after a couple of carefully defined ep s and the „siamese anthology- series the label is proud to reveal another project they were working on lately. „siamese reworked- will feature pervious released tracks in new interpretations reworked by artists close to the label. and not only the music but also the original artworks will get a facelift here!

time flies, doesn’t it? it sure does when you suddenly wake up to celebrate your 10th vinyl release as a small label, which is the case with us. but as we’re all about quality over quantity, our latest 12” offering comes with a superb collage of fresh music by the one and only radicall. having made his mark as one of the most consistent producers, known for his trademark combination of strong, dynamic drum programming and soft and booming basslines, radicall keeps on delivering top-quality music with each next release. and this 12” single is no exception to the said rule. the playful, happy-go-lucky “touch” is a bit of a nod to the old-school/rave/early jungle/footwork/you-name-it style given its complex drum pattern and an array of acid-style synthetic samples and tinges of vocal here and there, but sticking to modern-day standards nonetheless. the flipside comes with “build me up” remixed by bungle, who surely knows how to make good things just as good as they are, but yet a bit different. and here we have the brazilian powerhouse reshaping radicall’s work to make it a bit lighter and upbeat, but still retaining some elements of rawness mixed perfectly with traces of nostalgia. an excellent job, breathing a new life into the original piece - a darker-shaded straight-to-the-point roller, which you can get as a digital bonus added to the release. so here it is - the tenth vinyl item in our catalogue, featuring names you simply can’t go wrong with. what better way to celebrate the occasion?

‘black lotus’ follows walton’s inclusion on tectonic’s landmark 100th release – riko dan’s ‘hard food’ ep, plus the ‘praying mantis’/ ‘koto riddim’ 12” (also on tectonic) and the ‘taiko’ ep on kaizen – the latter two of which hinted at the album’s sound, but didn’t fully prepare us for the brilliance to come. abstract electronics, grime, dubstep and new styles that don’t even have a name yet coalesce perfectly on this classic in the making. it finds walton at peak power, reaching just as far (if not more so) than anything on the pan, different circles, boxed or tectonic catalogues for pure futurism and new-terrain-traversing brilliance.

it is not the honor that you take with you, but the heritage you leave behind. we don’t have every day a rework of a classic techno milestone on a label that tries to push the boundaries of the future, but this time is the time. thomas schumacher represents one of those artists that was there since the very beginning, and he is the proof of how an artist can evolve in many ways during the years, but always been devoted to techno, and the meaning of it. “when i rock” was played all over the world for decades but now gets a brand new rework by label boss emmanuel, and the creator itself thomas schumacher. the record has a b/w sleeve cover design by caitlin schumacher on 12”.

coming back for another round after his first ep for figure last summer, shlomi aber continues to explore different avenues of his multi-faceted sound, tying it all up in a nicely rounded package. setting the pace is driving opening track whistler, the producer showcasing his ability to craft something big but undoubtedly refined. he then lets old school drums cruise along gentle sways of washed out ambience, giving the deep heads something to really get into… back with more techno on the b-side, this time in true figure-style: lean, sharp, and utterly effective penetrate the system is sure to leave its mark and comes complete with an extended, separate intro, making for quite an experience. staying atmospheric to the end, aber chooses to step out in half-time, taking cues from dubstep as hollowed kicks carve out an endless tunnel that leads only ever deeper down the rabbit hole.

a1: the exceptional producer stenny has been a munich resident for a few years to be as close as possible to his musical home port of ilian tape. here he once again proves what a perfectly mixed supergroovy breakbeat board is.
a2: janis and fabian from the live duo aka trap10 do not hide their musical ideals. in “people zoo” it’s classic but classy, &#8203,,&#8203,,according to old detroit style and chicago tradition.
b1: jonas friedlich’s eps on molten moods and four triangles are a good example of what techno’s style is all about: tape delay is his weapon of choice, often with vocals and rarely straight beats. with “jazzersizzzze” he ties in masterfully to it.
b2: p-t2 has become an integral part of the red sun (club rote sonne) in just a few years, indulging her fondness for the harder pace of club music. accordingly, their rfr post is an acid board, as it is written in the book.

