One of Ireland’s finest and DFA mainstay Shit Robot returns to James Murphy’s legendary label, seven years after his last release for the New York heavy hitters.

Four classic cuts from the twisted machine mind that is Shit Robot. Distinctively punk, daringly futuristic, with a driving heart that’s as warped as it is welcoming. Entrancing body music for basements and big rooms alike, featuring Suzi Horn (Prinzhorn Dance School) and Mutado Pintado (Warmduscher, Paranoid London) on vocals. Recorded in London with Al Doyle (Hot Chip, LCD Soundsystem) and mixed by James Murphy for the DFA.

DJ support: Optimo, Ivan Smagghe, Justin Strauss, Heidi Lawden, and Horse Meat Disco More

Shit Robot reunites with Nancy Whang for a sharp blast of raw-to-the-floor acid house - Spencer Parker bosses it on the remix, delivering a road-tested, siren-and-sub ‘Workmix’ and dub that’s in the (red) zone More

Shit Robot returns with his first new material since the release of his debut long-player, 'From The Cradle To The Rave'. After spending much of 2010 and 2011 touring the globe with his live show – including a string of dates opening/performing with LCD Soundsystem during their final shows in NYC - the rebooted Robot is back with 'The Green Machine'. The first result of his Stuttgart/New York studio adventures is a double-header of dancefloor jams, 'Teenage Bass' b/w 'Space Race', which is released on vinyl and digital on DFA on May 21 2012. It's the first in a series of releases called 'The Green Machine', which will culminate in an album early next year. Lead cut 'Teenage Bass' rides a rude EBM bassline and rave alert sirens, before expanding further with key changing chords and a defining arpeggiator. The hypnotic 'Space Race' is a distant relative of 2007's 'Chasm' – a meandering, melodic, star-gazing Robo-techno workout
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From the very outset, the M.C.D. E. remix of Shit Robot’s “Answering Machine” picks up in a completely different realm from Marcus’ Lambkin’s original, which appears on his 2010 debut, From the Cradle to the Rave. The Stuttgart-based producer has replaced Janine “Planningtorock” Rostron’s slowly rising vocal opener with outerspace emanations that fade as they drift into a constellation of wide house grooves and deep bass. Rostron’s own Pizzo remix is up next, and in (a)typical fashion, she takes the song and shifts its mood by clearing away the dancier elements of its predecessor in favor of a foundation of strings in every form: plucked pizzicato notes, low cellos tones, and high pitched violins that flit through. Last up is another Rostron creation, the Whisper remix, which actually outpaces Lambkin’s version in bpm, but is lighter all the same. Here, she uses synths almost as a wash of white noise – a whisper, if you will – and only drops heavier vocals here and there along the song’s rustling path. More

Hot Chip’s new take on the single mystifies the original with deeply cut grooves, squelching bass and Taylor’s heartbreaking, trilling vocals, pushed to lonesome front and center. The whole procession builds to a climax of chiming keys, striking percussion and synth melodies that corkscrew firmly into your head. The UK’s Unabombers – the DJ duo of Luke Cowdrey and Justin Crawford – take a cosmic approach, laying down synths that stretch toward infinity and holding off on vocals till near the song’s midpoint. The dub remix gains traction and energy in its latter stages, with a heady mix of piercing synth squeals and Taylor’s vocalizations set on repeat, like a mantra urging party goers to the dancefloor. More

