Rekids レコード& CD

Review: After spending the majority of his 20-plus-year career flitting between the Kompakt and Coneme labels, Matias Aguayo makes a rare outing on another label - a delayed debut for Matt 'Radio Slave' Edwards' REKIDS imprint. In its' original form (side A), 'El Internet' is a typically off-kilter affair in which his own poetic, spoken word vocals (in Chilean, of course) and fuzzy, elongated synth sounds ride a beefy but wonky bassline and the long-serving producer's usual South American-tinged, hand percussion-enhanced hybrid house/techno grooves. It comes accompanied by a vocal-free instrumental mix, where the full breadth and depth of Aguayo's production can be heard, and a useful acapella DJ tool.

Review: Dave Angel's latest record 'Revolt' is a masterclass in watery and uptempo Detroit house, bringing the emotivity of the latter genre to the pace and velocity of techno. The title track brings subtle funk and Detroit-inspired synthwork to a brimming, bursty mix, driving home a sure sense of excitement with an ascending set of melodic additives. 'May I Have This Dance' on the B shows a different side, with zippy lead synths amplifying the vibes, as a hunched, dubbed-out rhythm marches down low, locking the listener rigidly into the groove.

Review: Mark Broom is a techno veteran, but just because he enjoys that sot of status doesn't mean he has lost his edge. He proves that here with a hefty new record on Radio Salve's mighty Rekids. It bangs from the off with his signature heavy drums defining each of the tracks across all four sides of vinyl. '100% Juice' is peak time tackle with incendiary hit hats and loopy synths, 'Slush' is a head melter with more warped lines and elsewhere 'Wonky Workout' does exactly what says on the tin. There is a brilliantly unsettling and eerie vibe to 'Boxed In' and straight up dance floor fire in 'Wiggle Me This.'

Review: Oliver Dollar sure knows how to cook up a catchy hook and he has done so many times before on several labels. For this one he lands on Berlin mainstay Rekids and brings a very different sounds to the label's norm. Opener 'Strings For Life' is lush, airy and golden with rich strings soaring high above a soulful, rolling and simple but effective house groove. 'School Daze' is a loopy one with funky bass, jazzy chords and more timeless house drums all topped off with a retro vocal sample. 'Sophisticated Funk' is just that with its balmy and summery loops of filtered house goodness. Joyous tunes for sure, these.

Review: Here's something we didn't expect: an outing from noughties dance music star (and now long-serving producer) Nic Fanciulli on Radio Slave's Rekids imprint. A-side 'On My Mind' has the feel of a genuine peak-time club smash in the making - a rolling, bass-heavy disco-house excursion that peppers a muscular, non-stop groove with cut-up vocal samples from what sounds like a classic soul record of the 1970s. As you'd expect from a producer of Fanciulli's experience, the track does all the right things in all the right places. He goes deeper, darker and more hypnotic on flipside 'U Gotta', wrapping sustained note synth-strings, echoing female vocal snippets and peak Tenaglia synth stabs around a weighty, dubby, Twilo-inspired NYC house groove. It's a pleasing blast from the past.

Review: Eddie Fowlkes has a hit a proper purple patch lately, bouncing from one essential release to the next and getting deserved props after pioneering Detroit house techno from day one. Fresh from a release for Classic, he hops over to Rekids to lay down more of that idiosyncratic gear that will instantly catch the ears of even the most nonchalant barfly, as 'Bahama Man' springs through infectious swing, a rubbery bassline and steady rising tension. 'Follow Me' is classic Fowlkes house pump, all looped up and fiery, primed for the peak time. 'Chi 2022' takes it deeper thanks to some washy, dubbed-out chords and then 'Cube' completes the picture with a naughty little riff to get people grooving down low, packed full of the personality that only Fowlkes can bring to a tech house tune.

