Buy / Stream: https://true-romance-records.lnk.to/DontGetTooClose

Tensnake's True Romance has amassed an expansion catalogue of dance floor music that essentially builds a bridge between Disco and House; a bridge consistently clad with flecks of Soul, Funk and plenty of exuberant energy.
The label has remained a magnet for likeminded producers who tend to reside in this bridge themselves - the next release evinces this as the Brussels based Maxi Meraki is welcomed back for his 2nd release on True Romance.
With previous releases on Spinnin' Deep, Nervous and My Other Side Of The Moon, Maxi Meraki steps up with a slick, sophisticated record which blends Chicago sentiments with blobs of Funk and neat, effective drum work.
'Don't Get Too Close' is a playful and sultry track. Swooning vocals and guitar licks are propelled by a bold, sharp synth line which demonstrates adroit management of melody and boxes off another solid addition to the True Romance catalogue.

Don't Get Too Close Feat. Coco

Maxi Meraki Ft Coco - Don't Get Too Close (Extended Mix)

Capitano

Cincity - Voulez Vous

Massuma, DOSAMIS - Contesto

my official summer mixtape contribution
recorded at the wonderful fidelity for subject dublin on july 4th 2025 - what a night - thank you!! <3<3<3

move d @ fidelity, subject dublin 25-07-04

Andrew Weatherall's first official posthumous mix. The only b2b DJ Harvey ever agreed to. Six hours at Trouw. This one's special.

When mulling which direction to go in for RA's 1000th mix celebrations, many options came to mind. Some shadowy character 2-stepping around the fringe of our collective consciousness? An impossible-level IDM icon?

All tempting. But, ultimately, we are a DJ-forward publication and this is a DJ mix series. It felt truer to the history of the RA Podcast to release deep vault material from a time when the world of niche records felt different, tighter, more discrete.

The fourth-longest mix in the series' history is an unrepeatable marathon set recorded in 2012 at a superclub that no longer exists. 2012, incidentally, is farther away from 2025 than 2012 was from 2000... if we have to clock it, so do you.

It's the coming together of one British icon who passed away in 2020, and another whose time on the road has scaled back considerably as of late. DJ Harvey agreed to exactly one b2b set in his life: this one, with Andrew Weatherall.

The night took place at Trouw, an Amsterdam club already considered legendary before it shuttered its doors in the opening hours of 2015, as part of an RA series anchored around start-to-close combinations. Harvey was at the peak of an irresistible career second act, which dovetailed with a disco revival that dominated clubs for years. Weatherall, with infinite brownie points stockpiled from the '90s, remained everyone's favourite debonair psychonaut. 

What follows is 385 scintillating minutes of arpeggiated chug and slow-cresting climaxes: a moment when the resting heart rate of dance floors plunged lower than any comparable point in the 21st century. A masterclass, entirely self-contained in audio form.

If you've got time to spare, a fun side game is sussing out who plays what. A disco-dub cover of Echo & the Bunnymen? Smart money's on Weatherall. Exuberant EQ'ing of The Isley Brothers? Gotta be Harvey. As for the low 'n slow, lightly spangled house that was all the rage in the early 2010s (think Maxxi Soundsystem, Disco Bloodbath, Rub & Tug, C.O.M.B.I. and Full Pupp), it's anyone's guess. 127 BPM feels practically like an F1 car.

When we kicked off our RA.1000 campaign, we outlined a few goals: tick off a handful of long-awaited dream guests, honour architects who shaped the world around us and deliver recordings you truly can't hear anywhere else. Full send.

DJing and the mythmaking around it has undergone a quantum leap since 2012, let alone 2006, 1996 or 1989. For those of us who were kicking around in the former, there's a creeping melancholy that our prime is fast becoming a matter of historical record. The killing moon really did come too soon. 

Where will electronic music, DJ sets or any of this be in 2044? Hard to say. Best not to overthink that one. Instead, we want to say thanks to all contributors on the series so far. Now enjoy luxuriating in the company of two of the greatest to ever do it, together, for the first and last time.⁠ – Gabriel Szatan (Editor, RA)

@andrew-weatherall

Read the interview with DJ Harvey and Andrew Weatherall's family at https://ra.co/podcast/1016. Listen to all RA.1000 mixes, as well as the complete history of the RA Podcast, at https://1000.ra.co

RA.1000 DJ Harvey & Andrew Weatherall

DjRamosJR Live Mix, House Mix recorded in 2009 Classic Tracks 

DjRamosJR Live Mix, House Mix recorded in 2009

Release Info:

Barcelona’s own Piem, one of this year’s top-selling artists on Jackies Music Records, returns with another heater. Following the success of his collaboration with CASSIMM, which is still riding high on the charts, Piem now reimagines a track that defined his early DJ days. “Rumore Químico” was a record he used to spin as a kid, and now he’s crafted a fresh version built for today’s floors. A rolling house groover with irresistible energy, it’s designed to keep the crowd locked in and moving non-stop; a nostalgic classic sharpened into a modern club weapon.