this hampshire & foat project should not come as too much of a surprise to those familiar withgreg& warren s music, influenced heavily by not just jazz but the library sound of the 60s and 70s along with film soundtracks from the same golden era.greg& warren are avid collectors of this music,gregsends me links night and day to lps he has picked up digging on his travels. this constant search sends him down new musical pathways and often sparks a whole new concepts for projects. warren andgregare both fiercely creative talented individuals which means we have to keep them working, a challenge for us all, but the music rewards the effort many times over. we had talked for a long time about doing a library style lp (somethinggregis very passionate about) so during different recording sessionsgreg& warren started laying down various tracks with a view to the lp we have here. side one is 5 tracks in very distinct styles, musical paintings for the big screen. the vast sound of the japanese influenced jasmine, the spaghetti western melancholy of mariposa lily, the call to action that is antonio s theme, the breezy vintage sports car in the sun that coastal drivepaints, and lost in nostalgia, a late night poirotesk piece. side 2 is a classic library suite, whichgregdescribes as a detective s theme with different variations on the motifs.

limited to 250 copies, next up in tartelet’s limited-edition series is renaissance man n.o.t.e. with “night frames” – a compilation of barrel-aged sounds for the warm nights ahead. n.o.t.e. is a new project by an already established artist who might be of swiss or italian origin, depending on who’s asking. a seasoned sailor of musical waters, he enjoys jazz piano, fine wine and silk linens. though none of that matters. the first release under his new name could be described as a mini concept album where different routes are explored, bringing n.o.t.e.’s musical diversity and capabilities to light. starting with “falsa laudis,” n.o.t.e. takes the listener back to the 80s with clear references to italian boogie and jazz-funk of that era. the track is warm, fat and sparkly, and best enjoyed with a cocktail in hand. following this is the title track “night frames” – a bruk-jazz escapade not shy of elaborate rhodes solos and filthy funk. the b-side opener moves further south: “obaleyako” is fueled by tropical energy, mixing african percussions with soft piano chords. it’s weird, mysterious and red hot! last but not least, n.o.t.e takes on the finest deep house sound with “en route,” where endless layered melodies and percussion form the farewell. this is an ultra limited-edition release of 250 copies (strictly no repress!), written and produced by n.o.t.e. and mixed at panalama studios in copenhagen on the neve 5088 shelford console for good measure. enjoy!

tokyo’s finest techno/house label vis rev set owned by tresvibes soundsystem released its 4th ep “vrs004 ? nord”. featuring essential but minimal structured tracks by vieux renard, as known as montreal’s guillaume coutu dumont. this title is his very first attempt as guillaume’s latest solo endeavor which he cited that it was time for him to return to his den and begin crafting his next magical shenanigans.

after the release on french label basse resolution and after a couple of years since his last ep on bosconi, having released with the -under the line- track one of the highlights of our latest 10 years compilation and as bss together with his mates fabio della torre and mass prod, rufus is back on bosconi with a new four tracker record which goes on a new direction compared to the past music he did. -ritual chants- was mainly recorded in the abandoned industrial area of milan called bovisa and probably for this reason the release sounds all around a bit sci fi, cinematic and especially gothic. all begins with the raw techno jam of -fast rituals- where structured mellow and dreamy synth lines combine with the dusty, aggressive and driving rhythmical transportation of its drum section. fast rituals is one of those electronic pieces which tells you a story from the beginning till the end, so please pay attention to it. -sapere sparare- looks calmer but actually has the more mental and psychotic feeling of the whole record, driven by an intoxicating and fat bass line, rough jazzy beats and a lot of twisted out fm synths goodness whose times are punctuated twice by the warning female vocal theme of the track. -last shot #5- instead is a jacked out, hypnotic and darker broken house track dense of pumping low ends and subtle but glorious synth riffs properly made for the late hours and totally in the vein of a baby ford - minimal man production.-tenebre- closes up the ep with its horror movie atmosphere, drilling drones here and there, big bouncy bass lines, reverberated snares, drama strings and a dominant sinister melody which slightly reminds of some old dbx track.

