Clash Lion is a mix of three personalities; Shall Ocin, TERR and Daniel Watts. Three artists with different musical backgrounds merging forces to create a truly eclectic and open-minded label. After the standout success of their debut release from Maetrik in September, the labels second helping comes from label co-owner, Shall Ocin, known for his heavy use of modular synths, analog rhythmboxes and custom-made effects his 'Bounty Hunter' EP is definitely unique. 'Cicada' layers atmospheric modulations, slow pulsating synth work on top of a booming bass drum. Dark synth tones resonate to create real exploration of sound. Raw, and somewhat ethereal in its composition 'Bounty Hunter' layers frequency patterns in a fresh formation, leading into a heady path of sound texture before its thunderous release with a booming synth riff. The labels mission to achieve eclectic, no boundaries electronic music has been displayed throughout this release from Shall, with the final track 'Yummy Jam' creating an experimental electronica vibe, showing his passion for innovation.

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Next up to add his sounds to the ever impressive Hotflush cannon is Argentina’s Shall Ocin. He serves up The Cliff/The Mist, a two track EP that showcases his knack for infectious groove in all its glory. The man born Nicolas Abalos has released music under a number of aliases over the last decade plus, but it is as Shall Ocin that he has had most success. Putting out music on labels like Culprit and Ellum Audio, he has established himself amongst contemporary tastemakers and here cements his reputation with a great debut on Hotflush. Opening the account is the excellent ’The Cliff,’ a steely main room house track with grinding synths that roam and whir about above weighty bass. It’s a physical, arresting track that brims and bristles with apocalyptic fervour and will truly work crowds into a lather as it continues to build. ‘The Mist’ is much more in your face, with malfunctioning machines smeared about above metal drums. It’s a real writhing monster that twists and turns with great filter work making for the most dramatic of atmospheres. This texturally rich, maximalist EP makes a fine new singing for the UK label and is another great entry into Ocin’s increasingly essential discography.

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Barcelona­based, Argentinian producer Nicolas Abalos – aka Shall Ocin returns for his second helping of Culprit, almost exactly a year after his label debut, ‘Crash into My Love’. The first EP set the inventive and musically adventurous template for Shall and was supported by the likes of Damian Lazarus, Ivan Smagghe and Miguel Campbell, among others. The artist continues to explore the psychedelia­tinged, heavy electronic groove territory with the three sparkling originals on the ‘Conception EP’ plus a remix from Edu Imbernon. Each song is brimming with musically sophisticated ideas: Shall’s own effected vocals, at times immediate and emotionally charged, at others – disembodied and spooky; his love of a catchy electric guitar riff; tight and precise basslines; off­kilter synth melodies, touches of jazz fusion and shimmering ambient textures.

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Yet another gifted and hard working producer who’s successfully crafted his own sound in a very short period of time, Shall Ocin is in the midst of an artistic breakthrough with distinct releases recently on Leftroom and Ellum Audio. Striking in its crisp sound design and adventurous in its sonic ideas, ‘Crash into My Love’ is the work of a self-assured talent. Its three originals fall within the underground dance music spectrum that Culprit specialises in: deep and nuanced, yet propulsive and dance-floor ready; placed perfectly between primal and cerebral, between esoteric and immediate. The EP carries a few coherent themes: its heavy electronic bounce underpinning jazzy instrumental passages that belie the producer’s deep musicality, with slightly eerie vocal touches – Shall’s own – connecting the dots. ‘Crash Into My Life’ is the EP’s most punchy and percussively strong statement and its most dance-floor engaging, with the improvisational electric guitar riffs adding a special element. The vibe is deeply nocturnal and foreboding. ‘Don’t Come Here’ also bristles with the bouncy energy, its processed vocal the most energetic part of the EP. ‘My Little World’ is the most plaintive and emotional track on the release, its acoustic guitar and bassline parts complimenting the hopeful vocal hook. Culprit’s Canadian compadres, My Favorite Robot, make a much welcomed debut appearance on the label, delivering a slice of contagious electro funk with their interpretation of the title track featuring heavy bassline riffs sure to get many a floor moving.

