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ERICA FALLS & VINTAGE SOUL - UP b/w MAKINGS OF LOVE

UP by New Orleans songstress ERICA FALLS is considered by discerning real soul heads to be one of the finest soul tracks from last year.

From the intro and opening line ‘Baby take me for a ride on your magic carpet. 747 glide through the clouds baby, be my pilot….’ you just know UP is going to be special. The incredible soulful vocals ascend in harmony until reaching the apex, and if you don’t want to come down, simply play it again - It’s ‘classic in the making’ tag ensures freshness upon multiple listens!

For the B Side we have dipped back into Erica’s catalogue and hand picked the exquisite MAKINGS OF LOVE from her 2017 Homegrown album.

Real modern day Nola Soul make this an essential 7”.

In spring,
Again.
But it's true this time.

In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.

If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.

Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.

"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel

Warehouse Find!

Tornado Wallace has made a rather rapid climb up the hype list since his debut release here on Delusions Of Grandeur in 2010 and deservedly so. Definitely one to push quality as opposed to quantity, the Melborne wunderkind has chosen to focus on just a select few remixes and releases which has stood him in very good stead and created demand as a DJ and producer with genuine integrity as well as talent. In addition to his two EPs on D.O.G he also released an EP for Instruments Of Rapture as well as making remixes for Home Taping Is Killing Music, Kolour Ltd and Future Classic. He is also responsible for one of RAs best and most popular podcasts this year.

2x7"
Not so long ago Marlena Shaw was a forgotten figure. The talented vocalist had made several LPs for respected labels such as Cadet and Blue Note, and she'd performed regularly throughout the '60s and '70s. But she hardly had what you might call diva status. Falling into the unfortunate category that slips uneasily between soul and jazz, she was accepted - but not especially admired - by aficionados of either genre. Then came the '90s, and an open-minded enthusiasm for soul and jazz - and more importantly - everything in between - soon changed that. Marlena Shaw became an icon, and the diva status soon blossomed amongst her new-found soul-jazz fans.

Respect is a word that means much to any singer. The artist who stands up in the bright lights before an audience that has handed over their hard-earned cash has only their physical presence and naked voice to rely on. There is no hiding when you're on stage, you're the focus of attention and everybody is gawping at you. The singer yearns to communicate and entertain, and in return not only asks for appreciation and acceptance, but respect. To this end Marlena Shaw has endured decades of singing in the shadows, and she has only recently finally found her niche.

On Disc One we have 'California Soul', probably the most enduring and well-known of her many songs, but just a few seconds listening will tell you that it is much more than that. It's already a classic amongst those who have already seen the light and have danced and swayed to its timeless swing. Upon hearing it all lovers of soul, jazz – or any other kind of good music - will feel an aural glow as warm as the Californian sun. The song 'Liberation Conversation' on the flip was only ever available on her highly revered 1969 LP 'The Spice of Life'. This is where the 'Blues ain't nothing but a good woman gone bad' launches into an irresistible, relentless uptempo funk groove.

Disc Two showcases 'Wade in the Water', an ancient song rumoured to have been developed and popularised by slaves in the American south. The message is to pass on the notion that by fleeing in a bid for freedom through streams and rivers, the scent that bloodhounds use to follow their victims will be obscured. Marlena's version has long been a favourite dancefloor filler since its 45-only release back in 1966.

'Woman of the Ghetto' is one of her best-known songs and ends the set on the other side. The opening number from 'The Spice of Life', it's since been recognised for the classic it is, and as such has been afforded anthemic status. We release the original 45 version here, as used to promote the LP back in the day.

This special 2x7" product from Jazzman is dedicated to the memory of Marlena Shaw, b. 22 September 1939, d. 19 January 2024.

The package, posted from Inglewood in California, dropped through my letter box…
I was looking forward to seeing this, the VHS of the then relatively ‘unknown’ but now legendary live show at the Saenger Theatre in New Orleans by Maze featuring Frankie Beverly. But when I fed it into my VHS player, I was disappointed. I could not quite figure out why. The band were tight, each musician sounded great, the product of being on the road, year after year, club after club in the States, sometimes playing five shows a night, all propped up by one of the best soulful voices we had ever heard, the maestro Frankie Beverly.
It took a second play of the VHS to realise what was missing. It was ‘too comfortable’ an atmosphere. A few wealthy customers sat around coffee tables quaffing champagne. It seemed to me that this audience, somehow, did not fit the band.
Paul Fenn at Asgard promotions received the contract from the band to appear live in London and Manchester. I became more and more convinced that his UK fans were going to be a lot more responsive than those from New Orleans.
We put the word out with just a couple of exclusive ‘shout outs’ by Robbie Vincent on his Radio London Soul programme. Those two plugs were enough to sell out all four shows at London’s premier music venue, the Hammersmith Odeon. The ticket office was rammed and the queue six deep, stretched halfway down Queen Caroline Street.
“I have never seen anything like it” expressed the manager of the theatre as he rolled down the shutters and turned on the “Sorry, SOLD OUT” notice above the theatre box office.
I was curious, so I went up and stood in the wings of the Hammersmith stage on that first show. Frankie, introduced to the stage by his sound engineer, Greg Blockman, sauntered past me, strumming his rhythm guitar, dressed in a casual dark green towelling suit, a brown leather visor and flip flops…and then five seconds later, he suddenly stopped. He seemed suddenly to be aware of the thunderous ’Welcome to London Maze’ roar, circling around the theatre about to engulf him. He slapped every black and white hand offered up to him that night, with a huge smile as he circled the edge of that stage. We wanted to get next to him, even if it meant climbing over rows of seats in front of us to do so.
That was the beginning of our love affair with Maze and Frankie Beverly. It certainly wasn’t New Orleans comfort; it was more like a crazy, but friendly, London riot.
Five albums on from the “Live in New Orleans” LP, Frankie sauntered into the California recording studio, probably with the same swagger as in London, to cut the delightful A-side here, “Somebody Else’s Arms”, from his aptly named ‘Silky Soul’ album. Along with the B-side, ‘Love is’ (from the “Back To Basics” CD, 1993) both are so delicious you might want to relax and pour yourself that London glass of champagne, 1983 vintage. Tell your mates your Maze/Hammersmith story too. You deserve it.