Review: Although he was one of the earliest producers to record techno records - he made his debut on Metroplex in 1986 - Eddie 'Flashin' Fowlkes is rarely mentioned in the same breath as the Belleville Three or other Detroit originators. It's a shame, because his back catalogue is full of dancefloor gold and he continues to deliver killer cuts - as this surprise EP for Rekids proves. There's plenty to savour throughout, from the redlined, Inner City-circa-1989 excellence of 'Forever' and the subtly jazz-flecked tribal house of 'Shake Your Body', to the piano-sporting house joy of 'What About Us' (where Fowlkes brilliantly chops up what sound like r&b vocal samples) and the rolling deep house excellence of 'Nice'.

Review: Radio Slave's superb Rekids label is a bastion of robust dancefloor brilliance and Tal Fussman is a new school name who makes a fine entry to the catalogue here. 'I Feel' is the sort of impassioned vocal house banger that defined the early scene, while 'MAD' is jacked up and loopy house sound full of texture and flavour. The wonderful 'Bongo Man' brings a more steamy sound with topical edge and plenty of bumping drums and 'Life Itself' (feat 8-AN) pics up the pace with some sleek, thumping techno drums and rattling chords. Plenty of ground is covered in this EP, all of it effective.

Review: Danny Howells is one of the UK's natural electronic music treasures. He was there in the early days of prog and remains a singular artist who now debuts on another fine institution in Radio Slave's Rekids. His new EP that blends deep house warmth with subtle progressive flourishes and finds him teaming up with keyboardist Elliot Herrington. The title track shimmers with late-night fuzz, while 'Thrunk' builds around a rare-for-Howells bass-first approach that has already made it a favourite among selectors like Honey Dijon, DJ Sprinkles and Jennifer Loveless. All in all, another triumph for Howells.

Review: Ricardo Rodrigues had seemingly shelved his Industrialyzer for a number of years but then came back with a bang in 2017. Since then there have been a couple of new releases and this latest one is another high-impact affair on Rekids. His tackle always sells out because it is robust and well-designed and an absolute dead cert to destroy the club. This one is devastatingly simple but effective - hammering drums, deeply rooted bass rumbles and tight, busy melodies patterns that loop and evolve up top. As well as a nice ambient version from Radio Slave, the label head also offers up a deep and dynamic techno rework full of dub swing.

Review: Mathias Kaden's Circulate EP takes its time, but in the best possible way. Freedom opens with a lean, rhythmic pulse, all stripped-back beats and delicate stabs, before a gospel vocal drops in, adding a moment of unexpected brilliance. It's a track that operates with precisioniKaden makes every element count without overcrowding the sound. The low-end groove moves with a quiet confidence, refusing to show off yet impossible to ignore. Circulate, the title track, leans into a hypnotic, classy mood. Synth hits crackle through like electricity, giving the track an infectious tension without ever needing to go over the top. It's all about subtle control, making it the kind of track that commands attention without ever asking for it. William Kiss steps in on remix duties for Freedom, pushing it into full peak-time mode. There's an extra layer of percussion and a heavier swing that gives the track a new edge, transforming it into something bigger without losing the original's sharp focus. To close, Kaden's Twisting Shadows brings in an acidic bassline and warped vocals, shifting the energy into something more unpredictableiperfect for those moments where the night starts to take on a life of its own.

Review: Radio Slave's Rekids label welcomes Berlin mainstay Mathias Kaden for a new single that features Zoe Xenia and remixes from label regular Ian Pooley. 'Blackbird' is a big tech house cut that is defined by its scintillating synth work which dances a busy dance over metallic, synthetic drum sounds. The vocals are the fiery finish that will make this a real club anthem. It also comes as an instrumental while the Ian Pooley Pooley main remix brings a little more funk and nuance to his well swung house drums. His basic dub then ups the bas weight and drum intensity to make for a fine finish.

Review: November sees William Kiss return to Rekids with 'The Beat' EP, fresh off his remix work on Mathias Kaden's Circulate. The A-side delivers 'The Beat', driven by bodied toms and crisp percussion, complemented by a playful vocal sample that keeps the groove locked in. On the flip, 'Midnight Club' brings classic house vocals, organic drum patterns, and strobe-light synths. With strong support from the likes of Laurent Garnier and HAAi, Kiss showcases his evolving sound once again, marking another standout release on Radio Slave's iconic label.

