For the past decade, Mad Decent has been invading your ears with fresh sounds. With humble beginnings in Diplo’s Philadelphia studio, Mad Decent’s unwavering mission is to highlight underground, genre-blurring sounds. Mad Decent tops iTunes, Beatport and Shazam charts worldwide with #1 Dance tracks and albums with releases from artists like Major Lazer, Dillon Francis, Grandtheft, Party Favor, NGHTMRE and Yellow Claw. Mad Decent is also home to Good Enuff, a launchpad for artists breaking the norm; notable releases include Bauuer’s “Harlem Shake” and DJ Snake’s “Bird Machine.” As an extension of the Mad Decent sound, Mad Decent Block Party was established in 2006 and now spans across North America and India.

JOY is the modern disco diva that brought you Andrea Doria’s monster club hit ‘BUCCI BAG’, which featured her lyrics and vocals, and further featured in the USA Academy Awards Oscar nominated film – BULLHEAD – in the club scene. The film has 21 film awards wins worldwide and 18 nominations.

Bucci Bag's list of fans read like a who's who of biggest players in dance. Pete Tong- Essential New Tune, Justin Robertson, Fatboy Slim, Tayo, Trevor Jackson, Tall Paul, Seb Fontaine, Erol Alkan, Judge Jules, Darren Emmerson and Steve Lawler have been dropping it recently to devastating effect. While Annie Nightingale, James Hyman and Zoe Ball set the airwaves alight with this monster hit!

In another life JOY projects include ROCKSTAR 4 THE NIGHT PT1/2“ PROJECT /The Scissor Sister’s – More Lemonade, which featured her lyrics and vocals as the follow up to BUCCI BAG and her vocals feature on club hit ‘Work This Pussy by Mad 8’  these tracks have the support of big DJ’s worldwide including superstar DJ’s such as David Guetta, Fatboy slim etc.

A former International fashion model, founder/club promoter of Fur coat & No Knickers; think – 21st Century, secret love child of Grace Jones and Kurt Cobain, the outrageous and sexy JOY will hit you between the eyes like an exocet missile!

As a unique one woman act, she has performed at high profile events such as, supported the USA hit band SHALAMAR on their London Tour; the McMillan Cancer Music Festival, Radio 1 Live Road shows, supported Debbie Harry at the Arthur Barker’s ‘Return to New York event; featured in The Daily Mirror Newspaper ‘Streets of Peace’ campaign and won the completion as Notting Hill’s local Rockstar; she has toured the world with the band SECRET LIFE, who massive hit AS ALWAYS (Stevie Wonder) amongst performances at some of London’s most high profile night clubs, parties and events.

JOY is currently in process of reinventing her style and sound and will be back soon with a new musical cosmic concept: Digging deep in another dimension!

JOY'S MUSICAL INFLUENCES ARE: The Killers, Patti Smith, Lenny Kravitz, David Bowie, Nina Hagen, Annie Lennox, Florence and the Machine, Kreftwork, Lene Lovich and Grace Jones.

Independent record label based in Paris and London: Metronomy, Manu Chao, Ed Banger Records, Charlotte Gainsbourg, Major Lazer and more.

Send your demo to : demothreehands@gmail.com  
Listen all on Spotify 
https://open.spotify.com/playlist/5KQvHV19jSmuI88Q9DZdyT?si=e5d8d21a00fa4440
INFO : three.hands.records@gmail.com
Established in 2012, Three Hands Records emerged as a dynamic and influential record label, focusing on various club music genres with a special emphasis on trance. 

Founded by a group of passionate DJs known as "the 3 hands collective" – including Ohmguru, TwoPlusOne, and Macchianera – the label quickly became a creative outlet for their collaborative efforts and musical endeavors.

The foundation of Three Hands Records was laid by the collective's shared vision of exploring the boundaries of electronic music, especially within the vibrant realm of trance. 

As the label developed, it expanded its roster to include talented artists who not only resonated with the founders' vision but also brought unique perspectives to the table.

One of the key features of Three Hands Records is its commitment to collaboration, both with established names in the industry and emerging local producers. 

Over the years, the label has forged partnerships with renowned artists such as PastaBoys, Lorenzo de Blanck, Big Mojo, Rame, Erly Tepshi and Dino Angioletti. 

These collaborations have resulted in a diverse and rich catalog of music that has captured the attention of club-goers and music enthusiasts alike.

In addition to collaborating with established artists, Three Hands Records has actively sought out and published works from emerging local producers. 

The label's dedication to fostering a sense of community is evident in its support for these rising talents, providing them with a platform to showcase their creativity and connect with a broader audience.

Three Hands Records stands out not only for its commitment to trance music but also for its role in shaping the landscape of club music through collaborative efforts and a genuine passion for electronic sounds. 