New edits label from the Deep&Disco crew outta NYC. 2 Killer cuts given a revamp and shine for the dancefloor.

Pressed on heavy weight 180g vinyl limited to 300 pressings hand stamped.
DJ FEEDBACK

Craig Smith (6th Borough Project) - Lovely edits, well produced and expertly put together. Good luck with the label chaps

Guy (Sleazy Beats, Monsieur Monod) - What a delightful debut for your new label. Feel The Rhythm is an irresistable boogie groover. We'll be playing these puppies all over the place! All the best with the release and label.

aliOOFT (OOFT! Music) - Being playing this for ages, good to see it being released. Best of luck with the label - I look forward to more Razor N Tape jams!

Sleazy McQueen (Whisky Disco) - Dig it, man!

Onur Engin (OE Edits) - Nice one! I'll definitely support this.

Jimpster (Freerange) - Nicely done. always a good one to have in the bag. cheers for the good edits.

Trujillo (Apersonal Music) - So Tight is a dope warm disco for the dance floor!, will spin it!

The Glue (Kolour) - Great edits both of them, we will keep an eye out for more stuff from you guys for sure!

Leftside Wobble (Futureboogie) - A pair of filtered boogie beauties.

Alkalino (Much Love) - Like both, but "Feel the Rhythm" is my fav.cheers!

Matthew Bandy (Z Records) - Solid edits here, will be getting support on both from me. Cheers.

Sell by Dave (Bedmo Disco, Juno Plus) - Excellent first release lads - enjoying both tracks. The edits scene needs some fresh cuts/styles, and you've delivered on these. Major props - can see both getting plenty of plays in Bedmo Disco sets this summer x

Daz (Get Down Edits) - So Tight never fails but this is my first time hearing Feel The Rhythm & cant wait to play it out its sounds excellent, have a gig @ Disco Deviance this sat & cant wait to play these at it :)

Mike W (Kolour Recordings) - Been looking forward to RNT001 and it does not disappoint one bit! edits that drip with funk & soul .. just like they should. got a nice batch of gigs in the pipes and these will definitely be seeing their way into my rotation as well as the full gambit of chart support! cheers j. kriv & aaron dae .. got yourselves off to a nice & tidy start .. best of returns to ya!

Nelue (Groove Democracy) - Both sound great!

South West Seven (SWS Music) - Love it!

Kid Color (Dollar Disco) - Slammin' work if I could say so myself!

The Beat Broker (Flexx) - So Tight is exactly that. Killer unstoppable groove. Love it!

Another dope 90s classic on 45 for the first time. Madkap dropped only 1 album back in 1992, but what a killer album - here are just 2 highlights from it. Limited to only 300 copies!

Rhino rediscovers the magic of Madonna's "Celebration" album with an upcoming 4LP repress, releasing on 1 March 2024. This album highlights the chart-topping success of Madonna in the UK, offering a carefully curated collection of her greatest hits across four discs. It's a nod to the enduring influence of the Queen of Pop, who recently performed six dates at the O2 for her Celebration world tour.

The repress has been hotly anticipated from fans and we plan to run heavyweight online promotion including new content from the Madonna socials.

Issued on his crescive Afroterraneo imprint, Kiko Navarro reunites with longtime collaborator and friend, Latin-Grammy award winning vocalist Buika, for new single ‘El Silencio’.

First meeting back in 1997 on their native island of Mallorca, Navarro and Buika most recently worked together for the heart-rending Latin House song ‘Lo Siento’, one of the highlights of Navarro’s 2017 album ‘Everything Happens For a Reason’, as well the 2006’s ‘Soñando Contigo’ on Pacha Recordings, which remains an enduring classic.

Originally written in 2010 but never released at that time, ‘El Silencio’ comes complete with a brand new club version, for which Buika has recorded fresh vocals. When the pair returned to the studio in September 2023, it was as if they’d never been apart. “It was like the time didn’t really pass” says Kiko. “We have this connection that doesn’t go anywhere. We know each other so well, and we know what we want. Working with her has brought me many good things, and I’m so excited to share the new music we’ve made together with the World.”

‘El Silencio’ (‘The Silence’) is a slinky, mid tempo groover with subtle jazz-funk touches, accompanying a universal song about love. “It’s about a couple who have loved each other through hard times, and a desire to be together still. There’s a message of hope here, saying ‘let’s try’. No drama, no anger, just love” says Kiko.

Memory Remains boss Kirik joins forces with Miami’s Imbue for their collaborative ‘On Distance’ EP.

This time Kirik pairs up with the Miami-based trio Imbue who add their dynamic instrumentation to the project through guitars, piano, and synthesizer improvisation.

