance music's biggest names, has been regarded as a high benchmark for two decades with Matt as sole A&R. Collaborations with legendary artists such as DJ Hell and Robert Hood, releases for Running Back, R&S, Innervisions, Figure and more, and a remixography that simply couldn't be repeated in modern music show just how important Radio Slave is.

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Repress!

Radio Slave drops ‘Strobe Queen’ this June, complete with Eric Kupper and Kirk Degiorgio Remixes. following a string of massive singles over the course of 2022 and 2023, in tandem with the continued success of his acclaimed Rekids and RSPX imprints, Radio Slave prepares his latest single ‘Strobe Queen’, a 12-minute, slow-burning house epic landing this March. Eric Kupper and Kirk Degiorgio remix Radio Slave’s ‘Strobe Queen’ this June. Heard in clubs courtesy of Honey Dijon, Laurent Garnier, and Sean Johnston, amongst others, and on the airwaves via the likes of BBC Radio 1, Radio Slave now recruits two legendary remixers for thw remixes of ‘Strobe Queen’. Requiring little introduction, Eric Kupper and Kirk Degiorgio both turn in exceptional versions of the original, while Radio Slave contributes a stunning reprise of his own, continuing to explore his love of slower tempos and long arrangements of golden era NYC, as seen in subsequent singles ‘Wild Life’ and ‘Wake Up’. Radio Slave aka Matt Edwards is one of dance music’s undisputed heavyweights. Having made his name as a DJ in the 90s, he went on to become the king of edits, twisting pop, R&B and indie cuts into essential versions that consistently set clubs alight. Since the mid-2000s, Edwards’ originals have helped define modern dance music, tackling techno, house, breakbeat, minimal and disco whilst exploring dub, balearic sounds and ambient across the myriad of other aliases and projects.

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Superpitcher and Idjut Boys remix Radio Slave’s ‘Wake Up’. Radio Slave’s spoken word slow-burner ‘Wake Up’ dropped on Rekids March ‘23, winning support from the likes of Roman Fluegel, Louise Chen and Red Axes and continuing a run of singles that explores the house and disco roots of the iconic British UK/Producer. Now, he invites Kompakt a?liate and Hippie Dance co-founder Superpitcher alongside UK duo Idjut Boys to reimagine ‘Wake Up’ on a fresh 12”. The original ‘Wake Up’ saw Matt Edwards, aka Radio Slave, utilise low-slung grooves and an iconic speech-like vocal. Superpitcher remixes the track ?rst, turning it into an acid-infused trip with its vocal samples echoing through cavernous, dubbed-out soundscapes. On the ?ip, we see Idjut Boys turn up the ?ange in their hypnotic version while maintaining the original’s bassline and stripping back the vocal to eerie whispers.

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Roy Davis Jr. & Byron The Aquarius and Jamie 3:26 & Danou P remix Radio Slave’s Wildlife. ‘Wildlife’, released a few months back, found Radio Slave tapping into his house and disco roots. It proved a dance?oor smash that got support from a wide array of artists, from DJ Bone and Tim Sweeney to Roman Flugel and Axel Boman. As such, the artists chosen to remix come from similar backgrounds and bring all new perspectives to this irresistible gem. First up are Chicago house legend Roy Davis Jr. and keys playing maestro Byron The Aquarius. Both make the sort of dusty, feel-good deep house that will never grow old and have done so on the scene's best labels. Their sizzling seven-minute rework of 'Wildlife' has jazzy, life-a?rming keys and smeared synths that bring the warmth. The drums are rubbery and inviting, and the whole thing brings real musicality to the ?oor. The second remix is from original Chicago innovator, deep digger and edit king Jamie 3:26 and a young Dutch artist he has long since mentored, Danou P. Between them, they have cooked up gems like 'What It Is' together on Shake Records and remixed for Defected, all with a healthy respect for disco, funk and soul from the 80s onwards. Their take on 'Wildlife' is a piano-laced and upbeat party starter. Noodling bass ri?s,zippy synth details and lavish chords make for a sophisticated sound that will swell the heart.

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Following the recently dropped ‘Strobe Queen’, which picked up support from Honey Dijon, Sean Johnston, Laurent Garnier, BBC Radio 1’s Pete Tong and Danny Howard amongst many more, Radio Slave returns with another standout House cut ‘Wild Life’, turning in two exceptional Disco and Dub mixes. “I’ve always adored the “Wildpitch” era of DJ Pierre, Roy Davis Jnr, DJ Duke and labels like Power Music It’s definitely influenced my work as Radio Slave and “Wild Life” started out as a nod to that early nighties sound. Conceived during the pandemic, I had the track mapped out and then with help of a good friend I decided to add live bass, loads of analogue keyboards and record the whole thing live and it became this super funky disco jam.” - Radio Slave

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Initially released in 2020 via his own Rekids, ‘Stay Out All Night’ is one of Radio Slave’s biggest tracks todate, alongside timeless cuts such as ‘Grindhouse’, ‘Don’t Stop No Sleep’, and ‘Another Club’. Recruiting Carl Cox & Commix for remix duties, ‘Stay Out All Night (Remixes)’ sees two varied dancefloor-focused revisions drop this February on 12”. Leading the pack, Carl Cox steps up to the plate fresh from the release of his ‘Oh yes, oh yes!’ book. The People’s Choice delivers a lively 4/4 interpretation, flipping the syncopated breaks of the original into astomping blend of house and techno destined for dancefloor decimation. Following on is Metalheadz affiliate Commix, taking a break from his usual brand of flawless Drum & Bass to flip the original into a fresh UK Garage cut.