Review: Matt Edwards's label Rekids continues to do a brilliant job of curating innovative and interesting techno sounds that work in the club but never lack character. This time it looks to Hilit Kolet who kicks off with 'Snap Talk' (feat Kameelah Waheed) - it's a buoyant and bass-heavy bit of bouncing techno with chattery claps and Afro rhythms. On the flip side, 'Gate 33' is another bold club sound with great vocals worked into the busy broken beats as a peppering of percussion up top adds further layers of rhythm. Both of these will make a real mark in any set.

Review: Second time around for Nina Kraviz's key early single Pain In The Ass, a two-tracker that was originally released on Rekids way back in 2009. This edition has been pressed to brilliant white vinyl, though otherwise it's the same as the original 12" release. That's no bad thing though, because the title track is a particularly druggy, wonky and out-there chunk of after-hours sleaze, with Kraviz layering ghostly electronic stabs and her own spoken word vocals over a sparse-but-heavy tech-house groove. Original B-side 'I'm Gonna Get You' is a slightly dreamier affair, with Kraviz singing over squelchy synth-bass, sustained deep space chords, chiming melodies and more stripped-back beats.

Review: Radio Slave's Rekids welcomes a Detroit house master in Monty Luke for what is a comprehensive excursion into deep house across nine exquisite new cuts. Dub, techno and more all help colour these soundwaves and first up is the shimmering electro rhythm of '40 Acres & A Terabyte' while 'Nightdubbing' gets more zoned out and smooth as it comes alive with shimmering synths over rolling beats. Elsewhere are more grinding groves like 'Starstorms' which recalls the early work of Carl Craig and 'Avant-Garde Dance Hall' is a deft dub workout.

Review: Moodena and Charles Levine join forces on Rekids with their track 'Badman', all set to blow up your spot this winter. The vocal mix kicks off with high-energy big room drums, classic house strings, an infectious bassline, and playful telephone samples while Cratebug's remix transforms it into a hypnotic after-hours cut that emphasises dub echoes while retaining the original's essence. On the B-side, Radio Slave reimagines 'Badman' with a low-slung vibe that blends trippy sounds and vocal traces. The EP also includes a dub version that forgoes the original vocals but keeps the classy house heat.

Review: Two Balearic musicians with no relation beyond chemistry, Kiko Navarro and Pere Navarro debut as a duo with three tracks that stitch together house and jazz with an intuitive ease. Kiko's Mallorca-honed sense of deep, groove-led house is given new colour by Pere's nimble trumpet work, rooted in his training and practice across Ibiza's jazz and club scenes. 'Byrd's Groove' opens with dusty swing, its crisp drum programming softened by Pere's sunny phrasing and melodic asides. 'Keepn On Loving Me' is the standout, built on a chunky low-end and looped vocal that moves like classic New Jersey house, with trumpet lines that smoulder and lift. 'Blown Flow' closes on a dubbier, more headsy tip i less peak-time, more sunrise session i giving a stylish finish to an impressively coherent first outing.

Review: For his first outing of 2025, Matt Edwards AKA Radio Slave has joined forces with vocalist Kameelah Waheed, a singer who has previously appeared on a number of singles on the long-serving producer's popular REKIDS imprint. In its' original 'Extended Mix' form, 'All Rize' is prime Radio Slave - think long, elongated, dark, mesmerising and mind-altering with all manner of raw, razor-sharp electronic noises and doom-laden motifs rising above a booming bassline and snappy drums. Edwards has included a fine alternative take in the shape of the 'Revolution Mix', a warmer, dreamier and jazzier interpretation that's looser and more akin to classic house of the 90s and early 200s, and a trio of DJ tools (a 'Beats' cut, a short suite of effects, and an acapella of Waheed's fine vocal).