Head-turning singles "Tuff Enough" and "Take Em Up" from Marcus "Shit Robot" Lambkin's fantastic debut, From the Cradle to the Rave, get reinvented by two of the most talented DJ/producers working in electronic music. Only 400 copies of this limited special release, to be produced on white vinyl, will be pressed. On the A-side is Germany’s Michael Mayer’s epically inventive take on “Tuff Enuff." Less muscular than Lambkin's original, the remix softens things up by placing supple keys under the hardened exterior. The climax is an otherworldly listening experience that literally builds to take off. On the flip, John Talabot’s remix of "Take Em Up" starts like a laidback house party that builds just enough energy when it's relocated under disco lights. The haunting opening -- a swirling, ghostly blend of elliptical vocals and handclaps -- leads to a sonic journey that is as smooth as it is wholly entrancing.
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Swell is the debut album by Marske, a spoken word performer, musician and visual artist originally from the North East of England. Written and produced with fellow north eastern music maker Man Power (aka Geoff Kirkwood) and released on Me Me Me, Swell is available digitally, and as a special limited edition 12" record featuring a gatefold sleeve designed by Marske. Swinging from poignant self reflection to wry social commentary and laugh out loud midlife malaise, Swell sits somewhere central in a Venn diagram featuring The streets, Throbbing Gristle, Sleaford Mods, John Cooper Clark and Underworld. It's a coming of (middle) age album that sees two established creators working together at their idiosyncratic best to create something as honest as it is unique. "Welcome to Marske. It's not for everyone" TRACK LISTING:A1. Open, A2. Cine Fume, A3. 2 Prayers, A4. Pentangle Tangle, A5. He Don't, B1. Sit Still, B2. It Never Entered My Mind, B3. Gaps, B4. A Man In Distress, B5. Tracy
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The enigmatic Vyvyan returns to MMM with the incendiary single, CoatBraPants. Backed up with 2 remixes from Running Back’s Gerd Janson, as well as the debut remix from Charlie Nobody, the single further displays the unique driving disco house hybrid stylings of Vyvyan, and acts as the perfect precursor to his Debut album, also to be released on MeMeMe and expected in early 2020. Not content with a single bite of the peach, Gerd Janson has provided us with both an out-and-out 90s New York house interpretation, as well as a separate organic dark-disco-dub version. "Charlie Nobody”, aka Chris Stoker from Ess O Ess and Not An Animal Records, laces his first ever solo piece of released music with a psychedelic dose of dancefloor arpeggiation nestled beside some sweetly balearic guitar playing. More

Man Power’s Me Me Me signs up long-time friend Ian Blevins for his long overdue label debut. Blevins’s originals are backed by stellar remixes from Austin Ato and Kiwi. Blevins hails from the North East of England and has released on ESP Institute, Futureboogie, Not An Animal and Culprit. The prolific producer was a long time resident of the legendary We Love Space in Ibiza and is an enduring favourite on the UK scene with plenty of musical tricks up his sleeves. “Both tracks on offer showcase the mongrel sound that I hear coming out of the North East region,” Says Man Power. ”Partly tough, partly playful, not simply techno, not simply house, and certainly nowhere near the most common contraction of the two words.” Innovative opener ‘The Serpent’ is a suitably snaking, slithering groove with acid twitches, rubbery drums and raw percussive energy. It pings about in dynamic fashion and really keeps you on edge. First up to remix, Austin Ato makes his return to the label after his huge ‘The Sound Of’ EP in summer 2018 and gives further credence to Man Power’s suspicion of his impending super stardom. He takes the ‘The Serpent’ on a luscious and deep trajectory that would make Larry Heard proud. The second standout original is ‘Unse’, a dark stomper with cosmic rays that strike right to the heart of the dance floor. It’s menacing and absorbing music that is steely and unlike anything else. To remix is 17 Steps regular Kiwi, who is responsible for two of Man Power's favourite tracks of 2018. Here he continues his run of astounding form while taking ‘Unse’ in a tougher and more robust direction that will really make you sweat. As ever this is a brilliant and stylistically diverse package from Me Me Me. More

