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Limitierte Neuauflage auf goldfarbenem Vinyl samt Bonus-7" zur Feier des 10. Jubiläums dieses grossartigen Albums von Deutschlands bestem Funk-Ensemble. Elf filmreife Deep-Funk-Instrumentals, gefeierte B-Boy-Breaks und Dancefloor-Killer-Vocals von The Mighty Mocambos und ihren Featuregästen. Mit von der Partie sind Filmkomponist Peter Thomas, HipHop-Pate Afrika Bambaataa, die Rap-Legenden Charlie Funk aka Afrika Islam (Rocksteady Crew) und Donald D (von Ice-Ts Rhyme Syndicate), desweiteren Nichola Richards, Shawn Lee, DeRobert (vom Nashville-Label GED Soul), die Zulu Nation MCs Deejay Snoop und DJ Hektek sowie Orgel-Genie Guillaume Metenier.

Entering its 26th year of activity, the morphing, Los Angeles based experimental outfit, Sissy Spacek, joins Shelter Press with Entrance, among the project's most captivating outings to date. Encountering the duo of John Wiese and Charlie Mumma joined in various configurations by an incredible cast of collaborators - Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, Ralf Wehowsky, and C Spencer Yeh - collectively transformed into a series a deeply intimate and delicate gestures of musique concrète, Entrance radically repositions the possibilities presented by group improvisation outside of time and place. Founded at the end of the last millennium, the Los Angeles based project, Sissy Spacek, initially emerged from the knotted, fiery context 1990s American noise and grindcore, producing sheets of visceral sonority that quickly set the scene on its head. Going through numerous evolutions, before eventually settling as a duo of John Wiese and Charlie Mumma - joined by a rotating and often recurring cast collaborators - over the last 25 years the band has continuously entered states of evolution that have defied the expectations of its own context, seeding the sonic extremes noise with subtle and sophisticated approaches to free improvisation and musique concrète. Fiercely positioning its efforts within the outer reaches of contemporary experimental music, while resisting the constraints of a singular sound or proximity, Wiese regards Sissy Spacek as being primarily centred around the practice of musique concrète and the pursuit of extremes. From its earliest releases - collage treatments of material gathered from the band's full throttle practice sessions - the project's conceptual framework has continuously evolved within a deeply engaged process of experimentation, not only reworking tactical approaches, but also definitions and perception regarding the location and action of their work. In recent years, this has led to an increasingly varied and diverse output. Percolating within, is a thread marked by a striking sense of delicacy and intimacy, driving forward while doubling as an unexpected challenge, in real time, to perceptions connected to the band's past. Entrance is the most recent of these. Embarking upon the four compositions that comprise the finalized four sides of Entrance, Wiese and Mumma enlisted longstanding collaborators, Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, and C Spencer Yeh, as well as new initiate, Ralf Wehowsky (of the seminal German electronic noise collective P16.D4), requesting a contribution of sounds from each, determined by a general set guidelines that dictated certain qualities the given sonorities, while allowing for the expression of each player's distinct creative voice. The sets of resulting recordings were then chopped, harvested, manipulated, and reassembled as the four tape compositions that make up the album - Web Of Unfolding Appearance, Figure Of Reflected Light, Trancher And The Inheritors, True Dimension (From The Opaque - Spike) - each blurring the lines of authorship and clear creative proximity in remarkable ways. Where historical gestures of musique concrète tend to draw upon non-instrumental sound sources - regarding its sonorous material as raw elements, unburdened by inherent meaning or association, to be transformed and imbued with musicality - Sissy Spacek turns this position on its head. Entrance comprises works of musique concrète that not only draw upon instrumental sound sources, with all their possible meanings or associations, but also individual characters and personalities of their players, crediting each resulting piece to its respective configuration of contributors. As such, Entrance is an effort of sound collage defined by a rare sense of intimacy and humanity: four pieces that often take on the resemblance of group improvisation, but have, in fact, been assembled outside of time and place. Bent under the ever-present hand of Wiese's tape treatments and manipulation, each of the album's four compositions unfurl startling states of sonic abstraction and percolating texture, marked by a striking sense of hard-shifting structure, that culminate as tense, driven manifestations of ambient music: scrapes, squeals, rattles feedback, rolling drums, bouncing tones, whispers, bent electronics, electric artefacts, and seemingly everything else under the sun, configured into immersive, sublime mediations in sound from the most improbable events.