ground is an osaka native, but his soul is truly that of a nomad, traversing the planet, befriending the kindred spirits found in humans, animals and plants. he is exceptionally receptive to the beauty in all that surrounds him—the incidental music of a busy city street, the orchestrated chaos of a scrambling radio, the syncopated grace of a migrating flock of birds, the simplicity of an isolated hand clap—and as his map continuously unfolds, he accumulates a vast catalogue of visceral tools to complex musically recount his experiences. sunizm is a cross section of the artist’s process—an array of complex microcosms overlapping to comprise a thematic whole—gathering field recordings, found instrumentation, jagged electronics, and synthesized chanting, to be woven into a dense narrative that appears both obsessively constructed and divinely improvised. with each consecutive track, the artist gradually constructs hypnotic patterns that 1-up the mind as it struggles to break free from a seduction of loops, steadily intensifying until reaching an apex of sound collage so cerebral that the listener might consider a post-album shower. but alas, the fourth quarter releases a bit of pressure, our gobs still lay smacked but there is a warm confidence as the psychedelic trial delivers us home to nod out. dear humans, animals and plants, ground and the esp institute present, sunizm.

an amalgamation of two separate 12 inch 180g lps in one 6mm spine, gatefold sleeve, download code, poly lined inners. remastered from the original tapes.

after the label was put on hold for many years, there was no doubt, that lory d was up to the task of reanimating the sleeping beauty of seilscheibenpfeiler schallplatten berlin. t he italian techno producer deliveres a stunning ep for catalogue number sspb001. with its driving acid sounds, sublimed by raw percussions and hypnotic rhythms, this ep definitely is one for the darker parts of the night. last but not least it also features an edit of berlin local marcel dettmann, a man that doesn?t need no further introduction. a big bang that makes sure that the next release won?t take another 24 years...!

anyone who’s followed maurice aymard’s galaktika label over the years will be all too aware of the imprint’s leaning toward eclectic sounds. it’s an ethos that mirrored in the work of aymard himself and regardless of whether he’s turning his hand to tech house sounds or more straight-up techno jams, his is a way of working that’s endeared him to many over the years. his latest is a case in point. the 75th chapter in the galaktika discography, the into the night ep serves up an array of sounds that are enticing as they are upbeat and intriguing. getting us underway is the sounds of the title track. an unfurling beast of a track that’s loaded with dramatic tension throughout, it’s an eerie cut that’s characterised by its clever bells and some incessant percussion. a full on track that’s not to be handled lightly, it’s repetitive nature and sporadic vocal charms is indicative of levon vincent at his best. ‘shinning’, a more progressive cut, follows after. another track that’s notable for the suspense that lingers throughout, it serves up a nice stylistic alternative to what’s arrived before. aymard then goes all out on the frankly astounding sounds of ‘rage’. a propulsive gem of the type that sees the producer greatly rewarded for trying something that bit different, it’s a special sort of track that takes on various tones throughout but always stays captivating. seeing us out soon after is eduardo de la calle’s remix of the latter. the cadenza man is well versed in all things deep and dextrous, and his interpretation serves up a fitting example of his talents. although it starts on a melodic tip, it too soon brings the listener on a thoroughly captivating but unexpected journey. much like the rest of this ep, de la calle’s remix is full of surprises from the off.

spring has finally landed and we have the perfect soundtrack for those long sunny afternoon in the park. we are glad to present explorer of the humankind for his first release with us. starting with stars in her eyes, a gentle track where the lyon newcomer use his voice as well as real drums for a smooth listening-experience. following in the same vein but a touch more upbeat is just a tool, a more playful funk-inspired piece. closing the a-side, share the love takes the tempo a bit higher and and shifts toward more club-friendly territories, houses goodness. turn that disc and get awake for i know, a disco-edit piece with trace of french heritage and filter action. lastly, deep inside takes us into a gentle profound dreamy state, moving more on the inside than with the feet.

when michaela meise performed at westgermany at kottbusser tor in berlin-kreuzberg on march 20, 2015, accompanying herself on the accordion, i was perplexed. i knew her first album from 2010, which was about hymns (»preis dem todesüberwinder«, originally released on clouds hill, available as a download and stream through my label from july 2018 on), but what she was playing weren’t spiritual songs?! i wanted to put this music out on my label: the songs sounded sad, aloof and wistful but also proud, determined and unerring. the album title »i am greek« is a tribute to melina mercouri’s album »je suis grecque!«, which was released in 1971 when mercouri was deprived of citizenship by the greek military junta. mercouri lived – like mikis theodorakis and many other cultural workers – in exile. meise’s album is dedicated to the chanson scene of post-war europe, whose songs were popularly folksy, but also political. some talk about the experience of war, the shoah and labor migration.