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Radio Slave returns to his Rekids imprint this October with the perfectly balanced ‘Acid Dip’ single. The titular track on ‘Acid Dip’ sees Matt ‘Radio Slave’ Edwards in particularly strident form. Riding a broken, stuttered-kick rhythm, ‘Acid Dip’ is a jabbing, insistent slice of UK techno shot through with hardcore and, whilst not skimping on raw power, still maintains the hypnotic nature that inhabits much of Edwards’ work. On the flip, ‘Armani’ takes off down a dubbed-out, futuristic Italo-infused house workout that, throughout its eleven minutes 28-second span, shows a more dense, layered side to Radio Slave production. Another triumph of a single from one of modern electronic music’s most consistent talents, Radio Slave’s ‘Acid Dip’, is released 15th October via Rekids.

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Radio Slave returns to his Rekids imprint for his first release of 2021, ‘Variations’. Marking the first release of 2021, Matt Edwards aka Radio Slave turns in two thundering tracks loosely based around a common theme: his signature maximal minimalism mixed with classic dub techno aesthetics. While his recent anthemic single ‘Live My Life’ displays Edwards’ knack for twisting vocal hooks into main room artillery, ‘Variations’ sees the Berlin-based producer head for room 2, showcasing Edwards ability for crafting devastatingly effective heads-y techno. After releasing Robert Hood’s incendiary ‘Mirror Man’ LP towards the end of 2020, Rekids is showing no signs of slowing down for 2021. With this release highlighting an artist at the top of his game, ‘Variations’ adds yet another powerful and striking 12” to both the discography of one of electronic music’s most essential labels and one of its most lauded artists.



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Radio Slave returns to his Rekids label with ‘Live My Life’, including a remix from Saved Records’ boss Nic Fanciulli. Responsible for some of the most recognisable vocal tracks in techno for the past 15 years, Radio Slave’s latest sees him turn in yet another tough, infectious cut that uses soulful vocal refrains as hooks. Airtight, rolling grooves have been a prominent feature in much of Radio Slave’s work, and ‘Live My Life’ is no different, paired with occasionally overlapping vocals it’s a masterclass in tension and release. On the flip, Grammy-nominated and globally renowned DJ and producer Nic Fanciulli cleverly reinterprets Edwards’ original, in a version that sees a pulsing, offbeat bassline and ever-evolving drums drive the track towards vocal crescendos throughout. Stirring, memorable, and yet another outstanding release from one of dance music’s finest. TRACK LISTING: A. Live My Life, B. Live My Life (Nic Fanciulli Remix)


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Rekids label boss Radio Slave ventures further into unknown territory in a three-part sophomore album entitled ‘Radio Silence’ with the first instalment dropping in June.

Stretching nearly two decades, Matt Edwards’s discography is staggering with releases on labels like Running Back, R&S, Ostgut Ton, Nonplus and Figure, not to mention his illustrious imprint Rekids which has been instrumental in supporting the music and careers of incendiary artists over the years, including Nina Kraviz, Mr. G, DJ Deep, Nic Fanciulli, Peggy Gou, Laurent Garnier, Spencer Parker and many more.

Although he’s released multiple albums under different guises it was only until 2017 that the debut Radio Slave album, ‘Feel The Same’, was released. Now, the renowned UK artist delivers his latest body of work in the form of his ‘Radio Silence’ album, which will be dropping in not one, but three parts.

The first chapter features perhaps the most leftfield tracks we’ve ever heard Radio Slave product, even hitting 150BPM on closing track ‘SYD’. There’s a rawness to the album, which is in part due to the fact each track was recorded live and without edits using hardware and Ableton as the main sequencer.

Across the seven tracks, Radio Slave hone’s in on a sound that’s haunting and hypnotic. Opening track ‘Ghost’ is punctuated by lingering synths, while ‘Cell’ introduces pummelling kicks that will do damage on a big system. ‘Contact’ bleeps and glitches before making way for blaring horn-like synths, and ‘ZQU’ is a masterclass in mind-bending techno. Elsewhere, closing track ‘SYD’ delivers on every level, thanks to uncompromising 150BPM realness.