Fresh from the triumphant return of a successful domestic and international tour, Smif-N-Wessun's new album is a cumulative reflection of their life experiences. Executive produced by college professor and world-renowned producer 9th Wonder and the Soul Council, 9th explains the thought process with the album. “I wanted to make sure that it didn't sound dated. It sounds like them (Smif-N-Wessun), but it's also new. They are our generation's version of Thelonious Monk, Charlie Parker, Donald Byrd.”

Illustrious MCs featured on the album include Buckshot, Pharoahe Monch, Conway the Machine, legendary artists Sean Price and Prodigy, multi-platinum RnB legend Ralph Tresvant, along with rising stars Sweta and Jalisa. Scheduled for release January 10th, 2025, Infinity cements Smif-N-Wessun's status as creators of nothing but classics. This is their eighth album and the second collaboration with 9th Wonder and the Soul Council. Showcasing buttery beats from Council members, 9th Wonder himself, Khrysis, SND*TRK, Kash, Mu'aath, and Nottz, the album delivers a sonic smash that will satisfy everyone from the rap purist to new school connoisseurs.

Knox Chandler’s career has spanned for over four decades, including performing, recording, arranging and producing, with such acts as REM, Depeche Mode, Grace Jones, Marianne Faithful, Natalie Merchant, Tricky, The Creatures, Dave Gahan Paper Monsters and The Golden Palominos etc. His long stints as a member of The Psychedelic Furs, Siouxsie and the Banshees and Cyndi Lauper’s band; has given Knox the experience of a worldwide recording and touring musician. For the past ten years Knox was residing in Berlin Germany, deepening his exploration of sonic soundscapes (Sound Ribbons), and applying it to different genres and mediums.

Bobby Previte is a drummer, composer and bandleader whose work explores the nexus between notated and improvised music. One of the seminal figures of the 1980s New York ‘Downtown’ scene, Previte has received multiple awards for music composition including the 2015 Greenfield Prize for Music and a 2012 Guggenheim Fellowship. His original compositions have been recorded and released on Sony, Elektra, Rykodisc, New World, Cantaloupe and Rarenoise. Leading a plethora of diverse ensembles from the drums, he has collaborated with an array of leading lights in and beyond the music world, including master composer John Adams, pianist Terry Adams of NRBQ, pantheon filmmaker Robert Altman, fellow Doom Jazzer Jamie Saft (recording released by Subsound), country music star Jessi Colter, blues great Johnny Copeland, composer and visionary Lukas Foss, computer music pioneer Lejaren Hiller, seven-string guitar wizard Charlie Hunter, re-discovered genius Julius Eastman, Rock author and ambassador Lenny Kaye, Lounge Lizards leader John Lurie, jazz/noise shredder Sonny Sharrock, folk hero Victoria Williams, maestro Michael Tilson-Thomas, the legendary Tom Waits, and, most recently, rock icon Iggy Pop.

Knox Chandler’s career has spanned for over four decades, including performing, recording, arranging and producing, with such acts as REM, Depeche Mode, Grace Jones, Marianne Faithful, Natalie Merchant, Tricky, The Creatures, Dave Gahan Paper Monsters and The Golden Palominos etc. His long stints as a member of The Psychedelic Furs, Siouxsie and the Banshees and Cyndi Lauper’s band; has given Knox the experience of a worldwide recording and touring musician. For the past ten years Knox was residing in Berlin Germany, deepening his exploration of sonic soundscapes (Sound Ribbons), and applying it to different genres and mediums.

