The EP kicks off with Story Of My Life. The track uses an old-school house vocal, prominent drum pads and an undeniable groove that’s sure to gets dance floors pulsating. The EP then leads into Don’t Waste My Time, a percussive led, pounding techno number that utilises ghetto house vocals and a low-slung bassline.

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Paul Woolford returns to Hotflush with ‘Mother & Child’, his third solo outing on the label following the inescapable anthems, ‘Untitled’ and ‘MDMA’. ‘Mother & Child’ sees Woolford explore a different style and more cultivated mood. Comprised of two variations on a theme, the lead cut combines both sostenuto and clipped strings in an overarching and evolving melody. There’s a sense of menace and foreboding, yet the record’s heart belongs, as ever, strongly to Woolford’s home turf - the dance floor. This newfound contemplative air is brought to the fore on ‘Mother & Child Divided' as he strips back all rhythmic elements to leave a beautifully sprawling tapestry of strings and synths; alluring, dramatic and cinematic in scope. One hopes this mother and child find each other again...

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Kowton’s reimagining of Paul Woolford’s classic cut sees the light of day on wax. Swivelling outside and in, popping upside and around – the coveted Bristol producer behind Livity Sound leaves an indellible mark on a notorious tune. Includes both beatdown and beatless versions.

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Rising young talent, Elliot Adamson, has been on the Edible radar for a couple of years already, so it’s fitting that his debut for the Eats Everything curated imprint marks the label’s tenth release. The Newcastle born producer has been gathering an arsenal of some of the freshest and inventive house music for some time now, and two of these cuts are ripe and ready for consumption on this tasty Edible release. With its insatiable jackin’ vibe, “Still Workin” has already become a firm favourite in the DJ sets of Eats Everything; the DJ Deeon sampling track keeps pumping pure energy and classic Chi- town house troupes from start to finish, with a rasping bassline riff worming its way around the solid kicks and clattering hats. The fantastically named “Where The Fucks My Flanger At?” clearly represents his love of raw and undiluted house music. Coming from the Cajual/Relief school of trax, this is another crafty and playful club cut from the house of Adamson. Having built up a strong following already, and support for his music from DJs like Jackmaster, Skream and Patrick Topping, Adamson is on a real roll right now. His remixes of The Streets and Dizzie Rascal have pricked up many ears already, as have his productions for Hot Creations, Viva Music and Weapons. And with a label roster that includes Paul Woolford, Waze & Odyssey, Lord Leopard, Mele´, Lauren Lane and Eats Everything, Adamson is in good company with the entire Edible family.


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Already heavy hitters on the house music scene since their first releases back in 2012, Waze & Odyssey continue to carve out club burners with such ease, and their first release of 2017 finds a suitably fitting home on Edible. The duo of Firas Waez and Serge Santiago have seemingly not put one step wrong in their ascendency within the house music circuit. Be it releases for labels like Wolf Music, Elrow or their own W&O Street Tracks, or remixes for the likes of Disclosure, Totally Enormous Extinct Dinosaur and Metronomy, W&O have found that knack of delivering sure fire winners time after time. Already a staple in label boss Eats Everything’s DJ sets, ‘Down With Tha’ has all the hallmarks of a bona fide club classic; if the hyperactive drums and looping vocal refrain doesn’t draw you in enough, then the downright funky bass lick that prominently packs a punch really provides the killer hook. The, quite frankly, face melting breakdown surely seals the deal, and we are anticipating this cut to ring out loud across dancefloors over the coming weeks and months. Competently propping up the release, ‘Seizure’ goes on a spacey, bongo odyssey (geddit?), serving up a rolling, dubby drum workout that culminates in a rather impressive snare roll breakdown that’ll have you frothing at the mouth. Snatches of female vox and whistles are dotted around the galloping jungle drums, whilst the elevating key chimes provide the perfect musical lift. Another slice of completely freshhouse music from W&O!

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Eats Everything makes his much-anticipated Edible label debut with the ‘Girl Powder’ EP, his first release since January of this year, and the first to land on his own imprint. Comprising two new tracks, ‘Rita’s E’ and ‘Veronica Electronica’, the release will drop at the end of October on 10” vinyl and digital download. 2016 has already been a huge ride for the Bristolian DJ & producer extraordinaire; along with huge club cuts ‘The Duster’ (featuring Green Velvet) and ‘Big Discs’, remixes for Disclosure and Green Velvet (taking the classic ‘Flash’ track to dizzying new heights), Eats mixed the 86th edition of Fabric’s fabled compilation series back in February. And as the Edible label edges towards its first anniversary, a slew of highly well received releases from the likes of Rhythm Masters, Jesse Perez, Lauren Lane, Lord Leopard and Brett Johnson, have established the imprint as a consistent force for quality house music. With its infectious bassline, dubbed out keys and vocal call to arms, ‘Rita’s E’ find Eats on top form, carving out an energetic and funky club cut, whilst ‘Veronica Electronica’ gets deep, down and twisted with its duetting vocal delivery, hard hitting drums and rave-esque sirens.

