Back catalogue:

Review: Remastered from a lost cassette in composer David Toop's archive, Unsettled Scores Records has secured the rights to a first-ever release of the legendary title track from Dick Fontaine's iconic 1988 graffiti documentary. Originally airing on Channel 4, the film followed Brim's 1985 journey from the Bronx to the UK, where he linked up with future icons like Goldie and 3D of Massive Attack. A formative piece for graffiti writers and hip-hop heads alike, Brim's 'Bombin'' became a cult classic and remained so. This long-awaited 7" includes the full version and unreleased mixes.

Review: The exact backstory of this one is hard to pin down but suffice it to say if you haven't heard Darondo's 'Didn't I' before then as soon as you do you will fall in love. It has previously been released on a 7" entitled 'Edits' by Stefan Trischler aka Trishes back in 2010 but with a different B-side. Here it comes on TLM with a 1773 remix on the flip. The original is a hard-ass funk cut with raw and tough drums and splintered hi-hats all topped off with the aching and soulful vocal sample and some distant lavish strings. The flip side version features Cerebral Vortex and has extra bars that add a hip-hop touch.

Review: The EastSide Edits label outta Canada is here to provide big moments of fun for jobbing DJs. Their first EP sold out in quick fashion because of the irresistible nature of the mash-ups it contained. Now comes a second volume, this time in the form of a couple of edits. Demiur's Jacked Payboi edit of his own take on massive rap hit 'WAP' is smoothed out into a chunky house groove with all the controversial original lyrics from Cardi B and Megan the Stallion left in place. On the flip is a big, shimmering disco epic in the form of Double A - 'Oh My God' (Double A's Mid Tempo Rework).

Review: JAKe Detonator is a renowned graphic artist who shows another side to his skills here as he drops a slick 7" featuring two instrumental hip-hop tracks dedicated to the legendary MF DOOM. Both tracks, 'Requiem for Doom' and 'Stoneferry Morning,' were crafted during lockdown like so much good music of recent years. They are killer joints with woozy synths worming their way in and out of tough, classic boom-bap betas as dark vocal musings add extra weight. Naturally, this double A-side comes complete with full-colour artwork by JAKe himself and marks his first 45 release.

Review: For the last couple of years, DJ AL has been serving up creative edits that breathe new life into iconic tracks from hip-hop and r&b. He's already dropped a big one in 2025 but quickly backs it up with two more razor-sharp reworks. First up is 'MVP (DJ A-L Blahzay Blahzay remix)' which has big old school energy, dusty and raw drum breaks and hard bars a plenty. 'Jump Around (DJ A-L Shoot Your Shot remix)' is a more soulful sound with a deep cut groove but still plenty of 90s hip-hop energy and some hip-swinging claps. A great return that is sure to fire up many a 'floor this summer and beyond.

Review: LA-based label Milkcrate Mondays has pleased many a dancer with the MCM Edits series and now the fourth volume in relatively quick succession offers more irresistible heat from a trio of talents. DJ Abel opens up with 'Dem Nah We' which is low slung hip-hop fun with raw, characterful vocals and Afro flourishes. DJ Netwerk's 'Everlasting' is a more slow motion and Balearic joint for sundown and DJ Soulcab's 'Buena' is a shuffling and dembow-infused carnival rhythm with brilliant accordion leads.

Review: Japanese talent DJ Koco aka Shimokita is a hardcore 45rpm devotee. They are his chosen tools as a beat-juggling DJ who can do logic-defying things with his grooves. He is a regal on Bloom and already dropped serious heat in January with 'World Famous'. This time he is back with a fresh take on 'Made In New York' which is a 1985 classic by renowned Brazilian funk and jazz pianist Tania Maria. He brings his signature hip-hop flair and creativity with his trusted crew, 45trio, and enlists the dynamic saxophonist King TJ (DA-Dee-MiX) to elevate things further.

Review: Following his standout 'Just A Flute Thing' single last time out, DJ Scientist returns with 'The Baku Files', a limited release that's an immediate crate-digger's dream. Side-A delivers a hypnotic, jazzy boom-bap instrumental built from rare Soviet-era Azeri jazz samples layered with gritty vocal chops from vintage rap records. It's a brilliant cross-cultural collage that feels at once nostalgic and fresh. Flip to side-B for 'To See You,' a slick, DJ-friendly rework of a Murat Kashlaev composition originally reissued on Spasibo Records and packed with head-nodding grooves, old-school flavour and new-school execution.

Review: Dusty Donut's Naughty NMX returns with a double helping of irresistible grooves to make you move. On the A-side, he reimagines a timeless summer funk classic with a vibrant, Nubian-inspired twist that instantly brightens up any space. On the B-side, he teams up with label mate Runex to deliver a deeper, soulful vibe, featuring smooth production, punchy rhythms, and slick drums. The result is a track that's impossible not to move to, bringing both energy and joy and the perfect way to get the spirit of summer alive and well, even as the darker months remain here.

Review: Tyler Daley is a UK hip-hop mainstay and the vice of the brilliant Children of Zeus. Here he branches out with his own solo album, Son of Zeus - see what he did there? It comes on the band's home label of First World and bares plenty of their signature sonic hallmarks - dusty, undercooked production, lazy hip hop beats, and gorgeous vocals that sit somewhere between neo soul, golden era boom-bap from Tribe and something else a little unique. It's a warm world where yearning bars, lush harmonies and hooky melodies all float around the stripped back but bumping beats. Superb stuff.

Review: .Often considered to be one of the biggest commercial flops in music recording history, Standing In The Spotlight was the 1989 debut solo album from Ramones bassist Dee Dee Ramone. Released under his rap moniker Dee Dee King, the bizarre project served up an amalgam of old school hip-hop, late 50s garage rock and even doo-wop, all blended together in chaotic fashion, and led by Dee Dee's new gangster bravura. It's been noted that the hip-hop-centric attire seen on the cover was adorned by Dee Dee at his last few Ramones shows shortly before departing, which drew major ire from his bandmates. Tapping Marky Ramone to oversee percussion samples, and even enlisting Debbie Harry (Blondie) to provide backing vocals on 'Mashed Potato Time', and, 'German Kid', with the latter featuring vocals sung in both English and German (nodding to Dee Dee's growing up as an army brat), the album was crafted with every earnest intention of launching Dee Dee's solo career. Conceptually inspired whilst in rehab and used as a project of focus when embracing his newfound sobriety; the sheer enthusiasm and fearlessness of Standing In The Spotlight grants it a pass and a place as a truly absurd offshoot oddity from a vital member of the one of the defining punk bands.