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Rekids boss Matt Edwards debuts on Rekids Special Projects under his prolific Radio Slave moniker with ‘Command Z’, marking the twentieth release on the offshoot series. Undeniably one of house and techno’s most sought after and beloved producers and remixers, Matt Edwards kickstarted Special Projects as a techno focused series in 2017. Since then it has gone on to host incredible artists like FBK, Shinedoe, P.Leone, Hemka and Dustin Zahn, not to mention SRVD - Edwards’s collaborative project alongside club kid Patrick Mason. Three years later, the Berlin-based Brit finally graces the label under his most revered pseudonym. ‘Command Z’ opens with roaming synth patterns, slick kicks, delicately placed plucks and a haunting soundfloor which gives a sense of allure alongside it’s thundering rhythm. On the flip, ‘Command X’ situates itself perfectly for cavernous warehouse spaces or intimate club environments with its rattling snares, arpeggiated keys, lively saturated claps, rawly reversed pads and rippling cymbals. A. Command Z, B. Command X


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Santos’ ?rst release for Matt Edwards’ Rekids imprint, the four-track ‘We Were All Kids Once’ EP, is a continuation of the experienced producer’s output on his own Let Me Understand Records, which has seen a staggering amount of support from DJs since it’s launch in 2018. Traversing rugged, tracky, Relief-in?uenced House/Techno (‘One Day’), drummy grooves (‘Don’t Touch’ and ‘Rollercoaster’) and cosseting beat-down Deep House (‘Someone’), ‘We Were All Kids Once’ is one of those genuinely essential EPs that provides exceptionally consistent dance?oor ammunition across it’s breadth. With the likes of Ryan Elliott, Honey Dijon, Ame, Raresh, Luke Slater, Enzo Siragusa, Ben Sims and more supporting his output over the past few years, Santos is in the form of his career. While releases like the breakthrough ‘Camels’ and the anthem ‘Hold Home’ mark Santos as a producer of note at the turn of the century, his four solo albums and, most recently, his Let Me Understand Records EPs have proved he’s an artist that is constantly pushing forward. Santos’ EPs regularly fall into the ‘if you know, you know’ category of various tastemakers across Disco, House and Techno and ‘We Were All Kids Once’ neatly displays why.

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Mark Broom and CJ Baker team up as Kingpin Cartel on Rekids for the The ‘Long Dark Soul Of The Night’ EP. Kingpin Cartel, Mark Broom and CJ Baker’s joint House alias debuts on Rekids this November with the ‘Long Dark Soul Of The Night’ four-tracker. The EP starts with the title track, a playful, funk-fuelled cut with squelchy licks and soulful keys. Next, Kingpin Cartel’s ‘Moonrise’ leads with strong percussion that lay underneath a smooth swinging piano ri?. ‘You Are’ then dives deep, perfectly blending emotive synth chords with an undeniably weighty house beat before ‘Shakedown’ closes the ‘Long Dark Soul Of The Night’ EP with a quirky synth line and an infectious bassline that ?rmly keeps it old-school. Mark Broom is a UK dance music legend with releases on labels like Warp, M-Plant, and Hardgroove. He returns to Rekids as one of its core artists, joining CJ Baker, a producer known for EPs on Innervisions, Emissions Lo-Fi, Well Rounded, and many more. Founded in 2005, their Kingpin Cartel alias has released on Nic Fanciuli’s Saved Records as well as Mark Broom’s Rewired, Pure Plastic, and Beardman imprints, now landing on Radio Slave’s ?agship label with the ‘Long Dark Soul Of The Night’ EP.

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William Kiss lands on Rekids with the ‘The Beat’ EP this November, hot on the heels of a remix for Mathias Kaden’s ‘Circulate’ EP on the label in September. The A-side starts with title track ‘The Beat’, bodied toms footing the rhythm while high-pitched percussion keeps an irresistible groove above. With an expertly sampled, playful vocal, Kiss’ ‘The Beat’ is another unmistakable club hit that will effortlessly find its way into the peak time. The B-side hosts ‘Midnight Club’, which features more organic drums mixed with a classic House vocal and zippy strobe-light-inducing synths, closing out William Kiss’ debut on Radio Slave’s flagship label in his signature drummy style. Having won support from Laurent Garnier, HAAi, Call Super, Robert Hood, and more, William Kiss has been going from strength to strength. He previously appeared on Radio Slave’s labels via his ‘Clap For Me’ EP on Rekids sibling label RSPX, with further releases on labels like GUDU, Bush Records and Three Six Zero alongside the launch of his collaborative project, Not Without Friends, with Luke Alessi and Jordan Brando on RÜFÜS DU SOL’s Rose Avenu

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Moodena & Charles Levine drop ‘Badman’ on Rekids. Radio Slave and Cratebug remix the track, with the EP landing this October. ‘Badman’ sees Moodena & Charles Levine team up on Rekids this October, including remixes from label founder Radio Slave, and Cratebug. The vocal mix of Moodena & Charles Levine’s ‘Badman’ is up ?rst, a high-energy dance track with classic house strings and an infectious bassline, telephone-like samples dialling the keypad, and a big vocal to top it o?. Chicagoan edit royalty Cratebug steps up to remix ‘Badman’ ?rst, turning the track into a hypnotic after-hours cut with plenty of dub echo, the original faintly shining through its rolling elements. On the B-side, Moodena & Charles Levine’s ‘Badman’ is then remixed by Rekids’ own Radio Slave, who in turn transforms the track with a more low-slung vibe, cruising along with tripped-out sonics and traces of the vocals while bringing the dial-up sounds forward. Closing out the EP, there is also a dub which loses the original ‘Badman’ vocal but maintains the classy house heat. Moodena has been active in the Disco and Nu-Disco scenes for over thirty years, earning accolades via releases on Midnight Riot, Nervous Records, and his own Tropical Disco Records. Following a twenty-year-long friendship, he collaborates with one-half of Soul Clap, Charles Levine, for the ?rst time for the ‘Badman’ EP on Radio Slave’s Rekids. With Soul Clap, Levine in?uenced the House and Nu-disco scenes through varied tracks on labels like Defected and Crosstown Rebels while releasing tracks from artists like Jkriv, Josh Wink and DJ Rocca on their eponymous Soul Clap Records label.