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The illustrious Jasper James graces Leftroom with the superb ZTRK1 single, complete with two vinyl-only Optimo remixes by JD Twitch! Jasper James is a 24 year old DJ & producer hailing from Glasgow who has from birth been immersed in Glasgow’s rich and vibrant music scene. Taught to DJ at just 13 by his father, Sub Club’s Harri, Jasper has grown up with access to an impeccable and wide ranging record collection of thousands from the day he was old enough to cue up a record.??Jasper has already featured on BBC Radio1’s world renowned Essential Mix radio show more than once. Not only has Skream played his productions in his mix, but Jasper took the reigns to provide his own Essential Mix in May 2014. In the same year, Jasper has made various appearances on Rinse FM with both guest slots and show takeovers. As a result, Rinse FM have now given Jasper a monthly residency.??His debut release ‘Sneaky E.P’ on Optimo’s Optimo Trax label went down a storm on dancefloors over the summer with backing from the likes of Bicep, Jackmaster, Eats Everything, Richy Ahmed, Skream and 2 Bears to name a few. ZKRT1 is a fantastic slice on unadulterated techno; Jaspers original has been going a treat with crowd of late. Featured on this 12” only are these two brilliant remixes by JD Twitch, a mesmerizing Optimo mix and heavy head-spun Live Jam for those darker floors!

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After scoring a UK number 1 single with ‘My Love’ earlier this year Route 94 makes his debut appearance for Matt Tolfrey’s underground institution, Leftroom, with ‘Misunderstood’. Despite the commercial success of ‘My Love’, Route 94’s ‘Misunderstood’ is very much contemporary underground house but sees 21-year-old Rowan Jones imbue the genre with the same addictive hooks he made his name with. Already a firm favourite with Annie Mac and Skream, this is a weighty EP from the young Londoner. The title track of ‘Misunderstood’ centres around a staccato, insistent keyboard lick straight out of 80s electronic funk while rattling drums, raucous sub bass and piano stabs combine in an arrangement designed to maximise each part perfectly. ‘Escape’ sees Jones employ loose drums with dense percussive elements and the sort of bumping, rolling bass that Derrick Carter does so well while penultimate track ‘Cowboy’ moves with a satisfying skip, growling bass and a moodier tone. Closing the EP out, the skeletal ‘Elevate’ and its eponymous vocal refrain is strikingly hefty for such a stripped back cut, creating a track that works alone as well as holding it’s ground as a nifty mixing tool.


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Gavin Herlihy's killer Put It Down release get's remixed for VINYL ONLY featuring a new take on Put It Down by Gavin, and two top remixes by Ford Foster and Djebali.. First up is Gavin's great Sidetracked Remix take on his original 'Put It Down'. Gavin jams the box and pumps the groove creating a tough, bumping take on his hot original. Next up is Ford Foster's tough jacking remiix on 'Reality Cheque', sure-fire dance floor dynamite for this summer. On the flip and French Funkateer Djebali delivers a slick as hell, deep and mesmerizing take on 'Put It Down'.. one for the heads.. the rhythm is gonna getcha! A great three track remix package perfect for everyone's bag this summer THESE REMIXES ARE VINYL ONLY

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Laura Jones is a rare specimen, a producer who puts her heart and soul into every production. The few key releases she has made for Crosstown Rebels, Visionquest and Leftroom have become instant anthems and shot her into stardom. ‘Embrace’ sees a return to Leftroom and to form for Laura with new exploration into darker techno underworlds with ‘Think Over’ and ‘Imagination Unreal’, illustrating the complexity and breadth of Jones as a producer. Remixes from Cassy and Paul Du Lac make this a timeless package poised to set the future months alight. Since her debut hit on Visionquest Laura earned a reputation as a producer with depth and style thanks to timeless pieces that centre around her classical training and sultry vocals. With over twelve years of piano training and three in cello and clarinet, Laura understands the dynamics of composition away from the bedroom computer and her tracks EPs and compilation CD have found homes with key labels such as Leftroom, Visionquest and Crosstown Rebels. While her remixes breathe new life into house classics like Romanthony´s ´Let Me Show You Love, Hollis P Monroe´s ´I´m Lonely´ and her forthcoming anthemic underground remix of Todd Terry´s ‘Bounce to the Beat’