Man Power’s Me Me Me signs up long-time friend Ian Blevins for his long overdue label debut. Blevins’s originals are backed by stellar remixes from Austin Ato and Kiwi. Blevins hails from the North East of England and has released on ESP Institute, Futureboogie, Not An Animal and Culprit. The prolific producer was a long time resident of the legendary We Love Space in Ibiza and is an enduring favourite on the UK scene with plenty of musical tricks up his sleeves. “Both tracks on offer showcase the mongrel sound that I hear coming out of the North East region,” Says Man Power. ”Partly tough, partly playful, not simply techno, not simply house, and certainly nowhere near the most common contraction of the two words.” Innovative opener ‘The Serpent’ is a suitably snaking, slithering groove with acid twitches, rubbery drums and raw percussive energy. It pings about in dynamic fashion and really keeps you on edge. First up to remix, Austin Ato makes his return to the label after his huge ‘The Sound Of’ EP in summer 2018 and gives further credence to Man Power’s suspicion of his impending super stardom. He takes the ‘The Serpent’ on a luscious and deep trajectory that would make Larry Heard proud. The second standout original is ‘Unse’, a dark stomper with cosmic rays that strike right to the heart of the dance floor. It’s menacing and absorbing music that is steely and unlike anything else. To remix is 17 Steps regular Kiwi, who is responsible for two of Man Power's favourite tracks of 2018. Here he continues his run of astounding form while taking ‘Unse’ in a tougher and more robust direction that will really make you sweat. As ever this is a brilliant and stylistically diverse package from Me Me Me. More

Me Me Me is two… and in keeping with the name it seemed that I had no choice but to put out what is only my second ever release on my own label since launching with the debut release “Tachyon” back in 2016.
(It’s also the labels 13th release too. Spooooooky) So here it is, a double A Side... Side A is “Valhalla” which attempts to be as majestic as the name suggests. Side AA has “Fidelity", which is me channelling big room house as much as I can, while trying to keep ahold of whatever heart strings I can tug on. I’ll let you judge if I’ve achieved what I’d set to do with either. More

Full disclosure...I changed the entire release schedule to jam this record in this year. When you listen, hopefully can see why. From getting the demos during my breakfast, the record was agreed and in the schedule by the time I’d finished my dinner. Currently if you cut Austin Ato I believe he’ll bleed an amazing record. This record swings between a peak-time hands in the air pink loveheart vibe, hot and heavy classic sample based house, and some real basement orientated machine-made jacking house. Its like a quadruple A Side release, and I personally find it impossible to pick a favourite on here. More

Vyvyan wants to keep his real identity secret, which is something I can’t help but respect (I did the same for a couple of years). Without the context of personality, the music really does do the talking, and in this instance it has a lot to say. Both original tracks on offer here are unashamedly dance floor focussed disco / techno mutations, and they’re both as compelling as they are fun. For remixes we’ve drafted in Paul Woolford, a genuine UK legend, who by this stage is irrefutably nestled in the top tier of the British electronic music Royal Family. His remix perfectly displays the unconventional wit, and mastery of groove, that’s propelled him to where he is today.
I imagine its the only track we’ll ever release that begins on a breaks and baseline assault, and ends on samples of farmyard animals. Finishing off the release we have a remix by my dear friend Christophe (Futureboogie) in advance of his own artist EP on Me Me Me later this year. Christophe skews the original’s frenetic rhythms in to a vintage sounding bumping piece of machine driven house with an Italo-esque twist, which is as good as this description sounds More

“Edmondson first came to my attention with his Lobster Theramin distributed release, Flamingo Tripper, on his own label “Lissoms”. Or so I thought… Turns out he was actually a guy who used to serve me in one of my favourite pubs in Newcastle. Back in those days he was a dub step / drum and bass kid, and as per the trend with all of those guys, he’s now showing the house heads how its done, with a much keener feel for sound design, groove and a better ear for a sample than 90% of us lazy people who cut our teeth on a 4/4 beat. Edmondson (or Sean as I did know him... and how I know him once again) is really one of the most exciting producers out there right now for me, and I couldn’t be happier that we’ve reconnected and he’s kindly allowed Me Me Me to present some of his amazing music. More