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Bushwacka’s ?rst release for Radio Slave’s Rekids, the ‘Heaven On Earth’ EP, is out on October 11th 2024 and sees the UK House and Breakbeat innovator deliver two tracks complete with versions. Title track ‘Heaven On Earth’ is a slice of low-slung House in which a drawling spoken-word vocal about love for music dominates. It’s a track with the sort of cast-iron, funky groove that has permeated Bushwacka’s music since day one. The ‘Instadub’ dubs out the vocals and takes ‘Heaven On Earth’ in a heady direction. On the flip, Version One and Version Two of ‘Roger That’ see Bushwacka drop ?nely tuned funk-infused Deep House, with the former treading an earthy heads-down path while the latter ups the melody, chord and vocal sample prominence, creating a restrained euphoria throughout. Bushwacka, aka Matthew Benjamin or Matthew B/Just Be/Makesome Breaksome and countless other aliases, has been a pivotal part of the electronic music scene for over 30 years. While his wildly successful project with Layo Paskin as Layo & Bushwacka! is his most prominent, this former London School Symphony Orchestra percussionist’s roots go much deeper. A pioneer of the nascent Rave and Acid House scenes who went on to be one of the progenitors of Tech House and UK Breakbeat scenes, Bushwacka’s in?uence is huge but far from static, with releases on the likes of Classic, Aus and NuGroove in the past few years alone.

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Mathias Kaden returns to Rekids with the 'Circulate' EP, featuring a William Kiss Remix.

Mathias Kaden is back on Rekids after 2022’s ‘Blackbird’ EP, this time with the four-track ‘Circulate’ EP featuring a remix from the hotly tipped William Kiss. Kaden’s ‘Freedom’ kicks things off with stripped-back machine rhythm, tasteful stab melodies and a deeply satisfying low-end groove before an iconic gospel vocal joins in. Title track ‘Circulate’ is another infectious low-slung crawler with crunchy synth hits and a hypnotic and classy vibe that will get the dancefloor moving.

On the flip, William Kiss remixes Mathias Kaden’s ‘Freedom’ following his recent EP on Rekids' sibling label RSPX and the release of his collaborative project, Not Without Friends, with Luke Alessi and Jordan Brando on RÜFÜS DU SOL’s Rose Avenue. Kiss turns the track into a pumping peak-time cut with additional percussion and plenty of his signature Jackin’
flavour. Closing out the record, Kaden’s ‘Twisting Shadows’ introduces an acidic bassline and warped, dubbed-out vocals before dropping into an energetic trip.

Active since the mid-90s, Mathias Kaden appeared on Radio Slave’s Rekids for the first time in 2019 for ‘Liberate Drums’. He now returns to the label with the ‘Circulate’ EP, adding to his versatile discography on labels like Dyinamic and Vakant while also remixing work by Matthias Tanzmann, Onur Özer, Anja Schneider, and Trentemöller.

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Tiger Stripes debuts on Rekids with ‘I Heard It Through the Bassline’.

Stockholm’s Tiger Stripes appears on Matt Edwards’ Rekids for the first time with the ‘I Heard It Through The Bassline’ two-tracker. The EP starts with the aptly named title track, defined by its deeply infectious bass, which propels forward along tight house grooves and classy gospel vocals. ‘I Heard It Through the Bassline’ is followed by Tiger Stripes’ ‘Everybody’s Doing It’, a stylish, low-slung people mover with the air of a vibey, dim-lit establishment or introspective late-night journey through the city.

Strange Idols label founder Tiger Stripes is a prolific producer, remixer, and DJ who has been active since the early 2000s. He’s collaborated with artists like Kerri Chandler and Jerome Sydenham and released music via heavyweight underground imprints, including Hot Creations, Get Physical, and Sydenham’s Ibadan. Now, he moves the needle again with the ‘I Heard It Through the Bassline’ EP on Rekids.