As the label continues to evolve, it remains dedicated to exploring new musical frontiers and nurturing the talents that contribute to its vibrant and ever-expanding community.

Six Degrees Records produces and markets accessible, genre-bending records that explore world music traditions, modern dance grooves, electronic music, and overlooked pop gems. The label’s catchphrase, “everything is closer than you think,” is a real reflection of Six Degrees’ commitment to different styles of music that appeal to a curious and increasingly sizable audience.

QUICK NURSE, THE SCREEN!
After a generation of duos, the power trio is back, hotwired into the 21st century in the startling new form of SCREEN. But, where the threesome lineup, first propagated in the mid-60s by the likes of Cream, used guitar, bass and drums to rattle the roof, ALEX PATERSON (The Orb), GAUDI and CHESTAR have conjoined to tear down the walls, powered by mutual obsessions with dub’s bass-propelled dislocation of the norm, except used as a springboard.
It was a love of dub reggae which first brought Alex and Gaudi together, the ever-questing pair bonding over remixes and a monumental back-to-back soundclash on the former’s Chewy Chewsdays radio show on fnoob.com. Studio collaboration was inevitable so, joined by percussionist-vocalist Chestar, who Alex knew from his time in an early 80s incarnation of Youth’s Brilliant, they embarked on the intense series of recording sessions which have resulted in 'WE ARE SCREEN!.', one of the most startling creative and turbulent albums of the new decade. Where technology often seems to squeeze the original passion and maverick dam-busting spirit out of music, Screen have appeared to rough and dub things up, both in homage to this most anarchic musical form, while also plugging into the kind of syncopated creative emotion which fuels great music.
Both Alex and Gaudi are already renowned as fearless aural trailblazers with many successes under their belts. Navigated by Alex, the Orb morphed out of the late 80s acid house explosion to become UK album chart-toppers and top ten space invaders, establishing a name for spectacular intergalactic whoopee, while displaying an often criminally-overlooked knack for bringing together idiosyncratic musical forms and often-unwitting avant garde attitude [underpinned by the eternal subliminal question, ‘What would King Tubby do?’]. Just the last 18 months have seen Alex collaborate with Thomas Fehlmann as the Orb on the evocative Baghdad Batteries, with Dom Beken on the future hiphop soundtracks of High Frequency Bandwidth’s Hell Fire And Brimstone and Shooter 2 soundtrack, and with Pink Floyd’s Dave Gilmore and Youth for the Metallic Spheres project, which boasted a Gaudi remix. Alex’s early work has also been heard again recently on the reissue of Primal Scream’s Screamadelica, on which he supplied the stratospheric mix of ‘Higher Than The Sun’.
While most reading this will be aware of Alex’s enormous story, Gaudi packs an equally as eventful tale after cutting his musical teeth in his native Italy‘s new wave/punk scene during the early 80s. His reggae epiphany came soon after and he quickly sharpened his production skills while opening his soul to the infinite vistas of Jamaican music.  A few years later  Polygram released his first solo album Basta Poco (Italy’s first home-grown raggamuffin outfit) and the follow-up Gaudium Magnum which led to several years touring with reggae artists including Jimmy Cliff, The Wailers, Third World, Yellowman, Shinehead and Ziggy Marley. Gaudi moved to London in 1995 and set up his Metatron Studio [where he still creates and the seeds of the Screen ejaculated into bloom]. Collaborations commenced, including Terra Terra with DJ Angelino, remixing Cool Jack’s ’Jus’ Come’ to pole position on the UK dance charts, and further mixes over the years including Lamb, Simple Minds, Afrika Bambaataa, Mansun, Cast, Apache Indian, Zion train, Artful Dodger and Scissor Sisters to name a few. He has also written movie soundtracks and theatre plays, while his solo career continued with third album Earthbound, which brought in world music giants, and then Bass, Sweat & Tears emerged from time he spent immersed in Africa. The Orchestral World Groove collaboration with DJ Pathaan resulted in four years touring the world, while he continued working with anyone from Simple Minds‘ Jim Kerr to hip-hop pioneer Grandmaster Flash to reggae legend Horace Andy. 2006 saw him teaming up with legendary ambient producer Peter Namlook on their Re:sonate album, 2008 with Lee Perry on his Bob Marley refurbishment project, and Nusrat Fateh Ali Khan on Dub Qawwali album which gained a nomination for the BBC World Music Award. Gaudi’s fertile relationship with Alex started after the former remixed ‘Vuja De’ off the Orb’s The Dream album then Metallic Spheres feat David Gilmour, while the pair have also embarked on remixing classic tracks from Trojan Records’ monumental catalog.