Opening the release is the jazzy funk-infused ‘On Distance’, laid out across seven minutes with an amalgamation of guitar licks and looped hooks alongside plucked bass tones, strings and organic rhythms combined to create a psychedelia-tinged twist on House. ‘All Right’ follows next and shifts gear into a more classic house feel, employing Latin percussion and wandering keys alongside guitar melodies and soulful vocal chants.

Opening the flip-side is ‘Lovers’ with its acid bass groove, intricately intertwined synth stab sequences and crisp drums all underpinned by Imbue’s hypnotic musicality. ‘Son Us On’ then rounds out the release, diving deeper into the House courtesy of bumpy low-slung drums, airy synth chimes and plucked guitars merged with an underlying dubbed-out and subtly unfurling feel.


early support by Massimiliano Pagliara, Archie Hamilton, youANDme, DJ Heather, Moskalus, Jean Pierre, Red Pig Flower, Red Rack'Em, Just Her, Michel De Hey and many more...

Stefan Schwander of course is a man of many names and visions (such as Harmonious Thelonious, Repeat Orchestra and A Rocket in Dub) and here's his latest one: While My Sequencer Gently Bleeps comes up with "OK" on new Hamburg-based label Unsure. As While My Sequencer Gently Bleeps Schwander strips down his equipment even further and refines his longstanding idea of creating reduced minimalistic tracks radiating warmth, digging deep and delivering the groove.

The five tracks on "OK" all follow one basic flow: big basslines, elegant chords and transparent arrangements, rhythms as compelling as unobtrusive. Schwanders love for dub shimmers through the tracks, just as his pop-trained flair for seductive harmonies.
Beautiful groovy music from Düsseldorf to the world. On and on and on.

The late great Canadian pianist Glenn Gould made two significant and highly acclaimed recordings of Bach's Goldberg Variations, the first in 1955 when he was just twenty- two, presented here on 180g white vinyl, and the second a quarter of a century later in 1981 when he was nearing the end of his life.

Both recordings stand as benchmarks of the repertoire, offering fascinating insights into the music and Gould's approach to it. These recordings have never been out of print - a mark of their status and the respect they command in the canon of Bach recordings.

‘Threads’ was my 1st album as Om Unit and this 10-year re-mastered anniversary edition comes around at what feels like a similar time for me of experimentation and finding new ways to connect sounds. Something of a full circle of sorts but then again I am marking time with this re-issue at a time where I can look back and feel very proud of the work still sounding so convincing. Now even better thanks to Subvert Central’s Robert Macchiochi!

Reflecting on the past 10 years since this record came out, I can say it’s been an incredibly fruitful journey, with the most striking element of it all being the opportunity to travel and meet so many people from so many different backgrounds with different world views and stories. I found that ‘Threads’ for many was their first insight into my music, and for some people was something of a milestone in their journey of exploring music itself with tracks like ‘The silence’ and ‘Governor’s Bay’ having been mentioned over the years as amongst favourites alongside some of the work released on Cosmic Bridge and Civil

I want to take a moment to give my Love and gratitude to all the featured vocalists. Thanks to Simon Jinadu for his angelic voice on ‘The Silence’, to Charlie Dark MBE for his reflective words on ‘The Road’ and to Alex ‘Bogues’ Rendall aka MC Jabu (of Jabu) for his intense delivery on ‘Patients’ as well as Jneiro Jarel for his self-reflective narration on “just sayin’” All 4 are still outliers in their own field and upstanding creative forces to boot. I feel blessed to have been able to capture them on this project.

Threads was made in a bedroom of 2a Station Rise in Tulse Hill, a flat I shared with journalist and writer Laurent Fintoni, in a space that had such a great sound to it that I’ll always miss that room. I hope that you feel the warmth that I felt then whilst making it. It’s been an adventure since and whilst I’ve moved on from a lot of the tropes intrinsic to the album, it will always remain a body of work that is dear to my heart.


Enjoy!
<3

“Apaga La Luz” has proven itself to be a bonified club hit with the Tony Touchand Pablo Fierro mixes released last summer 2022. A new buzz has beencreated with the brand new 2023 remixes by Two Soul Fusion AKA Louie Vega & Josh Milan, David Morales, Mike Dunn, and David Guetta. Yes you heard correct, these all star super talents have lent their expertise and made it work once again on dance floors worldwide in a big way. Just click on play and let the remixes take control.

Dancefloors at festival and clubs have been blowing up all summer to this sureshot fire choon championed by David Guetta, David Morales, Mike Dunn, Louie Vega, Anané Vega, Seth Troxler, Marco Corola, Paco Osuna, The Martinez Brothers, Pablo Fierro, and many more. Stream it, or load it in digital form, coming soon September 29, 2023 on Vega Records and what a true honor it is to have these leaders in thegame contribute their craft to these incredible remixes. Double Pack 12” Vinyl mastered by the DON of mastering Herb “Pump” Powers and Original cover art by artist RULER conceptualized by Pucci. Get the decks ready !!!

Mates now for many moons - Mr.G and Duncan Forbes met at the time of Duncan’s Animated project; forging a friendship through weekly record shopping trips; a love of Soho; and regular banter over Duck and Rice. But it was their chance meeting at Glastonbury a few years back which finally sparked them to work together; since leading to a string of remixes for both Phoenix G and 49North, and culminating in their first, combined studio creation, ‘Curry Nite’, in late 2022.