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Solomun & CASSIM remix two of the track rake from Radio Slave’s Venti album released earlier this year. Diynamic boss and Ibiza titan Solomun remixes Radio Slave ‘The Lunatics’ on Rekids, following the original’s inclusion in Matt Edwards’ acclaimed ‘Venti’ album in May. The original, a rework itself, reimagined the 1981 Fun Boy Three track ‘The Lunatics Have Taken Over The Asylum’, with Edwards’ ode to the band’s late lead vocalist and The Specials frontman Terry Hall winning support from Saoirse, Erol Alkan, Jennifer Cardini, Laurent Garnier, Paul Woolford, and Honey Dijon. Solomun’s remix of ‘The Lunatics’ is sparkling aural nostalgia executed with total joy. Crisp 80s drums, Stranger Things-esque Jupiter 8 synth swells, the vocoded titular vocal, and a gloriously rich sliding bassline combine to drag the listener back to 1983 in the best possible way. As the track builds, rousing guitars join the ensemble, completing what is a hypnotic, melodic trip to the 80s via what’s set to be a 2024 anthem. CASSIMM’s remix of Radio Slave vs Audion’s ‘Mouth To Mouth’ continues the story of Matthew Dear’s classic, which Radio Slave revived and reinvented as part of his 2024 LP, ‘Venti’. Radio Slave’s hi-NRG disco cover of Audion’s minimal/maximal 2006 and era-defining anthem has dominated dancefloors since it emerged as a single in late 2023, with the likes of Erol Alkan, Job Jobse, Sean Johnston, Jennifer Cardini and Eats Everything continuing to play it today and the latter awarding it an Essential New Tune whilst sitting in for Pete Tong on BBC Radio 1. Now, recent Rekids alum CASSIMM continues his huge run of form with a chunky, main-room house interpretation that shows just why his recent release, ‘House of Moves,’ won DJ support from the likes of Tong, Arielle Free, Paul Woolford, Honey Dijon, and Jennifer Loveless. CASSIMS’s remix of Radio Slave vs Audion quickly follows Lindstrom and Solomun’s remixes of the ‘Venti’ LP’s tracks, which have seen support from the likes of Ivan Smagghe, Chloé Caillet, Nightmares On Wax, and more

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Oliver Dollar unveils part two of his ‘Contemporary’ EP on Rekids.The release features collaborations with Brillstein and Harvard Bass Part two of Oliver Dollar’s ‘Contemporary’ EP will be released this July via Rekids. It follows part one, released in April of this year, which saw him team up with ADMN, Austin Ato, and APROPOS and featured a remix from Brian Kage. With the first part winning support from the likes of Laurent Garnier, Nightmares On Wax, and Dam Swindle, this next EP continues with an equally promising cast behind the wheel, as Dollar brings in Brillstein and Harvard Bass for more irresistible house funk across three tracks in part two. First up on the ‘Contemporary Part Two’ EP, Jesse Rose, Diplo and Switch collaborator Brillstein joins Oliver Dollar for ‘Pill Popper’, a real dancefloor-igniting underground cut with an unforgettable hushed vocal over infectious rhythms. It is followed by Oliver Dollar and Harvard Bass’ ‘Funky Brewster’, which sees the Tuskegee, Relief Records, and Turbo artist complement Oliver’s house style with signature jackin’ flair. A repeating vocal and hard-hitting drum beat keep centre in this party anthem before Dollar flies solo for ‘Funked Up’, in which a low-slung groove and dreamy, chopped-up vocal work in harmony before breaking down into a jazz-inflected midsection, making for the perfect outro to a fantastic two-part series on Radio Slave’s Rekids.

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Hilit Kolet returns to Rekids for the ‘Snap Talk’ EP. It follows her ‘Hot Mess’ single for the storied imprint and features Kameelah Waheed's vocals on the title track. Continuing her hugely successful run of 2024 releases, Hilit Kolet returns to Radio Slave’s revered Rekids label with the two-tracker ‘Snap Talk’, following in the footsteps of ‘Hot Mess’ (Rekids) and ‘Everything Is Amazing’ (Bush). The two dancefloor favourites won DJ support from Laurent Garnier, TSHA, HAAi, Maya Jane Coles, Roman Flu¨gel, Chloé Caillet, Jennifer Cardini and countless others while earning an extended string of radio plays from Danny Howard, Jamz Supernova and Sarah Story, who tapped Hilit for a Future Dance Mix. For ‘Snap Talk,’ the fast-rising East London DJ and producer turns in yet another drop of striking, jackin’ power-house, this time propelled by Brazillian baile funk rhythms, a homage to her days as a samba dancer at London’s Notting Hill Carnival. Fellow Rekids alumnus Kameelah Waheed's seductive spoken-word vocals ride and push the driving 909-fuelled number, and the result is an outstanding 2 AM track that seriously cuts through the noise. On the flip, Hilit’s ‘Gate 33’ combines tightly looped percussion opening up into a naggingly insistent drum-heavy cut that employs favela funk-patterned cowbells, a throbbing bottom end and a mix of passionate vocal and unnerving airport announcement samples to create an utterly compulsive late-night groove. Hilit Kolet has been integral to London’s underground scene ever since she was slinging vinyl at Soho’s legendary Black Market Records. Her distinctive, energetic DJ style established her behind the decks, playing everywhere from Ibiza to Berlin via Shanghai and Oslo.