Bobby Previte is a drummer, composer and bandleader whose work explores the nexus between notated and improvised music. One of the seminal figures of the 1980s New York ‘Downtown’ scene, Previte has received multiple awards for music composition including the 2015 Greenfield Prize for Music and a 2012 Guggenheim Fellowship. His original compositions have been recorded and released on Sony, Elektra, Rykodisc, New World, Cantaloupe and Rarenoise. Leading a plethora of diverse ensembles from the drums, he has collaborated with an array of leading lights in and beyond the music world, including master composer John Adams, pianist Terry Adams of NRBQ, pantheon filmmaker Robert Altman, fellow Doom Jazzer Jamie Saft (recording released by Subsound), country music star Jessi Colter, blues great Johnny Copeland, composer and visionary Lukas Foss, computer music pioneer Lejaren Hiller, seven-string guitar wizard Charlie Hunter, re-discovered genius Julius Eastman, Rock author and ambassador Lenny Kaye, Lounge Lizards leader John Lurie, jazz/noise shredder Sonny Sharrock, folk hero Victoria Williams, maestro Michael Tilson-Thomas, the legendary Tom Waits, and, most recently, rock icon Iggy Pop.

Classic free jazz album reissued for the first time since the 70s. Old-style gatefold sleeve LP, with liner notes by Ed Hazell.

Noah Howard, an alto saxophonist and composer, was known for weaving intricate and innovative musical patterns, often likening his work to "sound paintings." His 1971 album Patterns, the first LP he self-produced on his Altsax label, stands as a testament to his experimental and spiritual approach to music. In interviews, Howard frequently used visual terms like "patterns" and "shapes" to describe his compositions, emphasizing the importance of melody and structure even in highly improvisational settings. For Howard, patterns and melodies were essential to guiding listeners through his explorations without alienating them, maintaining a balance between innovation and accessibility. Howard's quest for an original sound was deeply influenced by jazz greats like Charlie Parker, Ornette Coleman, and Jackie McLean. While he admired these legends, Howard avoided imitation, striving instead to develop his own distinct voice. His sound was unmistakably his own, and he felt a deep obligation to carry the jazz tradition forward through personal expression, not by mimicking others. His music was also rooted in spirituality, a legacy he traced to his upbringing in the Black Baptist Church. He believed jazz had always contained a spiritual essence, from Louis Armstrong to John Coltrane, and his work aimed to channel this cosmic, spiritual energy.

Patterns was recorded in the Netherlands during Howard's second stint in Europe, where he found a more open, less racially charged environment compared to the U.S. For the album, Howard collaborated with Dutch musicians such as Misha Mengelberg (piano), Han Bennink (drums), and Earl Freeman (bass). Despite the challenges faced by guitarist Jaap Schoonhoven, who felt out of place in the session, the album came together as a powerful mix of blues, jazz, and classical elements.

The music on Patterns is a high-energy fusion of American free jazz and Dutch improvisation. Howard's saxophone work alternates between leading with passionate, lyrical lines and blending into the collective improvisation. The album’s dynamic interplay, particularly between Mengelberg’s dissonant piano clusters and Bennink’s thunderous drumming, creates a vivid "sound painting" full of contrasting forms and colors. Patterns remains one of Howard’s most unique and celebrated recordings, showcasing his visionary approach to jazz.

Critically-acclaimed German pianist Pablo Held announces TRIO PLAYS STANDARDS, the seminal new trio album which captures Held and his comrades Robert Landfermann & Jonas Burgwinkel paying tribute to the rich legacy of Jazz.

Reflecting on the album’s theme, Held shares:
"On our previous 14 recordings, Robert, Jonas, and I have explored a wide range of musical realms: my original compositions, classical pieces, works by my father Peter Held, and occasional tunes by some of my favorite artists. Delving deeply into each of these musical environments has played a pivotal role in shaping the trio's sound over these years. Now, we've finally fulfilled a dream: recording an album of standards."