Fast forward to Spring 2023, and what we have here is their first, collaborative full-length on vinyl - artist album, ‘All Under One Moon’. Conceived and created in Duncan’s studio on a long, full moon weekend with cosmic forces at play; the pair - both chomping-at-the-bit with excitement and no real plan or outcome in mind - set about creating, with a pure love of making music and the freedom to go wherever it might take them as their only guide. As G sums up for us…

“Two friends of old with a shared love of music ,having fun making music together in D’s studio. It was a long time coming but in truth caught us both off guard… the sum of both parts being sooo much more (y). The beauty of being free, making music. What a great moment”

So, on paper, we have - two mates, excited to play away in the studio with their favourite toys until they have to come up for air. But on record, what we actually have is - two close friends, united by a deep love of House, Techno and everything between / beyond - relishing a rare opportunity to jam, and with freedom…. it’s only when you consider quite how almanack-like our two music-obsessed pals are anyway, as individuals; that it begins to dawn on you, just how mind-meltingly rich and stylistically explosive - an album, that’s the sum-of-their-parts - is inevitably going to be.”

A command across genres has distinguished Yasushi Ide’s work as a DJ and producer since emerging from the multiscene spawning big bang that was Tokyo’s highly influential club milieu of the 1980s. His productions draw variously from hip-hop, dub, house, punk, jazz dance, exotica and electronic music - and at their most expressive, synthesize sensibilities within a single track. The respect Ide’s earned is well evident in the impressive roll call of collaborators he’s accrued over the years - Masters At Work, Tom Verlaine, Don Letts, James Chance, DJ Krush, Pharaoh Sanders, U-ROY, and Bongo Herman, just to name a legendary few.



Now available for worldwide distribution from Love Injection Records in both digital and 7-inch 45 vinyl formats, the Yasushi Ide “A Place In the Sun (Kaoru Inoue Remix)” is paired with the equally gorgeous “A Place In the Sun (Dub).” On the former, Inoue’s treatment largely strips away the track’s beats, anchoring it to a subtle percussion pulse that emphasizes the composition’s irresistible melodic qualities. The latter finds Yoko Ota at the controls restoring and pushing reverb-soaked drums to the forefront of the mix, accentuating Ide’s affection for the sound system aesthetic while exercising just the right amount of spacial arrangement flourishes to inject some brawn amidst the beauty.



These serendipitously rediscovered renditions of a back catalog deep cut are just the latest examples of Yasushi Ide’s artistic reach. In addition to recording such acclaimed albums as 2020’s Cosmic Suite and its 2022 sequel (for which Love Injection has remixed a track), his work has spanned music supervision of some 200+ compilations for major labels, artist management, his Grand Gallery shop/gallery proprietorship, and books showcasing the depth of his archival sensibilities, including vintage t-shirt and ephemera curation. Perhaps most inspiring, however, is that Ide is still winning new appreciators and collaborators in unexpected ways four decades into a revered career that continues to evolve and expand.

Repress!

'You got the stuff' is not 'Lovely day' - that much is true. This one's a wigged out, extended, trip into deep space from 1978 that is truly baffling.
Of course, it features Bill singing for the first half of the track but then all of a sudden we're launched into a cosmic wormhole as everything just falls back and the track is stripped of any earthly qualities. People find themselves asking 'this...... this is Bill Withers' as lazer guided synths and rock solid drums pull us into the sonic vortex. Truly amazing. Obviously a nugget like this has not gone unnoticed and has been edited and chopped and sampled deftly by the more sarcastic, left-field oriented crate diggers out there but it has never been reissued legitimately - Until now!

A hugely sought after and collectible gem right here, backed with the wistful slow jam 'Look To Each Other For Love' as per the original 1978 Columbia promo 12" version. This left-field, cosmic classic has been legally reissued by Above Board distribution in conjunction with the legal rights holders - Sony Music Entertainment. This high quality repress features original Columbia pink label Disco 12" artwork and has been remastered from Sony's original sources by Optimum Mastering, Bristol UK.

Depending on your personal circumstances, the Covid pandemic was either a blissed-out paid holiday or a stressful and seemingly never-ending time of loss and hardship. Both ends of the spectrum are gorgeously captured here by London-based Joy Ellis, who wrote her third album 'Peaceful Place' during those strange weeks.

Though a renowned singer, she decided to strip things back to just piano for this record, with long-time collaborators Adam Osmianski on drums and Henrik Jensen on double bass fleshing out the sound.

It is a poignant listen from front to back, with all the many different emotions of that time conveyed perfectly, from grief to uncertainty, hope to despair, in one immersive record. The sheer beauty of these songs and the meaning of the melodies stay with you long after they have finished playing, making this a real triumph out of adversity and one that is sure to stand the test of time.

In 2021, Los Angeles trio Gabriels arrived in a whirlwind with the loose-limbed vintage soul jam of ‘Love & Hate In A Different Time’, a song that could have dropped in almost any era. A stone-cold classic, it introduced a band so much more than just the sum of their supremely talented parts.

For the first time, ‘Love & Hate In A Different Time’ is now getting a special 7 Inch release with a previously unreleased live version of ‘Spanish Harlem’ recorded at BBC Maida Vale studios for a Gilles Peterson 6 Music session.