Chestar has been present in the South London Orb-related axis since the early 80s, arriving from the North-East, first as percussionist in Brilliant, the band formed by Youth after Killing Joke’s runner to Iceland [Their later guitarist was Jimmy Cauty, promoted from sound man to band member on Chestar’s insistence, paving the way for his explosive exploits in the K.L.F. after meeting Bill Drummond as a result].
It was quite a long way from the ten-year-old kid who’d been thrown off the set of a Campbell’s soup commercial by legendary director Fellinii, when he was ten years old. In 1967, his ten-sibling family won a competition to star in the advert, made around the time Andy Warhol was turning the soup cans into objets d’art and shown on TV for two years. Chestar first gig was as 19-year-old drummer for John Lee Hooker’s bassist Smudger Smith, then percussionist for the nascent Tourists in 1977, alongside Dave Stewart and Pete Coombes. He recalls young singer Annie Lennox’s audition, but was commendably thrown out for taking the piss out of Stewart. Now ensconced in London, Ches hung out with Joe Strummer, Tymon Dogg and the Maida Vale squatting fraternity.
Chestar first gig was as 19-year-old drummer for John Lee Hooker’s bassist Smudger Smith, then percussionist for the nascent Tourists in 1977, alongside Dave Stewart and Pete Coombes. He recalls young singer Annie Lennox’s audition, but was commendably thrown out for taking the piss out of Stewart. Now ensconced in London, Ches hung out with Joe Strummer, Tymon Dogg and the Maida Vale squatting fraternity, before relocating to the remote Welsh mountains. He later gravitated to Brilliant’s West London HQ, replacing drummer Andy Anderson [who went on to the Cure, Jeffrey Lee Pierce and Iggy Pop], playing percussion and drum machines at their gloriously chaotic gigs, bringing Jimmy into the band, while hitting it off with Alex through mutual love of breaks and beats. Brilliant had three singles produced by SAW, the Chestar-penned ‘Somebody’ one of their most successful, getting to number 20.
After Brilliant dissolved, like many others, Chestar caught the rave bug, involved in putting on events like Sunrise. By now, Youth had built a mini-empire around his Dragonfly operation, Chestar plugging into the psy-trance vibe. After experiencing an epiphany in India that a raga is similar to a Celtic reel, he reinvented himself as Baba G for Youth to produce ‘Dig A Jig’, only kept off the top spot by the Rednex’ ‘Cotton-Eyed Joe’ in 1995. Chestar then spent five years in Japan, promoting raves and managing a didgeridoo band. Between 2001-03, he also promoted the legendary Samothraki electronica festivals in Greece, raided when he wouldn’t pay bribes, resulting in jail and deported to the UK, where he worked as festivals production manager. Most recently, Chestar wrote and sang lyrics for two tracks on Younger Brother’s Last Days Of Gravity album.
To quote Joe Strummer, a cog in the universe shifted somewhere when Chestar set up a meet between Alex and Gaudi, putting down beats as the creative collision between the pair turned into a hyper-sparking particle shower of new music. Gaudi remixed ‘Vuja De’ off the Orb’s The Dream album, then Metallic Spheres feat David Gilmour, while remixing classic tracks from Trojan Records’ monumental catalogue with Alex. But, for the last few months, Screen has been evolving fiercely, now resulting in the new album.
While its ten tracks sport recognizable elements from previous signature sounds, the spirit of collaboration turns the album into a three-way odyssey leaving musical barriers as distant specks on the horizon, the afore-mentioned dub pulsing in the lower reaches or splintering vocals, which sometimes use vocoder effects to lend a cold, futuristic sheen to the messages.
After the swirling pulsations of ’15 minutes’ and intoxicating strings and contagious bongos of ‘Frog Time’, the album ventures into the orchestral dronescape of ‘Gone phishing’ before the sugar-rush monotone funked-up robo-rap of ‘Just outside’. The electronic wind effect of ’Perfect’ turns loose a slo-mo dub-funk behemoth, goosed by sinister narrative which continues as Giorgio Moroder operates from the Clockwork Orange chemical toilets on the post-apocalyptic city prowl of ‘Section by section’. Crucial dub hoists its mighty bass appendage on ‘Smokescreen’, before ‘Weather will be bigger than war’ continues the reggae celebrations, which reverberate into the closing version of Louis Armstrong’s ‘What a wonderful world’, which manages to mate ricocheting tablas with Maytals-style rock steady skank, Satchmo’s gorgeous song providing an optimistic, uplifting finale after the gamut of panoramic visions which have just transpired, leaving no doubt that the Screen is up.      (Kris Needs)

Aims to discover, nurture, and develop exceptional Jamaican talent, providing a platform for artists to thrive creatively and achieve global success.

Booking:
Worldwide: info@feellifemusic.com (Itay Berger)
Denmark: bwoydebhajan@hotmail.com

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https://en.wikipedia.org/wiki/Gaudi_(musician)

GAUDI is following