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Hardway Bros teams up with Beth Cassidy on Rekids for a timeless ode to the legendary Murk Records The release includes a ‘coral way’ dub mix and a remix by Erol Alkan and Richard Norris’ Beyond The Wizards Sleeve. Sean Johnston is the man behind Hardway Bros, an alias well known for wobbly, downtempo, and synth-laced disco jams which have appeared on the likes of Is it Balearic? Whiskey Pickle, and Throne of Blood over the last decade. On this single, which is a love letter to legendary early 90s label Murk Records, Johnston links with vocalist Beth Cassidy, known for her work as part of Manchester’s Sea Fever and Section 25. Hardway Bros’ wonderful 'Murky' is deep and sensual house music. The vocal brings sultry charm, unfolding in soulful style over whimsical ambient pads and chunky drums. It oozes with character and harks back to actual songwriting of days gone by. Beyond The Wizard's Sleeve is an alias of dance music pioneers Erol Alkan and Richard Norris. It was established to bring psyched-out, acid touches to the dance floor and has resulted in a critically acclaimed album on Alkan’s Phantasy Sound and much more. Their excellent Re-Animation is eight minutes of drawn-out disco chug, loose grooves and masterful chord work. Up last is a Coral Way dub that strips things back to the beats, layers in plenty of cosmic FX, and lets your imagination run wild on the tripped-out synth leads that pan between the stars.

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Lindstrøm remixes Radio Slave ft Cagedbaby ‘Amnesia’ The first remix package from Radio Slave’s ‘Venti’ LP features a remix and instrumental from the Norwegian artist. A key single in the run-up to Radio Slave’s ‘Venti’ LP, the distinctly Balearic ‘Amnesia’ cut, which was the sound of Pikes in 2023, is remixed by Norwegian nu-disco pioneer Lindstrøm following the LP’s release in May. The original saw Matt Edwards team up with long-time collaborator Cagedbaby, aka Tom Gandey, for a blissful sunset track that won support from the likes of David Holmes, Sean Johnston, Jennifer Cardini, Peter Kruder and Perel. cOn the ‘Amnesia’ remix package, Lindstrøm turns the downtempo breakbeat in Radio Slave and Cagedbaby’s original into a more upbeat groove with hints of 80s and 90s Euro-Dance in its piano breakdown and squelched-up acid-drenched guitar bass. The Norwegian artist, known for his frequent collabs with Prins Thomas and all-around superb nu-disco works, maintains the original’s sultry vocal, neatly scrubbed off in the instrumental mix for those looking for a party-staring club tool in this evoking ode to Ibiza.

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Cassimm debuts on Rekids with the jackin’ ‘House of Moves’ EP The Italian-born, London-based Cassimm lands on Radio Slave’s Rekids for the first time with the ‘House of Moves’ EP. It kicks off with ‘Body And Soul’, a hands-in-the-air affair backed by a slick, Jackin’ Tech House groove and earworm vocal. It’s a surefire recipe to tease the crowd into a dancefloor moment before Cassimm’s ‘I Hear You’ comes in with plenty of soul on the B-side. Dubby House chords form the base above swinging organic percussion, with another classic vocal working the nostalgia on top. Closing out the EP is the infectious ‘What Ya Looking At’, featuring stripped-back rhythm and big drops set to make for an even bigger crowd reaction. Signing to Rekids off the back of many Radio Slave-supported edits, Cassimm debuts on the label after the chart-topping ‘Say Yeah’ and ‘Love Desire, with supporters like Honey Dijon and Rekids affiliate Nic Fanciulli. Cassim’s ‘House of Moves’ EP on Rekids will be released this May and once again shows his ability to deliver big, memorable house cuts.

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Radio Slave's 'Venti' is released on Rekids on May 17th and is a twelve-track celebration of Matt Edward's most prominent alias' history. Starting life as a series of singles that began in 2023, 'Venti' sees Edwards explore lower tempos, House, Disco, and the Pop reinterpretations that birthed the moniker back in 2001.

From Venti’s opening track onwards, a glistening piece of piano-led house that's become an anthem at Sean Johnston and the late Andrew Weatherall's lauded ALFOS parties, it is clear that Edwards is keen to celebrate the past but through the lens of now. A Radio Slave favourite, 'Wait A Minute', is updated to include a powerful vocal from Nez. Kylie's 'Can't Get You Out of My Head' - a track that kicked Radio Slave into the modern dance music consciousness is reinvented as an Italo-inspired cover featuring Michael Love Michael delivering glorious vocals. 'Wild Life' and 'Wake Up', another two tracks that, as singles, dominated house and disco sets of the great and good in 2023, feel simultaneously fresh while paying homage to the origins of House - message-heavy vocals and all. A cover of Audion's 'Mouth to Mouth' and Edwards' tribute to Terry Hall, the Fun Boy Three reimagining 'The Lunatics' are keen displays of Radio Slave's knack for taking on beloved tracks and making them his own. The lasers-set-to-stun cut-and-paste nu-disco of Radio Slave’s 'Jaws' is a muscular and timely reminder that the punch of a track lies in its feel rather than tempo, while Edward's command of dub aesthetics and unmatched ability to stretch grooves into a tension-filled journey shines through on 'New Balance' and the epic closer, 'Thirty-Six'. Never one to entirely give into the throes of the 4:4, the cinematic electro of 'Stranger In The Night' and Balearic Cagedbaby collab 'Amnesia' round out 'Venti' as the whole Radio Slave experience - as intense as it is subtle.