Just a handful of live shows deep, the spotlight swings and lands squarely on vocalist Jacob Lusk. A man who demands attention with a presence and voice of a gospel choir. That rich vocal swoops and soars through the pitches effortlessly matched by an on-stage persona that’s intensely likeable.

A bonafide star by anybody’s reckoning. Two acclaimed EPs deep and yet barely out of second gear, Gabriels have moved beyond mere promise to become one of 2022’s most essential new acts.

Press / PR:

“One of the most spectacular voices you will hear this year... Set to be 2022’s word-of-mouth hit” - The Guardian

“A sound that’s unlike anything else out there” – The Times

SOLD OUT every headline live show in 2021 and 2022 so far in seconds. Gabriels will also support Celeste on her sold out UK tour in the spring of 2022.

Love And Hate In A Different Time was playlisted at 6Music Arielle Free’s TOTW on Radio 1, other supporters included Annie Mac, Nick Grimshaw and Adele Roberts

Syncs with Reebok and Gucci campaigns

Breaking Act - Sunday Times Culture feature

Included in The Guardian’s 2022 Tips

NME Radar feature & NME 100: Essential Emerging Artists For 2022

KCRW’s 2021 Breakthrough Artist

Ones To Watch – The 25 Artists to Watch

Ten years JEAHMON! - this is why we celebrate this decade for our imprint with our roots: A jubilee pressing on 12” vinyl. Remember how it all started back in 2013: With a hand painted full cover vinyl series. The crazy fishes from back in the days are still here! Ten years later Marc DePulse's imprint developed to the Top 5 leading Indie Dance labels on the planet – with over 80 releases and a lot of chartbreakers during the years. This vinyl represents a little family showcase with homie artists that built the brand over the past few years and who are an important face for JEAHMON! these days. Just to name a few of course – there are still so many other representive artists that made our imprint becoming so big and successful.

Church Boy Lou was born from a dream in the summer of 2014. A captivating and enigmatic fi gure, created by the innovative, genre-bending, DIRT TECH RECK label head Waajeed. Recently crowned DJ Mag’s Underground Hero and just off the heals of his lead single with Defected’s Dames Brown, he continues to cultivate rhythms from the pews of the Baptist church.

This second offering from Church Boy Lou embodies the same spirit and uniqueness as his first release, Weep EP in 2015. "The Night Is Coming" brings you the first hand experience of a minister leading his church with the Word of God. These heartfelt lyrics warn of the dark times ahead of us. However, “Keep On Praying” brings a positive note and beckons us to the dance floor. “Push Em’ in the Face” skillfully integrates high energy Chicago Jack house and techno. Rolling snares and energetic beats fuse with powerful lyrics to face all challenges head on.

This well composed four track offering has an opener, closer and prime time options for all DJ’s across the board. With a sonic steeping of gospel samples and an authenticity that could only come from Detroit City.

Ten songs that ultimately changed the world. Ten songs pulled from precedent-establishing albums recorded between 1963 and 1966. More than five-million copies sold. In every way, Bob Dylan's Greatest Hits is a fundamental collection for every music lover, and the perfect choice for those seeking an introduction into the legend's vast career. For this is a collection so prized, even the cover photo won a Grammy.

Greatest-hits volumes are often hit-and-miss propositions not because of what they contain, but because of what's missing. Filtering the top selections from the six formative, life-altering albums Dylan made between 1963 and 1966 is an arbitrary process but one performed impeccably on this set. Home to his biggest chart successes as well as his most influential songs, Bob Dylan's Greatest Hits is a veritable template for any aspiring singer-songwriter, an American history lesson, and a seminal release for anyone new to his work – as well as for audiences that find some of his deeper cuts an acquired taste. Every signature facet of Dylan is represented, and done so authoritatively. Serious, protest folk anthems ("Blowin' in the Wind," "The Times Are A-Changin'") sit alongside defiant rock statements ("Positively Fourth Street"), landscape-changing epics ("Like a Rolling Stone"), beautiful blues-inspired odes ("I Want You"), and surrealist dreamscapes ("Subterranean Homesick Blues"). Infused with literary poetry, impassioned emotion, and career-making performances, this material doubles as a definitive account of American culture and society, and functions as a soundtrack to the era's social movements.

Gathered in one place, it's no wonder the songs here gave Dylan what remains the biggest-selling album of his career.

Mella Dee Presents RYAN, a new project from one of the UK’s most prolific electronic producers. Exploring a darker, experimental side of the mastermind behind ‘Techno Disco Tool’, the new project sees RYAN take things underground with new track ‘Static Movement’. Alongside the track, RYAN has announced his forthcoming EP Connected Experiences, a 4-track collection of essential club tools due for release on August 11 via DJ and Body Movements co-founder Saoirse’s imprint trUst. The landmark release will be the first time the label head has featured another artist's music and is testament to the direction of Mella Dee’s new musical project, RYAN.

Already doing damage in the club circuit with support from the likes of Ben UFO, Shanti Celeste, Midland and more, ‘Static Movement’ sees RYAN. go back to basics with a drum machine and analog synths, ending with an infinite groove. Speaking on the track, RYAN. explains: “Trust the process. My name is RYAN. This is a collection of music I wrote for the purpose of dancing. Those moments we can all get lost together and connect through experience. trUst is a label built on love and connection. I just want to thank Saoirse for the trust she has shown and the love she gives.”

