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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.

Dallas diamond Zack Witness drops a bumper package of peak time ‘Hood House’ club cuts ready made to rock any dancefloor they’re put before. Gospel flavours mix with booty business, disco house heaters sit side by side with RnB flexin ghetto gold - all with that Zach Witness magic woven deep in their grooves.

Chain Of Flowers return with their lofty and long-simmering sophomore full-length, rich with reckonings, reverb, and redemption: Never Ending Space. Despite some of the songs dating back a few years, the record first began materialising in earnest during the pandemic, by which point most of the band had relocated from Cardiff to London.

Reunited and rejuvenated, they picked up where they left off, booking two multi-day sessions at Hackney hub Total Refreshment Centre with producer Jonah Falco. In this time they successfully channelled their kinetic chemistry into 10 full-blooded anthems of torn dreams, poetic delirium, and “hope stretched too far.” Musically, Never Ending Space skews notably more maximal than the group’s previous work, fleshed out with trumpets, saxophone, synth, percussion boxes, and spoken word. (Smith jokingly calls them The Chain Of Flowers Orchestra).

Yet the songs still swing and soar with a charged heart, ripe with hooks, drama and ragged melody. Opener “Fire (In The Heart Of Hearts)” stirs to life on a tide of wiry guitar and defiant horns, facing down the embers of love that still glow in the wake of pain: “Peace came tumbling like a shower of bricks / The mind twists slowly till everything fits.”

A tense energy ripples throughout – from the nocturnal rush of “Serving Purpose” and “Amphetamine Luck” to the bruised battle cries of “Torcalon” and “Old Human Material.” Outliers like “Praying Hands, Turtle Doves” hint at proggy possible futures, while instrumental vignette “Anomia” offers an intriguing glimpse at a lesser heard facet of the band: swaying, shadowy, subdued. The album’s title track is also its closing cut, a stomping, sparkling ode to “the wrong side of the night, where time goes to die.” Smith describes the scene: “Everyone’s talking, screaming, trauma bonding, but no one’s listening. Broken dialogue. Shouting over each other. You want to switch off, but everyone’s too fucked.” The guitars spiral and slide towards the oblivion of dawn, the chance to crash and do it all again.

Chain Of Flowers return with their lofty and long-simmering sophomore full-length, rich with reckonings, reverb, and redemption: Never Ending Space. Despite some of the songs dating back a few years, the record first began materialising in earnest during the pandemic, by which point most of the band had relocated from Cardiff to London.

Reunited and rejuvenated, they picked up where they left off, booking two multi-day sessions at Hackney hub Total Refreshment Centre with producer Jonah Falco. In this time they successfully channelled their kinetic chemistry into 10 full-blooded anthems of torn dreams, poetic delirium, and “hope stretched too far.” Musically, Never Ending Space skews notably more maximal than the group’s previous work, fleshed out with trumpets, saxophone, synth, percussion boxes, and spoken word. (Smith jokingly calls them The Chain Of Flowers Orchestra).

Yet the songs still swing and soar with a charged heart, ripe with hooks, drama and ragged melody. Opener “Fire (In The Heart Of Hearts)” stirs to life on a tide of wiry guitar and defiant horns, facing down the embers of love that still glow in the wake of pain: “Peace came tumbling like a shower of bricks / The mind twists slowly till everything fits.”

A tense energy ripples throughout – from the nocturnal rush of “Serving Purpose” and “Amphetamine Luck” to the bruised battle cries of “Torcalon” and “Old Human Material.” Outliers like “Praying Hands, Turtle Doves” hint at proggy possible futures, while instrumental vignette “Anomia” offers an intriguing glimpse at a lesser heard facet of the band: swaying, shadowy, subdued. The album’s title track is also its closing cut, a stomping, sparkling ode to “the wrong side of the night, where time goes to die.” Smith describes the scene: “Everyone’s talking, screaming, trauma bonding, but no one’s listening. Broken dialogue. Shouting over each other. You want to switch off, but everyone’s too fucked.” The guitars spiral and slide towards the oblivion of dawn, the chance to crash and do it all again.

Songwriter Ron Stassens assembled a team of musicians in 1977 in anticipation of local side the Portland Trailblazers taking an NBA championship title. Milton Davis was the chosen front man and the music made got regional plays but not more so the band went their separate ways. But not before recording the album that is now presented here via Albina Music Trust. It is a funk work of the highest order with six super tight grooves all laden with percussion, disco energy and big vocals. These will all do plenty of damage in the right setting and remind why Davis is such a cult figure.

GOLD, the follow-up to Alabaster DePlume's widely-acclaimed, 2020-released cinematic instrumental LP To Cy & Lee: Instrumentals Vol. 1, introduces the world to the artist’s truest self.