The album showcases Pablo Held’s unique arrangements of broadway classics as I’LL NEVER BE THE SAME, YOU WON’T FORGET ME and LAST NIGHT WHEN WE WERE YOUNG, reworkings of Charlie Parker’s BARBADOS and Bill Evans’ VERY EARLY, alongside Held’s own JUST IN CRAME - a contrafact on the old standard JUST IN TIME - each imbued with the trio's signature improvisational spirit and collective synergy.

Pablo Held, who’s not only known as a revered pianist and composer, but also a musical researcher, knows the value of deep study and cherishes its effect on his work: "The more I study this music, the more it propels me forward," says Held, echoing the sentiment of his personal hero Wayne Shorter about the past being “the flashlight that guides the way into the future”.

The trio recorded the album at Jazz Campus Basel’s pristine studio facilities on October 29th 2023 in front of a live audience of attentive students who witnessed the trio’s explorations first handedly in this intimate setting.

TRIO PLAYS STANDARDS was recorded and mixed by recording engineer Daniel Dettwiler and mastered by Christoph Stickel, who mastered the majority of Pablo Held’s expansive discography as a leader.
Legendary vocalist Norma Winstone penned the liner notes, and its timeless cover design is by Christian Schäfer, featuring captivating photos by Linghuan Zhang.

TRIO PLAYS STANDARDS marks the 6th release on Held’s own label HOPALIT RECORDS.
After the success of the previous trio album WHO WE ARE, Held favors a double-release method for his records going forwards: a 6 month pre-release period, where the album is exclusively available via Bandcamp and on live shows, leading into the official release in stores and streaming platforms.

As an additional incentive every (physical & digital) copy includes the bonus album TRIO PLAYS STANDARDS - LIVE, recorded during Held’s own curated festival STANDARDS WEEK at the LOFT Köln in 2022.

The world is a firework of overstimulation - and Future Palace have dedicated an album to this feeling of overwhelm. On the new record "Distortion", the Berlin post-hardcore trio deals with an almost oppressing mass of mental illnesses and problems. In doing so they create music that - appropriate to this topic - hits more hooks than ever before from one moment to the next, from the quietest depths to the loftiest heights. While the band had already leaned more towards musical extremes on their previous album, "Run", "Distortion" is the ultimate culmination of all the tones that Future Palace have absorbed on their Europe-wide journey as one of the most exciting acts in alternative guitar music: the most powerful metalcore breakdowns meet trembling darkwave beats, anthemic emocore refrains a la Bad Omens are contrasted with sacred choirs, the coldness of industrial encounters the powerful emotionality of Sleep Token. An album like a manifesto.

The world is a firework of overstimulation - and Future Palace have dedicated an album to this feeling of overwhelm. On the new record "Distortion", the Berlin post-hardcore trio deals with an almost oppressing mass of mental illnesses and problems. In doing so they create music that - appropriate to this topic - hits more hooks than ever before from one moment to the next, from the quietest depths to the loftiest heights. While the band had already leaned more towards musical extremes on their previous album, "Run", "Distortion" is the ultimate culmination of all the tones that Future Palace have absorbed on their Europe-wide journey as one of the most exciting acts in alternative guitar music: the most powerful metalcore breakdowns meet trembling darkwave beats, anthemic emocore refrains a la Bad Omens are contrasted with sacred choirs, the coldness of industrial encounters the powerful emotionality of Sleep Token. An album like a manifesto.

PYJÆN is the reflection of 5 souls. Their joy, their happiness, their worries and experiences come together in one unified higher identity. PYJÆN’s story will be expressed not only musically but also with other visual arts.