Review: Well, well, well, we didn't expect this one: Radio Slave in piano house mode. The man who has made a career off dark, rolling, wall-rattling and proudly linear techno releases on his mighty Rekids label shows a totally different but equally essential side here. 'Strobe Queen' is a slow burning, slow-release pleasure built on low-slung mid-tempo drums and overlaid with glorious piano chords that speak of joy and happiness. Eric Kupper removes a little of the polish, ups the dust and adds his own vocal mutterings over the top for something more zoned out.

Review: Radio Slave making a record in tribute to the late, great Terry Hall was not on our bingo card for 2024, but the resultant workout - based on the much-loved vocal hook from 1981 workout 'The Lunatics Have Taken Over The Asylum' - is both undeniably dancefloor-ready and fittingly forthright (the original song was, of course, a scathing commentary on Thatcher-era Britain). The EP-opening 'Club Mix' places at the vocal refrain at the heart of the action, surrounding it with hazy vocalisations, thunderous bass, heavyweight tech-house drums and horn sounds that offer knowing nods to the classic 2 Tone sound. The accompanying 'A Clinic Full of Cynics Dub' leans into the ska sound of the original more, placing echoing horns and steel pan sounds atop a deep, dubby bassline and unfussy house beats.

Review: House music legend Harry Romero, a man who's soundtracked countless late nights and sweaty dancefloors, makes his Rekids debut with a two-track EP that's as timeless as it is energetic. 'Nice To Meet You' is a masterclass in classic New York house, its hypnotic groove and raw low-end providing the perfect foundation for Romero's signature blend of infectious rhythms and soulful melodies. The title track is a standout, its bold kazoo melody and hypnotic breakdowns a testament to Romero's ability to craft tracks that are both instantly recognizable and utterly unique. But the EP doesn't stop there; 'Danny's Groove' is a high-energy affair, its layered rhythms and catchy whistle melody creating a sense of joyous abandon that's impossible to resist. This is house music at its finest, a reminder that sometimes all you need is a killer groove and a touch of soulful magic to ignite the dancefloor.

Review: Santos' latest for Matt Edwards' Rekids imprint marks another step forward in his already accomplished career. The four tracks on this EP combine rugged house/techno on 'One Day,' tight, drummy grooves on 'Don't Touch' and 'Rollercoaster,' and a soulful deep house flavour on 'Someone.' It's a solid, dancefloor-friendly package that showcases Santos' ability to evolve while maintaining the qualities that first got him noticed. Supported by figures like Ryan Elliott, Honey Dijon, and Ame, this EP confirms Santos is at the top of his game, still innovating while staying true to his roots.

Review: The entrancing tribal house groove of Jerome Sydenham, Fatima Njai's and percussionist Mario Punchard's Kraftwerk channeling 'Trans Afro Express' is one of this year's biggest tracks for Rekids, which now receives a series of impressive reworks by the biggest names on the scene. Running Back's Gerd Janson delivers a sunny and blissful rework in his signature neon-lit disco style on the A side of the disc. Over on the flip, it's over to the master of minimalism - none other than Ricardo Villalobos - who takes the track deep into the afterhours with his heady makeover delivered in his idiosyncratic style.

Review: Tiger Stripes makes his debut on Matt Edwards' Rekids label with the I Heard It Through The Bassline EP, a two-track release that highlights his refined production skills. The title song has a deeply infectious bassline that drives the rhythm, blending seamlessly with tight house grooves and sophisticated gospel vocals. This track sets a compelling tone with its irresistible energy. On the flip side, 'Everybody's Doing It' offers a more subdued vibe, characterised by its stylish, low-slung groove. The track evokes the atmosphere of a dim-lit club or a contemplative late-night drive through the city, making it perfect for those introspective moments on the dancefloor. As the founder of the Strange Idols label, Tiger Stripes has been a significant force in the underground music scene since the early 2000s. With collaborations alongside artists like Kerri Chandler and Jerome Sydenham, and releases on labels like Hot Creations and Get Physical, his latest EP on Rekids further shows his talents.