New one from French DJ / compiler, GUTS.

The label say "We've been waiting for it! GUTS' Straight From The Decks compilation is back, with Volume 3 still packed the classic tracks played in his DJ set. Musical discoveries from all over the world. Different genres, different cultures. GUTS invites you to follow him on his musical journey from your living room or your local club!"

Introducing the highly anticipated second part of remixes for Kiko Navarro's hit track, "Soñando Contigo," featuring the mesmerizing vocals of Concha Buika.

This vinyl release is packed with thrilling remixes by Manoo and an exclusive, never-before-heard remix by the talented duo Momo Khani & Meindel.

And the icing on the cake? It comes on a stunning translucent lilac vinyl, adding a touch of elegance to your collection.

Get ready to embark on a musical journey that will leave you enchanted. Don't miss out on this must-have release that will captivate your senses and elevate your love for music.

Two official limited reissue 12"s of En-To-End's late 80's street soul collectors anthem 'Money Talks', featuring the '89 version and a Sean P. 'Special Mix'. Plus, the original 'Are You Gonna Be' Vocal version coupled with a full length instrumental and the previously unreleased 'I Still Love You' featuring Intrigue. All cuts are exclusive to this singles sourced from the tape archives of London singer-producer Tony Shand.

‘Over And Over’ is simply the greatest ever 7-inch disco edit, a nine-minute anthem which retains (or maybe even enhances) its appeal in the smaller format.

The tripped-out soul of ‘I Need Somebody To Love Tonight’ also has a great shorter version. Neither have been reissued since their original release.

Decades Of Devil Worship
HIGHLIGHTING OVER 25 YEARS SINCE THE BIRTH OF THE UK EXTREME METAL GREATS, WITH A STORMING LIVE SATANIC ASSAULT OF CLASSICS FROM AKERCOCKE'S EARLY REPERTOIRE

Throughout the years, Akercocke has become known for its savage & prodigious
live work. And now, with a stunningly produced & meticulously delivered torrent of
high-octane blackened death metal captured live in at the Underworld in London
in 2007, Akercocke blast through a collection of tracks lifted from the classic
debut, 'Rape Of The Bastard Nazarene' & follow-up album 'The Goat Of Mendes'
for a night of pure satanic magic with 'Decades Of Devil Worship', a hellish &
eclectic journey through the ritualistic & the profane.
Towering above most nefarious contemporary noisemakers, London's Akercocke
erupted across the consciousness of the UK metal scene in the late '90's,
wielding a fiendishly inventive blend of death, black & progressive metal. Their
distinctive, smartly-dressed demeanour & eloquent preoccupation with all things
dark & Satanic marked them out both as ferociously individual artists &
enlightened students of the pitch-black sonic code. Immediately embraced by the
British faithful upon the release of debut album 'Rape Of The Bastard Nazarene',
Akercocke spent the following decade leading the creative charge for their entire
native scene.
Akercocke received widespread acclaim for follow- up album 'The Goat Of
Mendes' (Peaceville, 2001) & despite enjoying furious momentum over the
following years, the release of fifth album 'Antichrist' in 2007 signalled the end of
the first chapter of the Akercocke story, when the band retreated into the
shadows & remained dormant for the best part of a decade until a triumphant
return was marked with the stellar Peaceville return, 'Renaissance In Extremis',
released in 2017.

Over the past eight years Teenage Wrist have continually evolved their sound, a process that"s peaking with their third full-length, STILL LOVE. Reaching new heights in both scope and execution, the album sees the duo-Marshall Gallagher (vocalist, guitarist, bassist) and Anthony Salazar (drums, vocalist, percussion)-producing the album themselves to handcraft their most expansive collection of songs to date from the ground up. ? e result is a self-realized collection of songs that saw the band borrowing vintage gear, bringing in friends in the form of members from 311 vocalist/turntablist Doug "SA" Martinez and Softcult and incorporating tasteful pop sensibilities to craft a collection of songs that rede? nes the band"s sound while staying true to their guitar-driven roots. From the atmospheric, fuzzed out opener "Sunshine" (which Gallagher says is "the coolest ri? he"s ever written") to the midtempo rocker "Dark Sky"" (the latter of which features the aforementioned cameo from 311 vocalist/turntablist Doug "SA" Martinez), the album will undoubtedly please fans who favor distorted guitars and crunchy chords. However, that"s only one aspect of the album and Teenage Wrist aren"t ashamed to admit that there"s a strong pop sensibility on the album that shows how much they"ve grown as songwriters since 2021"s Earth is a Black Hole. From the brain-invading ballad "Something Good" to the downbeat electronic vibe of "Diorama," the album is teeming with unexpected moments that are reminiscent of Radiohead"s ? air for experimentation. ? e powerful bond between these two collaborators lies at the core of Teenage Wrist"s music and, more than any other factor, that"s evident on every moment of STILL LOVE. "? ere was a certain feeling that music gave me as a kid and this is honestly the ? rst time on any record I feel like we kind of came close to achieving that," Gallagher says of the end result. "We just shot from the gut on this record and tried not to overanalyze things... and I think the record speaks for itself."