Label boss Saoirse adds: “This is the first time I've invited another artist to release on trUst and I'm so delighted it's from my close friend the absolute don from Doncaster - Mella Dee. Tracks I've been playing in every set over the past year with Static Movement being one of my most ID'd tunes ever. Once I heard it I knew this had to be the first track released on the label from someone else. Ryan is one of the best producers I know, completely and wholly committed to the dancefloor and I'm thrilled I will be releasing the first of his new project under 'Ryan'. I had complete trust in him to deliver a solid EP.”

Real name Ryan Aitchison, Mella Dee reached international notoriety with his anthemic 2017 single ‘Techno Disco Tool’, reaching number 1 in BBC Radio 1’s Dance Music Chart as well as one of Annie Mac’s ‘Tracks of the Decade’ (and was even played during her final show on Radio 1). A year later, the Warehouse Music label head won ‘Best Breakthrough Label’ at the DJ Mag ‘Best of British’ awards and he was also named one of Mixmag’s ‘Stars of the Year’, cementing himself as one of the most sought after names in dance music. Since then Mella Dee has delivered his debut Essential Mix for the legendary BBC Radio 1 series, curated a mix for Resident Advisor’s prestigious Podcast series, performed a debut Boiler Room set to rapturous acclaim, toured North America multiple times and joined the elusive Circoloco family for a summer of shows at DC10 and their momentous festival in Thailand. Ryan has also curated tours for his own Warehouse Music label, taking over illustrious venues all over Europe including his hometown at the infamous Doncaster Warehouse.

Compiling the follow-up to a very successful first album is always a tricky task, but just 12 months since the release of volume one in the 'With Love' series, miche has excelled himself once again with another glorious, deep dive into the world of rare soul. 15 tracks of independently released music, created by magnificent artists with stories to tell and primed for rediscovery.

The ambition to celebrate under-the-radar artists has remained, but instead of a facsimile of volume one, what we have here is a selection shaped by life changes. Volume two is for the dancers; still soulful, still ultra-rare and slept-on records from the USA, Chile, Brazil and beyond, but the dynamics of the collection have shifted slightly. It represents a move from being immersed in a week in week out environment of beautiful, soulful music in a cosy, dimly lit hi-fi bar to playing livelier, more energetic, dancefloor-focused music in nightclubs. This volume will get you on your feet, make you move and unleash whatever it is that makes you get down.

One of the jewels in the crown of this compilation is a joyous, anthemic gospel version of Stevie Wonder's 'As' by The Family Tree (a project produced by the fantastic Julius Brockington). We are also treated to a rare and sought-after Pennsylvanian funk / AOR bomb by Maxwell, a stunning modern soul tune 'High On You' by Freedom, and self-released Brazilian 45s by Banda 22 and Zé Da Lata. P.J. City's 'Straight Forward (Non-Stop)' is gospel-disco perfection, and we also have 'Dame Solamente Amor’, a sublime, soul beauty from Chile by Rogers Mitchell. Many of these artists featured in this compilation aren't household names, but they deserve their moment to shine, to be heard, loved and appreciated for their artistry.

As Miche says it, “I hope this compilation helps in some way to keep this glorious music alive and play a part in connecting generations of music lovers from the worldwide soul family. As always, it has been made ‘With Love’.”

Mind Against launch their eagerly awaited imprint Habitat with a 15-track compilation titled “METAFLORA”, available as a deluxe transparent vinyl 3LP box set including a 24x12” fold-out poster.

Suitably, the compilation features new and emerging artists with whom Mind against have relationships, and recurrent motifs of subtly unsettling melodic house/techno building alternate worlds in soundscapes.

Mind Against & Sideral – ‘Criseide’ heralds this new world with portentous pounding beat/bass, the melodic synth singing beneath like beauty surviving under threat, the vocal/lyrics with an edge of alarm: ‘if you think it couldn’t happen to you…’

‘Talk To Me’ by Dyzen (who also collab’ed with Mind Against on their fabric presents compilation) has stately chords riding a prancing beat while sombre piano and sweet high vocal create a heraldic, post-apocalyptic nu-medieval world, whereas Sam Shure’s ‘Plus Ultra’ has rattling percussion, with melody like a coded message from an abandoned spaceship to which something replies in stark tones…

Marino Canal, whose debut album was released by Nicole Moudaber’s MOOD, and who has support from many big names including fabric’s founder Keith Reilly, features plangent notes veering up, down and off the scale for a disturbing effect in ‘Ample’, while Swiss duo Read The News in ‘A Place’ set a fast, kicking beat against a female voice yearning for ‘a space where I can just be’.

Remcord, often played by Black Coffee, Tale of Us and more besides MA, show us why in ‘Entourage Effect’ while Laroz gives a lively melody and raucous chords in ‘Don’t Touch’ feat. Sheera as her cool, raunchy, layered vocals come to the fore.

London Records and Central Station Records join forces for a spectacular array of new music releases. As the first offering, David Penn takes on the Sex-O-Sonique classic from 1997, which samples the Herbie Hancock anthem 'I Thought It Was You'. David Penn, a master of his craft, has earned critical acclaim for his innovative approach to house music and his ability to create infectious grooves that resonate with audiences worldwide.

Full Intention aka Sex-O-Sonique also deliver their own updated version for 2023.