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Consisting of guitarist Dani Diodato, trumpeter Dylan Jones, saxophonist Ben Vize, drummer Charlie Hutchinson and bass player Benjamin Crane, PYJÆN have been touring in the UK this year with dates at iconic venues such as the Jazz Cafe, Vortex Jazz Club and Ronnie Scott’s as well as playing Glastonbury, Love Supreme and Brainchild Festival.

Described by Jazz Wise Review as having “a groove propelled with dynamism and formidable technique”, PYJÆN seamlessly meld funk, afro-beat and contemporary sounds with nods to hip-hop and disco, whilst acknowledging the traditional era of 1920s jazz and dance music.

Their debut self-titled album ‘PYJÆN’ was released on 20th September 2019, both digitally and physically with 300 limited copies of Vinyl being distributed across selected UK record stores, as well as Bandcamp.
The album will also be supported by a graphic novel, which will tell the story of PYJÆN and the influences and stories behind the songs.

PYJÆN are delighted to announce the release of their second album 'Feast', planned for September 2021 on DeepMatter Records. The five-piece outfit reaches inside the deep, multidimensional well of what is broadly called Jazz, bringing together all its diverse components in a singular, emotional sound. After setting a blueprint for their multifaceted artistry, combining cross-genre sensibilities with ferocious talent on their first two releases, PYJÆN have been busy writing and recording music for their second album, their most accomplished offering yet. ‘Feast’ was recorded at Peter Gabriel's legendary Real World Studios in Bath over a full week in November 2020. This proved to be an unforgettable experience, which elevated the music and created an unrivalled connection between the 5 band members and the albums featured artists Nix Northwest, Elisa Imperilee, Hilts and Corto Alto.
With the recording of this new record, each member of the group brought their own specific flavour to the table.

They explain: “We want the album to showcase our growing abilities and confidence as a group of 5 individuals, each with strong personalities and varied sets of influences, while still leaving room for featured artists, an exercise we thoroughly enjoyed on our 'Sage Secrets' EP with Blue Lab Beats and Odette Peters.” The EP reached over 1M streams on Spotify within only a few months, testimony that the band has become a major force in the UK "Jazz and beyond" scene. Their new album will fearlessly navigate the world of funk, jazz, hip-hop and punk. With their trademark raw energy, their objective is to bring people together in their love for music. 

Adventurous songwriting, meticulous timing, incredibly tight horn arrangements and an obvious joy to play together are the PYJÆN trademarks. These are brought to the table in ‘Feast’ through vibrant melodies and rich cadences. The band presents a full course musical experience with four singles: in ‘Beetle Juice’ the band joins forces with rapper Nix Northwest to offer a delicious tune characterized by an easy-going yet alluring atmosphere. ‘The Nightbus’ sees a vivacious journey narrated by enticing piano, guitar and trumpet motifs. ‘Moonlight’ sets a sultry tone with Elisa Imperilee’s ethereal vocals accompanied by delightful and intricate beat sequences. ‘By Your Side’ is the final instalment before the great ‘Feast’ showcasing an enchanting vocal exchange between Byulah and Renato Paris. With its mouth-watering combinations of jazz, ‘Feast’ is a witness to the band’s exponential growth, taking listeners on a vivid sensory experience

Formed in 2016, PYJÆN is composed of Dani Diodato (guitar), Dylan Jones (trumpet), Ben Vize (sax), Benjamin Crane (bass) and Charlie Hutchinson (drums). Releasing their debut self-titled album to wide critical and public acclaim, they have gathered support from the likes of Gilles Peterson, Huey Morgan, Jazz FM, and Clash Magazine to name a few. Live, as seen at A Love Supreme, Ronnie Scott's, Jazz Cafe or Brainchild Festival, the atmosphere is sizzling and the sense of enjoyment communicated from the stage is infectious.

Mit "Tarantino Sound" startet man eine Reise in das unnachahmliche musikalische Universum des Kult-Regisseurs.