Formed in Rochester, NY in 1976, New Math opened for the likes of the
Ramones, Pretenders, The Cramps, The Psychedelic Furs, The Damned,
and The Gun Club at now-extinct local clubs - Offering up an endless
supply of ascending guitar lines and catchy hooks of amphetaminefueled power pop
With ease, the band produced charming, should've- been hits like the adrenaline
rush of "The Restless Kind," the two- tone English Beat- inspired "Older Women,"
and of course the hyper-melodic anthem "Die Trying." The latter was produced by
Howard Thompson, who was known for working with John Cale and the
Psychedelic Furs. It was first released on Reliable Records in 1979 and then rereleased on CBS in England with the same B- side "Angela," a take on '60s girl
groups that juxtaposed its innocent pop leaning with a tragic story. "Die Trying"
did receive some airplay on John Peel's radio show and landed somewhere near
the bottom of the British Charts.
With a 7" on CBS in the UK (which now goes for a strong price on Discogs) and a
debut EP on US indie label 415 Records, the band rode the new wave. This
collection of out- of- print early singles and unreleased demos showcases why
they made fans both in the US and UK.

Formed in Rochester, NY in 1976, New Math opened for the likes of the
Ramones, Pretenders, The Cramps, The Psychedelic Furs, The Damned,
and The Gun Club at now-extinct local clubs - Offering up an endless
supply of ascending guitar lines and catchy hooks of amphetaminefueled power pop
With ease, the band produced charming, should've- been hits like the adrenaline
rush of "The Restless Kind," the two- tone English Beat- inspired "Older Women,"
and of course the hyper-melodic anthem "Die Trying." The latter was produced by
Howard Thompson, who was known for working with John Cale and the
Psychedelic Furs. It was first released on Reliable Records in 1979 and then rereleased on CBS in England with the same B- side "Angela," a take on '60s girl
groups that juxtaposed its innocent pop leaning with a tragic story. "Die Trying"
did receive some airplay on John Peel's radio show and landed somewhere near
the bottom of the British Charts.
With a 7" on CBS in the UK (which now goes for a strong price on Discogs) and a
debut EP on US indie label 415 Records, the band rode the new wave. This
collection of out- of- print early singles and unreleased demos showcases why
they made fans both in the US and UK.

Bourassa is back and serving us a scorching new summer hit. This time, label boss Smolny doesn't hold back, unleashing a powerful holiday anthem titled "Need Love." If you're truly in dire need of some love, this track is definitely for you!

It starts off slowly and nostalgically, seasoned with a distinct amen break. The growing tension sends shivers down your spine, while a beautiful trance chord intertwines with a long pad in the background. Adding to the flavor is a twisted female vocal that seductively flirts with your senses. It all culminates in a euphoric experience, gradually building up to release the accumulated energy. Finally, everything explodes as a strong and expressive bass line hits you like a ton of bricks.

The following track "Running" takes a more tranquil approach, transporting us to a dreamy realm. Broken drums keep propelling us forward, never allowing us to pause. The melodic chord gracefully emerges, creating a chill atmosphere and setting the mood. After the breakdown, grooving bongos complete the picture.

The B-side features two fantastic remixes of the title track, "Need Love." The first one is a fierce breakbeat roller from Denham Audio. With its powerful bass and mesmerizing droplets cascading in the background, it creates a distinct hypnotic atmosphere. The change in bassline to the typical speed garage sound delivers an even more potent punch at the end.

The second remix is crafted by SLG, who flawlessly captures the sound of the '97s, creating a track in the progressive trance style from that era. A brilliantly composed bass line constantly propels the track forward, building tension alongside the melodic line. A real dance floor killer!