DJ support:

Bob Sinclar, Eliza Rose, Jamie Jones, Oliver Heldens, Mark Knight, Mousse T, Anton Powers, Just Kiddin, Roger Sanchez, Bakermat, Westend, Sgt Slick, Kokiri, Hector Romero, Horse Meat Disco, Kevin McKay, Michael Gray, Superlover, Watermat, Russell Small (Freemasons), Sugarstarr, Dario D'Attis

Voted DJ Mag’s Underground Hero in 2022, DJ & producer Lauren Flax has been a fixture in Brooklyn’s electronic scene for two decades. On her latest project Liz & Lauren EP, she teams up with Liz Wight of shoegaze techno duo Pale Blue, whose sultry vocals explore questions of love and isolation to the tune of Detroit house and acidic techno.

Flax and Wight became fast friends in 2021 after being introduced by Pale Blue member & 2MR co-founder Mike Simonetti, who’d enlisted Flax to remix Pale Blue’s “Breathe.” Naturally, when Flax needed a vocalist for some tracks she was working on shortly after, she knew just who to call. “I was in my last year of grad school doing an internship in community mental health helping kids cope with the trauma of the pandemic,” Wight says of the time. She channelled this experience as she wrote and recorded the lyrics to Liz & Lauren EP from her home in Los Angeles.

As a result, the lyrics on Liz & Lauren EP are open-ended musings on connection, isolation, and convention. Lead single “Fix Everything” can be read both as an indictment of the trappings of marriage or, on Flax’s view, a rousing call to action, applicable to issues ranging from the degradation of the environment to the attack on LGBTQ+ rights in America. As the EP progresses, Wight’s airy vocals consider the pitfalls of love, from the destructive power of infatuation to the pain of outgrowing a relationship.

Sonically, Liz & Lauren EP feels like a natural progression from Flax’s first release on 2MR, 2021’s Out Of Reality, which saw her exploring a more minimalist production style for the first time in her work. “I Don’t Want To Hurt You” and “Fix Everything” pulse with bright, dynamic production, while slow burner “Return To Love” takes a sparser approach, anchored by a muted drumbeat and a simple, earworm synth refrain. “I’d Risk It All To Be With You” is a masterful balance of both; it even gets the club treatment on the EP’s closing remix, courtesy of Flax’s friends Mark Archer and Simon Neale (Shadow Child) of MASC.

Liz & Lauren EP is an impassioned collection that showcases both Flax and Wight’s artistry in equal measure. For both artists, it’s a testament to stepping outside the norm (DJing for Flax, performing in Pale Blue for Wight) and collaborating with others, the fruits of which are sure to be felt on the dancefloor for years to come.

The latest Greyscale vinyl release is here and is destined to be a dub techno club staple. Featuring one of the best current dub techno producers in Federsen. This physical release is jam packed with club tracks as the flip side features remixes by the amazing Deadbeat and our own grad_u.

Federsen is elite with making catchy grooves like in the first featured track 'Penumbra'. The hypnotic sounds work terrifically in unison to form one of the most seductive tracks we have heard recently. Subtle movements and engrossing tribal rhythm make this a sure-fire dancefloor groover.

'Viridis' focuses more on the melodic chord side while it balances a wonderful deep dub bassline. Spatial and hypnotic are words that come to mind when we heard this for the first time. This is one of those tracks you sway and close your eyes too. Pure dream state stuff.

Deadbeat's dancehall dub Penumbra is magic. This has classic stamped all over it. The Dancehall description might put some classic dub techno fans off. Just come listen and experience this unique song. You just can't deny this! Sick.

Knowing that he is sharing a side with legendary Deadbeat, grad_u puts some extra muscle into his remix of 'Viridis'. Flighty and techy, we just love this futuristic fast-moving sound and we can't get enough of it. An awesome way to end the record.

Also, for an extra treat, there will be a 2 special remixes by Basicnoise of each main track added as bonuses to those who purchase the vinyl.

Greyscale vinyl #11 is sure to be one of the hottest techno records out this year!

David Byrne & Fatboy Slim’s acclaimed 2010 album Here Lies Love receives its first-ever vinyl release to coincide with a new production opening on Broadway this summer. Here Lies Love is a double-disc song cycle – improbably poignant, decidedly surreal, surprisingly thought provoking – about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and DJ/recording artist Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to lighthearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocals turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St. Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Róisín Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on ‘American Troglodyte’, a send-up that wouldn't have seemed out of places in Talking Heads' True Stories.



Byrne originally envisioned this as a musical theatre piece, to be mounted in disco and nightclub settings, reflecting the globe-trotting Marcos' taste for such velvet-roped spots as Studio 54 and Regine's. In 2006, he performed work-in-progress versions to enthusiastic audiences at New York City's Carnegie Hall and the Adelaide Festival in Australia. While plans for a US theatrical production continued to evolve, he delivered this unique recording. The award-winning theatrical production eventually premiered at The Public Theater in New York in 2013, travelled to London’s National Theater for a sold-out run (2014–15), and was remounted at the Seattle Repertory Theater (2017).



Here Lies Love has an effervescent disco feel, redolent of Fatboy Slim's own dance-floor anthems, with warm undercurrents of the Latin rhythms that have percolated through Byrne's recent solo work. The sunny arrangements act in counterpoint to the reality of the Marcos' increasingly repressive regime, reflecting the imagined inner life of the glamour-obsessed Imelda. Explains Byrne, "For me, the darker side of the excesses are, for the most part, a matter of record. A lot of the audience is going to come with that knowledge already. What's more of a challenge is to get inside the head of the person who was behind all of that, and understand what made them tick." Byrne offers no judgment and avoids the obvious – there is no mention of Imelda's infamous shoe collection.