Buy on Beatport

Rumore Quimico (Extended Mix)

Dennis Brown - Out Of The Funk
Edit By Petko Turner

Dennis Brown was born on 1 February 1957 at Jubilee Hospital in Kingston, Jamaica. His father Arthur was a scriptwriter, actor, and journalist, and he grew up in a large tenement yard between North Street and King Street in Kingston with his parents, three elder brothers and a sister, although his mother died in the 1960s. He began his singing career at the age of nine, while still at junior school, with an end-of-term concert the first time he performed in public, although he had been keen on music from an even earlier age, and as a youngster was a keen fan of American balladeers such as Brook Benton, Sam Cooke, Frank Sinatra, and Dean Martin. He cited Nat King Cole as one of his greatest early influences. He regularly hung around JJ's record store on Orange Street in the rocksteady era and his relatives and neighbours would often throw Brown pennies to hear him sing in their yard. Brown's first professional appearance came at the age of eleven, when he visited a local club where his brother Basil was performing a comedy routine, and where he made a guest appearance with the club's resident group, the Fabulous Falcons (a group that included Cynthia Richards, David "Scotty" Scott, and Noel Brown). On the strength of this performance he was asked to join the group as a featured vocalist. When the group performed at a JLP conference at the National Arena, Brown sang two songs - Desmond Dekker's "Unity" and Johnnie Taylor's "Ain't That Loving You" - and after the audience showered the stage with money, he was able to buy his first suit with the proceeds.[4] Bandleader Byron Lee performed on the same bill, and was sufficiently impressed with Brown to book him to perform on package shows featuring visiting US artists, where he was billed as the "Boy Wonder".

As a young singer Brown was influenced by older contemporaries such as Delroy Wilson (whom he later cited as the single greatest influence on his style of singing), Errol Dunkley, John Holt, Ken Boothe, and Bob Andy.[4] Brown's first recording was an original song called "Lips of Wine" for producer Derrick Harriott, but when this was not released, he recorded for Clement "Coxsone" Dodd's Studio One label, and his first session yielded the single "No Man is an Island", recorded when Brown was aged twelve and released in late 1969. The single received steadily increasing airplay for almost a year before becoming a huge hit throughout Jamaica. Brown recorded up to a dozen sessions for Dodd, amounting to around thirty songs, and also worked as a backing singer on sessions by other artists, including providing harmonies along with Horace Andy and Larry Marshall on Alton Ellis's Sunday Coming album. Brown was advised by fellow Studio One artist Ellis to learn guitar to help with his songwriting, and after convincing Dodd to buy him an instrument, was taught the basics by Ellis. These Studio One recordings were collected on two albums, No Man is an Island and If I Follow my Heart (the title track penned by Alton Ellis), although Brown had left Studio One before either was released. He went on to record for several producers including Lloyd Daley ("Baby Don't Do It" and "Things in Life"), Prince Buster ("One Day Soon" and "If I Had the World"), and Phil Pratt ("Black Magic Woman", "Let Love In", and "What About the Half"), before returning to work with Derrick Harriott, recording a string of popular singles including "Silhouettes", "Concentration", "He Can't Spell", and "Musical Heatwave", with the pick of these tracks collected on the Super Reggae and Soul Hits album in 1973. Brown also recorded for Vincent "Randy" Chin ("Cheater"), Dennis Alcapone ("I Was Lonely"), and Herman Chin Loy ("It's Too Late" and "Song My Mother Used to Sing") among others, with Brown still at school at this stage of his career

Petko Turner Edit

Free DL Here

Dennis Brown - Out Of The Funk (Petko Turner Edit)

Soul Grooves II

Love Is in The Air (Funky House Mix)

Parallel Universe

Armando Mendes, Khun Pui - Mae Nam

Armando Mendes is one of Portugal’s most assured artists. 
His rich and musical sound is informed by jazz, funk, house and techno. Debuting is tremendous album “Parallel Universe LP” that ranges across the electronic music spectrum from downbeat to jazzy deep house electronica.

His music has been played on worldwide radios such has BBC radio1, Ibiza Global Radio, and performed by artist such has Laurent Garnier, Black Coffee, Keinemusik and many more international renowned artists. He has played all over the world from Europe to Australia in festival, clubs and private events, all while picking up more than 4 million plays on Spotify for his music productions collaborations. 

Booking & Contact:
booking@turquoise-records.com
info@turquoise-records.com