Trout Mask Replica is a touchstone in the history of recorded music. The mix of dada absurdist blues and previously unexplored experimental avenues has long been praised as one of the greatest albums of all time. As so eloquently put by John Peel, "If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work.” In full partnership with the Zappa Family Trust and to celebrate the relaunch of the seminal Bizarre label imprint, Third Man Records is proud to announce Captain Beefheart and the Magic Band's Trout Mask Replica. Out of print on vinyl for nearly ten years, this remaster was helmed by industry legend Bob Ludwig and cut by the estimable Chris Bellman at Bernie Grundman Mastering. Utilizing crystalline-quality safety masters kept in the Zappa family vault for decades by the trustworthy Joe Travers, the audio here is positively glorious. Every last skronk breathes full life into the room. Every twisted guitar figure uncurls onto paths previously unpaved. Every last bark and howl shines resolute through the vast emptiness of your mind. Previous countless Trout Mask Replica repressings used scans of scans of scans of the cover image, but the original Cal Schenkel cover photo has been tracked down and reproduced here at its clearest — its resolution from the original release in 1969. If you’ve only ever seen a jpg online or fuzzy, smeared-looking CD issues from the 90’s, be prepared to be wowed by the fully engaging spectrum this iconic image casts. This 2xLP is pressed on heavyweight 180-gram black vinyl for that full-on frenetic feeling.

Dark Entries has a surprise delivery! Malebox brings us six previously unreleased funk-fueled jams from the archives of the cybernetic disco titan himself, Patrick Cowley. Best known for his chart-topping disco anthems, Cowley left us with an incredible body of work before his tragic death in 1982 due to AIDS-related illness. Since 2009, Dark Entries has been working with Cowley’s friends and family to uncover the singular artist’s lesser-known sides, including his soundtracks for gay pornographic films on compilation albums School Daze, Muscle Up, and Afternooners.

But Malebox gives us more of the Cowley we know and love: churning disco-funk and hi-NRG tracks that are spacey and sleazy, gritty and sublime. Recorded from 1979-1981, these six tracks illuminate what was one of Patrick’s most creatively exciting periods. “If You Feel It” and “Love Me Hot” were both early Paul Parker demos; the former is a peak hour hi-NRG bomb, while the latter dips into Cowley’s zoned-out space disco sound. Jeanie Tracy’s soulful vocals feature on the demo version of “Low Down Dirty Rhythm”, which was later re-recorded by Sarah Dash. The slower, less-varnished rendition here hits with a wild psychedelic edge. Meanwhile, Patrick’s gifts for careful orchestration and infectious melodies shine on “Floating” and “Love and Passion”, which were likely demo tracks for Loverde. The songs on Malebox display the vitality and inventiveness of a brilliant composer taken from us too soon.

Malebox sleeve design was by Gwenaël Rattke, and features a hyper-color retro collage. Also included is an air mail envelope containing a letter from Patrick Cowley to French disco producer Pierre Jaubert as well as liner notes and hand-written lyrics. Malebox will be released on November 12th , which is the 40th anniversary of Patrick’s passing.

Mercury Prize-nominated Portico Quartet has always been an impossible band to pin down. Sending out echoes of jazz, electronica, ambient music and minimalism, the group created their own singular, cinematic sound over the course of three studio albums, from their 2007 breakthrough 'Knee-Deep in the North Sea', and 2010 John Leckie produced 'Isla', to the self titled record 'Portico Quartet' in 2012. Now rebooted as Portico Quartet after a brief spell as the three-piece Portico, the group are set to release their fourth studio album Art In The Age Of Automation this August on Manchester's forward thinking indy jazz and electronica label Gondwana Records. It's an eagerly anticipated return, with the band teasing both a return to their mesmeric signature sound and fresh new sonic departures in their new music. Featuring the singles Endless and A Luminous Beam.

Reissue

Established in 2020 by DUPLOC & 140 Plates owner Pieter Grauwels and producer Hebbe, Basskruit is a label set up with the sole focus of shining a light on Belgian & Dutch produced, explosive Dubstep & 140 music.

With previous incredible releases coming from the likes of 11th Hour, BunZer0 and Hebbe himself, the imprint is now set for their eagerly anticipated 17th outing.

It comes from Netherlands-based Crowley & Schim, two producers expertly carving their reputation into the underground ‘140’ scene with their stunning, bass-driven productions which have been released on labels such as DUPLOC, FKOF & Concrete Law.

Meticulously crafted and exploding with bassweight, BSSKRT017 is a four-track EP which boldly traverses the sonic plains of ‘140’, showcasing the variety in both artist’s sound, whether it be the stripped back & swinging Moraal, the reverberating & dubbed-out Skitta or the dark & breaks-laced Wervel, which provides inspiration for a deep & hypnotic remix from Belgian artist Zygos.

Release artwork provided by Joshua Hughes-Games.

Decca Records is proud to partner with Striking Distance Studios and composing team Finishing Move Inc. to release the original game soundtrack for The Callisto Protocol – one of the most highly anticipated video games of this decade. Set on Jupiter’s moon Callisto in the year 2320, The Callisto Protocol is a next-generation take on the survival horror genre. The game challenges players to escape the maximum-security Black Iron Prison and uncover its terrifying secrets.