Many of Byrne's lyrics are, astonishingly enough, constructed from actual Imelda quotes, including the project's title, the words that Imelda, now returned to the Philippines from US-assisted exile in Hawaii, would like to have inscribed on her gravestone. In addition to his new liner note, Byrne illustrates the story with archival photos. In a detailed preface, he reveals what drew him to this subject and the bumpy route he took to launch the project and, ultimately, record this album. The booklet is indeed a page-turner, just as Here Lies Love is a wonderfully old-school album that rewards start-to-finish listening. Once again, Byrne – beloved as musician, thinker and bicyclist-about-town – reveals the breadth and singularity of his vision.



The new production of Here Lies Love will premiere at the Broadway Theatre in New York City. Performances begin June 17, ahead of an official opening night on July 20. Tony Award winner Alex Timbers (direction) and Olivier Award nominee Annie-B Parson (choreography) reunite with Byrne (concept, music, and lyrics) and Fatboy Slim (music) to bring Here Lies Love to Broadway, continuing a ten-plus year collaboration on the project. Tom Gandey and J Pardo contribute additional music. Here Lies Love is produced on Broadway by Hal Luftig, Patrick Catullo, Diana DiMenna for Plate Spinner Productions, Clint Ramos, and Jose Antonio Vargas. The staging at the Broadway Theatre will transform the venue’s traditional proscenium floor space into a dance club environment, where audiences will stand and move with the actors. A wide variety of standing and seating options will be available throughout the theatre’s reconstructed space. The producers of Here Lies Love said, “As a team of binational American producers – Filipinos among us – we are thrilled to bring Here Lies Love to Broadway! We welcome everyone to experience this singularly exuberant piece of theatre. The history of the Philippines is inseparable from the history of the United States, and as both evolve, we cannot think of a more appropriate time to stage this show. See you on the dance floor!”



David Byrne’s recent works include the launch of Reasons to be Cheerful, an online magazine focused on solutions-oriented stories about problems being solved all over the world (2019); Joan of Arc: Into the Fire, a theatrical exploration of the historical heroine that premiered at the Public Theater in New York (2017); The Institute Presents: NEUROSOCIETY, a series of interactive environments created in conjunction with PACE Arts + Technology that question human perception and bias (2016); Contemporary Color, an event inspired by the American folk tradition of color guard and performed at Brooklyn’s Barclays Center and Toronto’s Air Canada Centre (2015); Here Lies Love; Love This Giant, a studio album and worldwide tour created with St. Vincent (2012); and How Music Works, a book about the history, experience, and social aspects of music (2012).



Byrne curated Southbank Centre’s annual Meltdown festival in London in 2015. A co-founder of the group Talking Heads (1976–88), he has released eight studio albums as a solo artist and worked on multiple other projects, including collaborations with Brian Eno, Twyla Tharp, Robert Wilson, and Jonathan Demme, among others. He also founded the highly respected record label Luaka Bop. Recognition of Byrne’s various works include Obies, Drama Desk, Lortel, and Evening Standard awards for Here Lies Love; an Oscar, Grammy, and Golden Globe for the soundtrack to Bernardo Bertolucci’s The Last Emperor; and induction into the Rock and Roll Hall of Fame with Talking Heads. Byrne’s work as a visual artist has been published and exhibited since his college days, including photography, filmmaking, and writing. He lives in New York City. In addition to 2019’s cast album for American Utopia on Broadway, Nonesuch has released eight other David Byrne records since 2003, including 2018’s American Utopia studio album and two versions of his musical Here Lies Love.



















q C6. Please Don't feat. Santi White Santigold

Next up on Toolroom’s 4-track vinyl sampler series is another tasty collab from label founder, Mark Knight with legendary House DJ and producer Todd Terry and the Darryl James & David Anthony Project. Diving straight back into that classic 90’s House sound, Mark Knight delivers a taste of his finest production to date after unearthing Todd Terry’s edit of ‘Buddah’ by Darryl James & David Anthony Project, shaping up a seriously killer reworking of this gem fresh for the dance floor in 2023.

Next up, renowned German selector Eddie Thoneick makes a label debut with his club orientated big room weapon ‘Take It Back’. Taking it back straight through to the dance floor, Eddie Thoneick has become a name synonymous with high quality productions, providing remixes for Armand Van Helden, Steve Angello, Bob Sinclar and David Guetta. Eddie’s chunky production style shines through on ‘Take It Back’, offering up a slice of raw Tech House with deep, rumbling bass lines, metallic percussive elements and a resonating hook which will cause uproar in any club its played in.

Up next is another heater from DJ, producer and Toolroom Academy tutor Pete Griffiths who drops what can only be described as a House anthem in the making, with his brand-new track ‘Get Together’. A peak time record that sees Pete Griffiths dive deep into the sound of 90’s nostalgia, dropping a seriously well-produced and classy House banger. Also featuring on the record is American R&B, Gospel vocalist Ann Nesby, formerly the lead vocalist of the Sounds of Blackness ensemble who brings her powerful vocals to the forefront, elevating this release to anthemic status.

Last but not least, Hungarian duo Muzzaik return to the label with StadiumX on their collab track ‘Echoes’. Together, Muzzaik and StadiumX bring their signature sound to Toolroom with ‘Echoes’, a record that’ll command any dance floor it’s dropped on. Featuring a toughened-up groove, rolling bass line, and chopped vocal cuts mixed with just the right amount of edge.