From Man Power: "I'm going to try not to gush too much about the fact that 'Me Me Me' has Raj Pannu's first ever record, but you have to understand that he's DJ royalty to someone from where I come from. From his residencies in Newcastle in the Early 90s, touring all over Europe, playing with the likes of Gilles Peterson, Jazzanova and James Lavelle to his move into turntablism in the late 90s playing one on one with DJ Craze, A-Trak and Q-Bert. All the way up to the last decade and his time spent touring the world for 5 years as part of Coldcut, working with institutions like the BBC and Ninja Tune, and just generally being an absolutely mind bending DJ playing with people from all over the spectrum, such as Richie Hawtin, DJ Kentaro, Jamie Lidell, Kode9 and more.... and now he's decided to release his first record... With Us! As you can imagine for someone with such a varied musical background, FSOP is hard to pin down. I played it to a friend and they said it sounded like Photek covering Pink Floyd, which is the closest approximation I've heard of it, I guess. It's techno, but steppy, and super musical, and dark, but uplifting. Above all, it's just really special.I couldn't not give the record a full side to itself, and for the remix we've found the perfect pairing with an interpretation from Cosmin TRG (who I met at a festival, and who I instantly hit it off with after finding our shared love of Guiness and Sarcasm). Cosmin chokes out all of the light with a cut of raw, skittering Paranoid Techno. Providing the ideal balance for both sides of the record. Raj has also provided us with a Dub Mix which we're releasing as a digital exclusive. The dub narrows the dancefloor focus, without losing the drama of the OG. Reading this, you can probably tell how excited I am about this record." More

Elliot Adamson knows how good he is, which is equally as daunting as it is impressive. I’ve known him since he was the eager beaver Barman at a place I’d play regularly in my hometown, who used to try and stick his demos under my nose, and now he seems poised for world domination with a who's who of the worlds biggest DJs singing his praises. I’m so pleased I listened to those demos when I did. Elliot has a startling breadth and depth of taste for someone of such tender years (although to be honest, people only mention other peoples youth when they feel like they’re getting old themselves). The EP Elliot has provided for Me Me Me covers a range of vibes which can be traced through mid 90s house, millennial techno and that current and contemporary feel that we’re all still struggling to name adequately. Elliot is a real talent and I couldn’t be happier to provide a platform for what I feel is his most esoteric work to date, and a worthy showcase of his real capabilities. More

The next release on Man Power’s Me Me Me features two emotive leftfield house cuts from DSC, the newly minted production alias of Desert Sound Colony, aka Liam Wachs, the man behind the newly launched Holding Hands record Label. Wake up, is a sweetly melodic track of pulsing house, with Coming Round providing a pumping and muscular leftfield techno counterpoint. On remix duties Man Power invites north east upstart Elliot Adamson to remix Wake Up, before his full length EP coming up next on the label. Hotly tipped by everyone from Jackmaster to Jamie Jones, Elliot is a superstar in the making, and relishes the opportunity to flex his more esoteric muscles with a slice of deconstructed electro that hints at the startling musical breadth, which the young producer is only beginning to reveal. Coming Round is remixed by none other the legendary Rex The Dog, who is not only an artist who Man Power has huge admiration for, but also someone he is pleased to call a good friend. The trust between the two artists shines through, as “Rex” provides possibly one of the most unfettered dancefloor tracks of his career. More

Is? Frank Butters? a new artist risen out of nowhere via incendiary releases on his own Too Many Squares label, or is he perhaps an established artist taking a new direction? The only concession to this question is that he’s someone ?Man Power? has known a long time, and one of his favourite new artists. Frank's ?Cult Of Glamour? focuses his early 80s proto-house aesthetic, with two machine driven cuts at differing tempos for opposing late night moods. For remix duties, Me Me Me asked all time hero ?Andrew Weatherall? to deliver his own version, and deliver he does with a swamp rock lead bellied organic take of ?Make It Right? (as well as a digital only instrumental version). To close off the package Man Power has enlisted Not An Animal Record’s mainstay ?Ess More