One of the most prolific and critically lauded electronic music artists of the past two and half decades, Matt Edwards was born in Catford, London, in the early 1970s. When acid house hit the city, Edwards was deep in the scene, and he's remained there since. Residencies at the groundbreaking Ministry of Sound and an 'unofficial' residency that has seen him become one of Panorama Bar's most booked DJs during his 15-year stint living in Berlin have provided the grounding for an enviable tour diary that continues today.

His Rekids imprint, a label that has platformed some of dance music's biggest names, has been regarded as a high benchmark for two decades with Matt as sole A&R. Collaborations with legendary artists such as DJ Hell and Robert Hood, releases for Running Back, R&S, Innervisions, Figure and more, and a remixography that simply couldn't be repeated in modern music show just how important Radio Slave is.

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Repress!

Radio Slave drops ‘Strobe Queen’ this June, complete with Eric Kupper and Kirk Degiorgio Remixes. following a string of massive singles over the course of 2022 and 2023, in tandem with the continued success of his acclaimed Rekids and RSPX imprints, Radio Slave prepares his latest single ‘Strobe Queen’, a 12-minute, slow-burning house epic landing this March. Eric Kupper and Kirk Degiorgio remix Radio Slave’s ‘Strobe Queen’ this June. Heard in clubs courtesy of Honey Dijon, Laurent Garnier, and Sean Johnston, amongst others, and on the airwaves via the likes of BBC Radio 1, Radio Slave now recruits two legendary remixers for thw remixes of ‘Strobe Queen’. Requiring little introduction, Eric Kupper and Kirk Degiorgio both turn in exceptional versions of the original, while Radio Slave contributes a stunning reprise of his own, continuing to explore his love of slower tempos and long arrangements of golden era NYC, as seen in subsequent singles ‘Wild Life’ and ‘Wake Up’. Radio Slave aka Matt Edwards is one of dance music’s undisputed heavyweights. Having made his name as a DJ in the 90s, he went on to become the king of edits, twisting pop, R&B and indie cuts into essential versions that consistently set clubs alight. Since the mid-2000s, Edwards’ originals have helped define modern dance music, tackling techno, house, breakbeat, minimal and disco whilst exploring dub, balearic sounds and ambient across the myriad of other aliases and projects.

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Radio Slave reissues 2000 and One’s noughties house bomb ‘Wan Poku Moro’ with an extended version and a remix by Riva Starr. A real dance ?oor anthem, 2000 and One’s vocal house hit ‘Wan Poku Moro’ was initially released as part of his 2009 ‘Heritage’ album on 100% Pure. The track is now getting a reissue as a single, with two new versions pressed on wax via Rekids, an edit from label boss Radio Slave and a remix from Riva Starr. On the A-side, Radio Slave extends ‘Wan Poku Moro’’s original eight minutes of hyped-up hands-in-the-air house music to the ten-minute mark with Snatch! Records’ Riva Starr remixing the track on the B-side. He returns to Rekids for the ?rst time since his EP with Mark Broom as Star B and reimagines 2000 and One’s track into a late-night warehouse groover, trading its organic percussion for tight, techy drums but maintaining the original’s infectious energy and earworm vocals.

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Two of dance music's most recognisable names come together once more as Nic Fanciulli returns on the mighty Rekids. Fanciulli has long been one of the leading lights in the house world. His Saved Records label is one of the go-to outlets for forward-thinking grooves thanks to his own music and his on-point A&R of many other talents. Over the years, his releases have explored every facet of house and tech, while the man himself has played every major club and festival in the world. This is Fanciulli's third outing on Rekids after 12"s in 2019 and 2020, and it might be his best yet. The stylish and seductive sounds of 'On My Mind' open up with loopy and catchy vocals, disco-tinged house beats and plenty of feel-good energy. The funky basslines and innovative samples make this a fun, full flavour and heart-warming groove that is sure to get crowds locked in and hands in the air. The brilliant 'U Gotta' is another track steeped in classic references but with a modern twist. It builds in careful layers that tease and please with sustained strings and low, grinding bass offset by the diva vocals and atmospheric crowd noise. When it drops, it is the sort of tune to bring real rapture to the party.

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Due to high demand, My King is Light releases the Tarde remixes. These tracks, originally produced by Nina Kraviz, receive two stunning reinterpretations by Melchior Productions Ltd.

The remixes blend into deeply spiritual, melancholic soundscapes, capturing the essence of the original while adding a new dimension of depth and emotion.

This is a limited press.