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Lee Curtiss, Ryan Crosson & Cesar Merveille form the Sweatshop Boys and this May they drop their second EP 'Wanna Be More' on Leftroom with remixes from Tom Demac and Ryan Crosson himself. Sweatshop Boys return to the Leftroom family following their 'Wide World' EP released back in June 2013. Collectively, the three artists stack up an impressive back catalogue with tracks spanning labels such as Wolf + Lamb, Visionquest, Cadenza, Get Physical and Culprit. The opening track 'Wanna Be More' leads with a dancing bass line alongside sub-led low-end tones and a stripped back rhythm, all of which gets seamlessly laced over broken female intonations and whirring atmospherics to deliver a subtle yet infectious groove. On remix duty Welsh lad Tom Demac, whose recently been tipped by no less than Thom Yorke of Radiohead, breaks into the raw side of things utilising distorted harmonies that build towards a warm breakdown in earthy percussion and rumbling bass lines. For the final offering on the EP Ryan Crosson re-imagines his original and twists it into a deep down-tempo house cut, chopping up the female murmurings and working them around shuffling drum patterns and a quaking bass line.

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To coincide with the release of Matt Tolfrey & Ryan Crosson's forthcoming 'Don't Be Leftout' mix compilation, the Leftroom imprint offers up a vinyl sampler of exclusive content produced for the comp. The four track package is set to drop in February ahead of the full release in March and brilliantly showcases the outstanding level of quality found throughout the compilation. Here we see Larry Heard rework Tolfrey's 'Distant Story' under his Mr. Fingers guise, Crosson delivers some new original content to boot. While one of Leftroom's newest signings, William Kouam Djoko, delivers yet more stunning work following his 'Man Like Me' EP in 2013, and The Classic Music Company head honcho Luke Solomon turns in another refreshingly unique production in the shape of 'Psycho Babble'.

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The Truth (feat Marshall Jefferson)', one of the standout tracks from Matt Tolfrey's debut LP, 'Word of Mouth', sees a full single release with additional remixes from Gerd's Geeeman project and John Charnis. Leftroom boss, Tolfrey, dropped his 'Word of Mouth' LP late in 2012 and the project served as an insight into the influences and passions of the increasingly well-travelled DJ/Producer. 'The Truth' was a particular highlight for both listener and producer alike as it featured the vocals of none other than the 'godfather of house', Marshal Jefferson. Tolfrey's original version opens the package with a strident simplicity. Bare bones house with classic influences distilled in to a contemporary slice of 4:4 heaven, 'The Truth' ends up sounding distinctly timeless. L.A. Based producer Jon Charnish, an artist with increasing clout following work for Innervisions and No.19, turns in a moody late-night interpretation that drops Jefferson's vocal input in favour of steadily building melodies. 4Lux boss and Dutch house-master, Gerd, dons his Geeeman for two versions which take on a rough-edged, brutalist house sensibility. Saturated Juno licks and 909 stomp form the backbone of both mixes but the 'Deep Vox Voyage' showcases rich chords and Marshal Jefferson while his 'Rough Mix' takes things even grittier.

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Leftroom continues its fine run of EPs (recent outings have come from Kate Simko, Sam Russo, William Djoko, Matt Tolfrey and others) with a first appearance on the label from Lil Mark. Born Mark Currell, Lil Mark has been producing top-notch house since 2001 when he appeared on Classic and Music For Freaks, and more than a decade later still puts most of his peers to shame. The two tracks he supplies here come with remixes from Matt Tolfrey and Matthew Styles. First up is '1994', a house track with a heavily vocodered vocal that works to a peak with elastic synths and slapping claps helping to drive the thing along. Peppered with little pricks and ticks, bubbles and pops it's an arresting joint that pleasingly recalls the old school but in a less than obvious fashion. It's boss Matt Tolfrey who tackles the re-rub. Naming it his 'Freedom To Party Mix' he opts to pin the whole ting around an undulating, neon glowing bassline as percussive. It's loose and malleable with FM tones and party-fuelled percussion helping to colour the overall picture. Lil Mark's 'Dark of Pain' is another tight as hell house joint with finger clicks and buried deep synth line setting the early tone. Despite the pace and tightness of it all, there is a micro funk which emerges as the tune plays on that really gets under your skin. It's Ostgut Ton amd Running Back associate and all round-revered producer Matthew Styles that turns in a 'Tropicana Remix' of this one. He ups the drum quotient and stiches in a bobbling, grubby bassline before unhinging things at the mid point with some nice filters, effects and colourful synth work. A brilliant EP of no nonsense house music from Matt Tolfrey's Leftroom . House Music that goes its own way and is hugely refreshing as a result