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche


Kicking things off on our next 4-track vinyl sampler series is Toolroom's very own Martin Ikin who returns to the label with ‘Make U Sweat’! He was the Best-selling Tech House artist on Beatport in 2020 and 2021 and has over 1m monthly listeners across streaming platforms. Recent studio collabs have included Noizu and Joshwa and tours have seen him travel far and wide to the US, Brazil, Bali, Ibiza, Italy, Croatia and of course, his hometown of London. This new record is the follow up to 'Oscill8' that dropped in March 2023 and sits in a similar lane, in that it's pure, unadulterated club weaponry! Next up is Italian house legend Flashmob with the frenetic, high-energy club vibe of new cut ‘My Body’. Flashmob's sound, production and go-for-broke DJ sets have changed with the game, embracing the vitality of new house music rather than hankering after sentimental sunsets. His ethic and aesthetic move relentlessly forward, using the old and new to craft unique sonic alchemy from big festivals like Tomorrowland to the intimacy of small clubs on the international circuit. ‘My Body’ is typical of Flashmob's current sound, combining solid drums and some insane synths and fx, alongside an earworm vocal sample that results in yet another memorable club cut from an established master. Canadian Tech House maestro Nathan Barato debuts on Toolroom kicking off the B-side to the vinyl alongside studio partner, Matheo Velez with 'Weapon'. A record that has already caught the attention of the underground elite with Michael Bibi premiering the track at his first appearance back at DC-10 in Ibiza last Summer. Both artists are enjoying great success across key labels such as Viva, Circus, Snatch and RAWthentic. This is an addictive, bumpy club track

that packs a huge punch on the dance floor and actually features Nathan's very own 'Move me… Rock me' vocals! Rounding things off is UK DJ/producer duo, Jenn Getz & Alfie who are residents at Dubai's #1 nightlife destination, Soho Garden, where they warm up for legends such as Sonny Fodera, MK, Claptone, Solardo & Fisher on a weekly basis. In their relatively short 3 year career they have already released on Solotoko, Abode and Toolroom Trax and now debut on Toolroom with 'Vibration'. Both girls are incredibly passionate about house music and are also big advocates for a life centered around well-being and meditation, and the idea of this record was to combine their 2 passions in life, so they proceeded to co-write these original lyrics to accompany the track, which in itself is very inspiring! This is a super cool club record that will excite fans and DJ's alike, welcome to the Toolroom Family, Jenn Getz & Alfie!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

A compilation of rare spiritual jazz and funk grooves culled from the archives of producer Bob Shad's Mainstream Records. Alice Clark's cult classic Never Did I Stop Loving You' features here alongside many gems uncovered for the first time.
Bob Shad worked with titans such as Charlie Parker and Lightnin' Hopkins in the 40s, founded the EmArcy jazz label in the 50s, and discovered Janis Joplin in the 60s, and started the Mainstream label in 1964.

From Afrique's classic House of the Rising Funk' and its funky wah wah frenzy, to Hadley Caliman's deep jazz Flute ode, From one of Clark Terry's famous Mumbles (Shad produced the original with Oscar Peterson) to Jack Wilkins' Red Clay' sampled by both A Tribe Called Quest and Chance the Rapper. A Soul Music lover, Shad also excelled in soul divas and produced Ellerine Harding, Maxine Weldon and of course the mighty Alice Clark. Carmen McRae, one of Shad's long time collaborators, gives a soulful, conga-led version of the classic Feelin' Good, originally made famous by Nina Simone