Pale Blue is the new alias for Mike Simonetti, one of NYC’s most infamous underground producers, paired with the vocals of Elizabeth Wight. The duo’s seductive double sided EP Comes Home / Have You Walked Through This Night is remixed by breakthrough Spanish producer Pional on Man Power’s Me Me Me label. Have You Passed Through is raw and daring, its female vocal reminiscent of innovative early electro, this is a intoxicating late night anthem of leftfield electronica. Its lyrics are taken from the film The Thin Red Line, a movie about mans destruction of nature, his world and himself. Come Home is equally alluring with a dreamier narrative, and Pional’s remix is stripped back and effortless. “For these two songs, the inspiration is coming out of the darkness that is inside all of us. It sounds heavy and overbearing, but dance music is the ideal music for escape. It fits perfectly into the Pale Blue agenda. This music was made for a small, dark crowded dance floors, with low ceilings and high hopes. Humanity is bombarded with suffering and pain at every turn - it’s almost like we thrive on it. But we deserve better. These two songs represent part of that struggle- moving towards the light. Take your frustrations out on the dance floor. Throw it all away for the night. The b-side is about coming out of darkness, coming home. Finding euphoria in love and security in one another. Feeling lost in the best way.” Pale Blue More

“Soak by James Hadfield, featuring Danny Linton, is one of the main reasons for the launch of Me Me Me and a record I love so much I have done my first rem ix for the label,” explains Man Power. Further remixes from Axel Boman and Bird Of Paradise cement a stellar third release on the burgeoning Me Me Me imprint. Soak is a distinct and uncategorisable piece of electronic music, with a rich thread of emotion running through it so strongly, it remains within each remix, albeit distilled in different ways. Fellow North Eastern Englishman Bird Of Paradise (Correspondant / HAKT) turns in two differing atmospheric interpretations of the track (one appearing as a digital exclusive), while Studio Barnhus supremo Axel Boman brings his own inimitable style to his rework, and Man Power’s delivers a dreamy and forlorn infusion on this magnetic record.
James Hadfield has been releasing music over the last ten years under several guises including Lizards and Elizabeth Collective, although remains an elusive figure in the bubbling underground house and Balearic scene. Soak sees him teaming up with Danny Linton , best known as post dubstep producer Funk Ethics. Man Power’s ear for the more captivating and experimental side of electronic music is being championing through Me Me Me, putting discerning dance floors to the test through its releases. 2017 contributions include Mike Simmonetti, Chida, Fort Romeau, Hammer, Rex The Dog, Daniel Maloso and many more . More

The first release on Man Power’s Me Me Me saw FACT mag travel to Mexico to get inside the head of the Geordieman in Mexico. Next up for the label is a comeback record from Last Waltz, the trio with which Man Power first ever released, featuring three new, original tracks, and a remix from the first ever recorded collaboration of Tel Aviv’s Red Axes (I’m A Cliche) & Naduve (Disco Halal). Last Waltz are Geoff Kirkwood (Man Power), Lee Forster (Lizards) and Mick Rolfe (The Great Curve). Outside of their solo projects, Last Waltz have released on labels including Futureboogie, Endless Flight (Mule Musiq), Tusk Wax, Lets Play House, Is It Balearic, and many more. After a two year break from producing together, the three North East England born producers finally felt brave enough to suffer the inevitable studio fist fights and tantrums that have always occurred during their creative process. This latest session has resulted in potentially their most cohesive and impressive output to date, with an EP that swings between deep excursions, psychedelic disco and industrial electro, only to have Red Axes and Naduve take the track into an altogether more low-slung and feral direction. Me Me Me is shaping up to be an imprint for crate diggers, blurring the boundaries of electronic music and forging new channels for the dancefloor. Future contributions are incoming from Axel Boman, Mike Simmonetti, Chida, Fort Romeau, Hammer, Rex The Dog, Daniel Maloso, Last Waltz, James Hadfield (as Elizabeth Collective) and of course Man Power. More