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The next release from Leftroom Ltd is the ‘Two Times’ EP from No Fit State man, Geddes, featuring a remix from US house legends, Murk.Geddes is a DJ/Producer who has had considerable influence on London’s fertile electronic music scene in the past ten years. The nomadic Mulletover nights he runs with Rob Star are a bone-fide institution for clubbers seeking out a discerning music policy any Geddes role as a resident there has seen him hone his craft the old school way. His stewardship of the murmur imprint along with his own productions for the likes of Tsuba and Mobilee has showcased a strong ear and deft touch.The ‘Two Time’ EP is Geddes debut for close friend Matt Tolfrey’s Leftroom Ltd label and the title track is a timeless yet modern slice of sleek and moody late-night house propelled by an undercurrent of hefty kicks and machine-like percussion. ‘Showdown’ on the flip retains the same balance between raw and fluidity that ‘Two Time’ has but is a more aggressive affair, with stabbing bass pules and broken synths lending a menacing air throughout. Murk, a duo who need very little introduction, remix of ‘Two Time’ sees the duo break out strident 909 drums and deliver a direct and classic sounding interpretation with very little distraction from simple melodies, dry effects and earthy grooves.


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The formidable team of Visionquest related artists Lee Curtiss, Ryan Crosson and Cesar Merveille debut their new Sweatshop Boys project for Matt Tolfrey’s Leftroom imprint this June with ‘Wide World’ feat Jem Cooke, backed with remixes from Mosca and Tolfrey himself. Individually and with their respective collaborations, all of the artists on this Sweatshop Boys release are heavyweights. Curtiss and Crosson, along with Seth Troxler and Shaun Reeves have turned the Visionquest project and label into a house music phenomenon in recent years while Merveille has, via releases on Cadenza and his collaborative LP with Crosson, developed a formidable reputation himself. Mosca, via his Radio 1 show, has become a genuine flag bearer for house and techno while still enjoying a status as one of the most eclectic tastes around while Jem Cooke’s work with Matt Tolfrey and Kate Simko has seen many a plaudit. ‘Wide World’ is an 808-fuelled cut with a hefty dose of electronic soul. Urgent, relentless, funky and with Jem Cooke at her most passionate in her vocal performance, ‘Wide World’ is an unashamed slice of jacking, old school house executed with care and nous. Mosca delivers three interpretations. The London-based artist gently channels Dance Mania with his ‘Ghetto Mix’ and comes with dubby, rawness in his ‘Deep Dub’. Already extensively road tested on his R1 show, these are a rare set of remixes from Mosca and, as always, he’s delivered the perfect accompaniment to a great single.


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Matt Tolfrey drops the second single from his ‘Word Of Mouth’ EP this … via his Leftroom imprint, opting for the infectious groove of ‘Encarta’ and pulling in Marco Bernardi and DJ Sprinkles on remix duties. The original version of ‘Encarta’ kicks things off here, its cosseting Rhodes melodies, whispering vocal licks, gritty shuffling snares and sheer elegance draw you in, and further display Tolfrey’s experience in the industry with its classic meets contemporary vibe. Clone, Planet E and Futureboogie artist Marco Bernardi steps up first to rework ‘Encarta’, putting a slightly more driving spin on the original number with insistent arp lines, crunchy distorted drums and raw saw wave bass tones thrown into the mix. Bernardi displays his more than capable production skills through evolving melodies and subtle nuances, resulting in an up-tempo, tasteful interpretation. Last up to close the release is the forever on-point DJ Sprinkles, stamping his signature emotive, ethereal touches on the original. Sprinkles, as he often does, goes to full lengths with an eleven minute mix, meandering through an amalgamation of synth and drum variations with a genuine song structure, as expected it’s an intelligent, forward thinking rework.