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Serving up another fierce 4-track EP, Inner Sunset Recording's Low Top (Homero G.) is back at full force as The Honorable Mr. Top. This 12 doesn't waver one bit from the classic dance vibes that Inner Sunset Recordings is hailed for, nor does it fail to deliver the same excellent variety and quality that can be found throughout the label's highly sought-after catalog. Side A's two mixes of To Fantasize offer up a superbly crafted nod to classic US/UK garage and house sensibilities. Side B's That Happy Day is a brilliant and flashy hybrid of deep house and breaks-driven grooves, while Lunar Launch Candidate dares to defy genre classification, taking the dance floor on a wild and pumping ride through atmospheric pads, deep organs, rave stabs and rolling breakbeats. This EP is sure to go down as one of the label's seminal releases, so grab your copy now before it disappears!


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Paranoid London, the electronic band of Gerardo Delgado and Quinn Whalley, has become synonymous with stripping acid house back down to its basics, rescuing the sound from smiley faces, rave, and sugary excess while paying respects to its gay, black, American roots. Performing mainly live with hardware only, often with vocal guests, as well as unique hybrid DJ sets, the duo has established a tongue in cheek, grumpy punk sound and attitude without taking it too seriously. Following 2019’s latest album PL and a bunch of 12” singles and edits, their new long-player Arseholes, Liars, and Electronic Pioneers refers to the cavalcade of c***s we find ourselves surrounded by. Our only respite being the joy that musical geniuses bring. The cover artwork and gatefold of the vinyl reflect this with a collage-like poster including personalities of all kinds, from politicians and royalty to music legends. When we asked them to highlight key music pioneers from their picks, they mentioned American electro don Aldo Marin, British producer Andrea Parker and Post Punk band WIRE. Inspired by early ‘90s British prog house on the likes of Sabres Of Paradise Records and Guerilla Records, the album presents a step up on their production while the anarchic attitude remains unaltered, unadulterated and undiluted. In Quinn’s words: the album has a slightly more Hi-Fi sound than previous efforts, but retains the urgency and punk rock attitude that we're known for. It was tested over the summer, where it lit up festival stages at Glastonbury, Houghton, Love International, and many, many others. As expected, PL has recruited a bunch of special guests on vocals including Primal Scream’s Bobby Gillespie, US house veteran Monica “DJ Genesis” Lockett, the novo-New Romantic/gothic, Jennifer Touch, and Joe Love, from Fat Dog, Brixton’s current ones-to-watch. As well, previous collaborators Josh Caffe and Mutado Pintado return for new recordings. All bring something unique to the party, while integrating perfectly with PL’s Fuck you! circuitry.

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Coming as the ninth edition of the series, ‘EP9’ stays true to committing Defected’s biggest digital releases to wax, delivering an upfront package of house heat previously unavailable on vinyl. Kicking off the A-Side with Riva Starr’s remix of Defected anthem ‘Hey Hey’ by Dennis Ferrer, a tribute to Giorgio Moroder’s pivotal sound and the Paradise Garage early house vibe and serious dancefloor weapon. Ferreck Dawn’s ‘By My Side’ follows, a refined house groover with melodic keys, a soft filtered vocal and undulating beat featuring Californian producer Anthony Valadez. The flip opens with John Summit’s ‘Deep End’, a captivating house cut from the rising star that achieved Beatport #1 weeks after its release. Closing out the EP is Defected regular OFFAIAH, a slick, dancefloor-ready cut with OFFAIAH’s signature grooving bassline and an irresistible melody. TRACK LISTING: A1. Dennis Ferrer - Hey Hey (Riva Starr Paradise Garage Club Mix), A2. Ferreck Dawn featuring Anthony Valadez - By My Side (Extended Mix), B1. John Summit - Deep End (Extended Mix), B2. OFFAIAH - Play It By Ear (Club Mix)

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Finally we are more than happy to announce this Pharoah Sanders 7" for this year's RecordStoreDay release!

This limited-edition Japanese radio edit single of gHarvest Time / Love Will Find a
Wayh is a complement to Pharoah Sandersf seminal album from 1977 Pharoah,
which was recently re-released for the first time since its original pressing, in a
deluxe 2 LP box set (Luaka Bop, Fall 2023).
At times ambient and serene, at others funky and modal, Pharoah has long been
a holy grail for collectors, seen as one of the artistfs most beloved records and
one of the great works of the 20th century. Released after forty-five years with
Pharoahfs blessing, MOJO (ššššš) called it gan ethereal masterpiece,h Pitchfork
(8.9) deemed it gunearthly magic,h and The New York Times (Critics Pick) said that
Pharoah gbeckoned the Gods on the intimate Pharoah.h
Included here are two unreleased radio edits of gHarvest Timeh and gLove Will
Find a Wayh.packaged in a limited, eye-catching Japanese sleeve exclusively for
Record Store Day, pressed on Black Power Black vinyl.

ƒgƒ‰ƒbƒNƒŠƒXƒg
A. Harvest Time (ŽûŠnŽžŠú . Radio Edit)
B. Love Will Find a Way (ƒ‰ƒ”EƒEƒBƒ‹Eƒtƒ@ƒCƒ“ƒhEƒAE
ƒEƒFƒC. Radio Edit)

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Debut release for boRdeR Edits with four groovy disco edits expertly cut by RedRob. Four funky bangers for the most eclectic dancefloors... You can be sure that no dancer will remain still while the record spins on the turntable!



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