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Miami born turntablelist & producer, Jesse Perez, throws down a booty shaking killer house jam for Edible’s fourth release. “What You Say About My Momma” has been ripping up dancefloors for months since landing in Eats Everything’s hands, so it’s a welcome release on the label, backed with a deadly remix from Truncate. On the Original Mix, Perez grinds out a funky and low-slung groove, its memorable vocal hook looping and chopping from side to side as the raw MPC beats and sub bass weave their magic. Truncate brings his no nonsense and direct approach on the remix, carving out a Dance Mania style drum workout over the cut up vox (think Robert Armani meets Armand Van Helden). Truncate has been a hugely dependable producer for yonks via his trax on his own Truncate label as well as mixes for Jimmy Edgar, Shlomi Aber and KiNK, and he does not disappoint here. Perez wraps up the EP with ‘Boogie Down Brown’, another slab of funk laden house goodness, blending high tension strings and rolling drums to great effect. Perez has been firing out infectious house jams for labels like BPitch, DJ Sneak’s I’m A House Gangster and Hot Creations, for some time now, as well as working his own label Mr. Nice Guy, so it’s a welcome addition to the Edible roster for Jesse Perez.

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The third Edible release comes from a producer we’ve admired for many, many years. A consistent and truly dependable master of the jackin’ groove since the late 1990s, Brett Johnson has flexed his musical muscle for some of our favourite labels. Singles for Derrick Carter’s Classic, DJ Sneak’s Magnetic, Freerange and Visionquest have been record box staples for Eats Everything over the years, so it’s a big fat hello and welcome to Brett on the ‘Snack Attack’ EP. Lead cut, ‘Jack’, gets all playful, its nursery rhyme lyrical twist providing a most memorable dialogue over a killer house production. Jack by name, jack by nature, Brett throws all the right ingredients for a modern day ‘boompety’ vibe. And if the vocal is not quite your thing, a ‘Dub Mix’ does what it says on the tin, with added raw flavor! ‘Noisy Neighbours’ on the flip is another high-octane house barnstormer; a deft funky disco loop sits squarely in big room production, coming across like a classic Danny Tenaglia joint on +3, its wandering bassline and techno chops will no doubt blow a few brain cells when collided with a dark room and a strobelight!

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Edible unveils its second release in January 2016, and goes Stateside on this one, enlisting the production prowess of LA based DJ/producer Lauren Lane for a tasty trio of tunes. Cutting her teeth on the NYC house circuit, and moving onwards to Hollywood’s Sound Nightclub where she was a resident, Lauren has become a regular jock on the festival circuit, taking in Coachella, The BPM Festival, Burning Man, Decibel et al, as well as regular club spots around Ibiza, Europe, South and North America. “Diary Of A Madwoman” pulls together three cuts that showcase Lauren’s flourishing talents perfectly. The lead track rolls like the very best of them, deft keys provide the simple melody whilst the soft ambient touches merely go to cushion those slammin’ beats and driving sub bass, so simple let a wicked groove. “The Right Kind Of Weird” keeps this jumpin’ vibe with beats that Todd Terry would be proud of and an infectious b-line all dusted with micro samples, transposing ride cymbals and unassuming keys. The digital release features a third offering from Lauren, “FOMO” plunders similar territory, the playful arrangement, choppy dialogue and booming bass captivates from the off as the electro tinged beats weave their charm. A cracking start to Edible’s 2016 schedules, and a hugely promising year for Ms. Lane, uncomplicated and frills free proper house music on offer here!

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The inaugural release from Edible comes from Lord Leopard. Direct from his studio, somewhere in the depths of rural Cornwall, he brings some serious heat to the first release. “Mark Of Passion” is a stellar slice of face melting, twisted tech-funk whilst “Fantastically Well” is a jazz heavy slugger, the good Lord gets deep into the groove, flipping vocal samples and insane breakdowns for a very individual and unique sounding cut. Launching in November, Edible Music is the brainchild of Bristolian movers & shakers, Dan Pearce and Nick Harris. A new record label that will ultimately run from a Bristol base, but with a global array of talent, the label will focus on fledgling producers and underground house & techno music that pushes the envelope but with a respective nod to its past.

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