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Two outstanding dubs of Matt Tolfrey’s ‘Distant Story’ taken from his brilliant ‘Word Of Mouth’ album courtesy of Larry Heard.. !! These intergalactic slices of effortless dub-tastic beauty are truly mesmeric. Larry Heard has created two beguiling takes on Matt original track. Please note these are only released on vinyl. Hot and limited, catch them while you can…

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Matt Tolfrey’s Leftroom Limited brings you Sam Russo’s ‘Losing Things’, backed with a remix from Jack Dixon. Sam Russo has had a long running relationship with the Leftroom label and his collaborative EP ‘The Summer Soundtrack’ with Huxley back in 2011 led to a string of further releases on the imprint, pushing Sam into the limelight and helping to spread his wings further afield releasing original work and remixes with the likes of OFF Recordings, Air London, 1trax and Fullbarr. The release opens with the original version of ‘Losing Things’, employing raw shuffled drums, a bubbling sub bass hook and a processed spoken word vocal line as its driving force. The cut steadily blooms in such a state throughout its near seven and a half minute duration, subtly introducing tweaky acid licks and additional perc lines to fuel its energy. Stepping up next is Hotflush artist Jack Dixon reworking title track ‘Losing Things’. Dixon veers the record in an entirely different direction, creating an ethereal atmosphere with flourishing bell chime melodies and a bulbous sub-bass. The track builds to a peak, where Dixon strips back the groove and puts its focus on drums, bass and vocal snippets. Next we have ‘Delivery’, a low-slung house number with a stripped back vibe, crunchy 909 drums lead the way alongside a gritty saw-wave bass and more tripped out, delayed vocal lines. ‘Mailbox format’ follows, a perfect way to wind down the wax side of the release, Russo takes things deeper here with fluttering pads, a moody evolving bass hook and subtle manipulation on the synthesized elements creating a blossoming dynamic.


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‘Go On Then’ in original form is a textbook example of subtlety, with rich yet unobtrusive production and flickering melodies giving way to Jem Cooke’s earthy vocal and songwriting talents. Ian Pooley, a true house-music master, builds on the original’s uncluttered aesthetic with an unctuous bassline-driven version that gently wraps itself in cossetting melodies before opening up at just the right moments. It’s these melodies that are allowed to run riot in Pooley’s dub, making for an intensely absorbing listen. Franck Roger treads a heavier, MAW dub styled, path with his Mix version, where clattering percussion and earthquake bottom end provides a zippy undercurrent for a heady mix of warped vocal effects and gritty synths while his dub mix pushes a more urgent, harder backbone through the tripped out textures.

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Much like Ellum Audio’s Maceo Plex, Odd Parents are US expats now residing in Spain and, having released on Ellum earlier in 2012, have become part of the label’s family unit. This is the second Odd Parent’s collaboration this year with the duo’s remix of D.Ablo & Eric Volta alongside Danny Daze creating enough of a buzz to tempt Maceo Plex into the studio with the Philadelphia pair for ‘Get Enough’. ‘Get Enough’ comes on strong from the off, with an arpeggio bassline giving off a massive portion of elastic funk while an arsenal of floor focused drops and audio trickery are employed to undeniable effect throughout. Looped, chopped and stretched vocals all play their parts in adding to the hooky nature of what is yet another dancefloor bomb for all parties involved. No stranger to the concept of discoid electronics, Mark E cooks up two remixes of ‘Get Enough’ for Leftroom Limited. The Ghostly artist and Merc honcho channels a hip-housed Chicago delight in his remix – all resonant keys and glorious, emotive strings making for one of his most epic sounding works to date. The Mark E Future Doom remix is an insistent, tightly looped affair that bursts out of the gates with high hats blazing and fever-pitch builds which offset playful, deep melodies and blissed out vocal snippets. Old school structuring with a distinctly modern palette of sounds, it’s another arresting interpretation from a producer who knows how to balance and control aggression perfectly

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Rising star of London’s underground house and techno scene and French native, Robin Ordell is causing a stir with his deep, bassy productions and regular feats behind the decks. ‘The Show’, his first release for Leftroom is an absolute corker!! The original version of ‘The Show’ is a groovy bass driven monster, complete with incessant piano line and great bit of spoken word , creating a classic sounding slice of Detroit inspired house. Weaved into its core is a looping sample of music commentary that takes on a mesmeric quality but Ordell truly brings the funk with the infectiously groovy bassline. Already a firm favourite with Lee Curtis, Simon Baker, Nic Fancuilli, Seth Troxler and Craig Richards this has anthem written all over it!

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Club veteran & downright musical legend Lee Burridge is back with a fresh slice of groovy latin infused tech house for Matt Tolfrey’s Leftroom Records. Deep and thrillingly exotic with a touch of the exotic the ‘Here’s Johnny’ EP is a feast for the senses exquisitely complimented by a duo of highly adept remixes from Miami’s groove-maker Lazaro Casanova.

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