Led by musical director Scotty Barnhart, the Count Basie Orchestra keeps Basie’s unmistakable style alive and thriving around the world. In the great traction of the Basie Swings albums comes this explosive album of collaborations with some of the greatest living blues and jazz artists, Basie Swings The Blues. In preparation for these sessions, Barnhart took a pilgrimage to the Mississippi Delta to immerse himself in the land where blues began. The resulting album is joyful mix of downhome blues with the deep swing and sophistication that only The Count Basie Orchestra can provide. As Count Basie famously once said, “our blues will make your blues go away.” Produced by Barnhart along with Grammy-winning producer John Burk (Ray Charles Genius Love Company), and Grammy-winning drummer/producer Steve Jordan (The Rolling Stones), the album brings together Buddy Guy, Bobby Rush, Keb’ Mo’, Shemekia Copeland, Robert Cray, Charlie Musselwhite, Betty LaVette, Ledisi, George Benson, and others to bring the blues and swing back together for a set that jumps and jives with an energy not heard since Louis Jordan and T-Bone Walker lit up stages in the ’40s and ’50s.

New for 2023! Kitty, Daisy & Lewis' iconic debut album reissued on Half Black and White vinyl. Originally released in 2008 when the band were still only teenagers, their self titled debut catapulted them into rock n' roll favourites and the album has since been regarded as a cult classic. With a sound deep rooted in the past, the sibling trio pay homage to those who inspired them from Charlie Rich to Muddy waters and released an album truly like no other.

Next up on Toolroom’s 4-track vinyl sampler series, we welcome LA based DJ and producer Noizu to the label, debuting with his remix of Mark Knight, Green Velvet and Rene Amesz – ‘Live Stream’. Diving deep and pulling up a Toolroom classic from the 2016 archives, Noizu delivers a powerful rendition of ‘Live Stream’, ramping up the energy of the original to a whole new level, cutting it fresh for dance floors in 2023.

Next up and landing back on the firm during our 20th birthday celebrations is none other than Danny Howard, who returns to the label with a beefed up edit of a Toolroom classic – ‘Hear What They Hear’ by Adrian Hour. A secret weapon for DJs worldwide, released back in 2016 on Adrian Hour’s ‘Like This’ Ep, this B side became an unlikely hero that still gets hammered today by the likes of John Summit and Eats Everything. After doing the rounds at Glastonbury festival this year and beyond, Danny's update has turned one record with a solid dance floor reputation into a certified slammer!

Next up, we’ve got an absolute belter of a record from two renowned producers in the scene: Watermät And Raumakustik, with their debut collaboration ‘Out Of My Head’. Merging each artist’s signature sounds together, from Raumakustik’s solid production skills to Watermät’s penchant for locking in quirky and catchy vocal hooks, ‘Out Of My Head’ is a certified dancefloor weapon in the making.

Last but not least, is another label debut from London based DJ and producer, deeper purpose, who’s landing with a huge tech house roller, ‘The Stutter’. An artist creating shockwaves across the dance music spectrum, deeper purpose is fast becoming a familiar name in the dance sphere having earned a solid reputation as a producer with killer releases on highly regarded imprints such as off the grid, catch & release and repopulate mars. A staple record in all his performances, ‘The Stutter’ has shaken dancefloors all over the world, from EDC Vegas to Club Space Miami, to Ministry Of Sound London and beyond!

Countless Radio Plays on Radio 1 from Danny Howard, Sarah Story, Pete Tong

DJ Support:
Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, Gw Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone

New West Records is proud to present Strange Country, the new full-length album from the young and gifted cousin-duo Kacy & Clayton. The ten-song collection was recorded over seven freezing Canadian winter days at Ghetto Box Studios, a historic community hall turned studio. The product of a lifetime of deep kinship, the record showcases the purity and astounding beauty of Kacy Anderson's voice, one that has been notably compared to Fairport Convention's Sandy Denny. Only Clayton Linthicum's intricate guitar work, expert time changes and vocal harmonies could forge the foundation for Kacy's voice to soar even higher - the result being an enormously satisfying and organic album. Drawing a wide swath of inspirations ranging from the Greenwich Village folk scene to the ancestral music of Southern Appalachia and the British Isles, the cousins fashion songs steeped in those traditions, simultaneously paying homage and building on those sounds.