phil gerus is a natural musical talent who oozes sound from every pore. fusing together cassette pop, disco, soul, r&b and funk, his sounds are effortless but hugely emotive and have come out on labels like sonar kolkektiv, manmakemusic (george fitzgerald’s label), futureboogie and true romance. growing up in moscow, phil studied classical piano and was heavily influenced by his parents’ music tastes, including jazz records of oscar peterson, bill evans, and keith jarrett, it is these classy vibes that permeate his own creations. phil has played around the world at leading clubs like japan’s dommune, studio 80 (amsterdam), mojo club (hamburg) and various hotspots in europe and russia. phil is also a regular guest on radio shows around the planet and is considered as an artist on the rise.

after two incredible eps, wayne snow the nigerian-born, berlin-based vocalist and songwriter now presents his debut album on tartelet records. freedom tv is the natural sequel to the max graef produced tasters red runner (2014) and rosie (2015) a project marinated in afro-caribbean, soulful grooves and topped by waynes effortless falsetto acrobatics. as the title suggests, freedom tv is an album with themes of liberty, struggle and creative identity pumping through its veins. within ten tracks, snow fluently meanders between musical styles: from low-tempo soothers like album opener cooler and fall to the syncopated bruk of the rhythm and cosmic funk escapades found on nothing wrong. production comes from three varied and solid sources. the tag-team between snow and fellow berliner, max graef

first lp by visballa (also part of atelier records adopo) is a long avaited lecture in real industrial funk. hard edged & rhythmical, but sometimes also as if recorded underwater or getting stuck in between two charging electrons. where some tracks bare the quality of dub rhythms others are fast forward 80s - and there s also the psychotic ones - either way it s 100% excellent.

* wislov might be a new signee to knitebreed, but he has been releasing material for years, and the spanish (not russian) maestro is already known around the world for his awesome breakbeat creations. it was only a matter of time before a label snapped him up, and he is a producer easily capable of dropping huge tunes in both dark and lighter stsyles. this ep showcases his talent, with four tracks specifically designed to compliment the knitebreed sound while carving his own niche into the label

he might have lived a century and a half ago, but antonín leopold dvo&#345,,,ák resonates on. in 2014, the deutsche symphonie- orchester recorded parts of his ninth symphony and released them into the wild for the masses to cut up, stretch out, and have their way with. this is the result of one such experiment. ludwig zibell and martin schmitz translate dvo&#345,,,ák’s operatic dramatism into a techno moodiness that sees the coming together of two unlikely worlds. alex ketzer’s 5 am reduction is a dubbed-out remix of the remix that plays out and dwells upon some of the moments you might miss listening to it in the orchestra. finally these strange, otherworldly meditations upon music from another time see a vinyl release.

during the recent years, terence fixmer kept on being prolific by producing and releasing his music output on well esteemed quality labels such as ostgut ton, novamute, jealous god and recently on aufnahme+wiedergabe. following a constant workflow, fixmer decided it is now time to restart his label planete rouge which he launched back in 1998 already but has always been irregular in terms of releases. the label will relaunch after a 4-year hiatus with his new 12-. terence fixmer s oppression ep is a great resume of his unique sound design signature, delivering a collection of four energetic tracks that speaks to the soul. on top of it, as an homage to one of his all time favourite tracks of the normal / warm leatherette from 1978, fixmer decided to rewrite this 40 year old tune from daniel miller as a a personal pleasure and fun. by using as well the mini korg 700 s terence fixmer recreated nearly the original sound, keeping a track that is loyal to his own sound as well as its original spirit.

whether or not techno music is destructive and to what degree is fair concern to have, but there s no denying that it can call upon our primal instinct of surrendering to rhythms together with everyone around the proverbial camp fire. sure, the camps of today are the clubs, and the fires are strobes, but that doesn t change the essence of rituals that we continue practicing. the release stays close to 130 bpm and offers efficient tools for the dancefloor: airy, for one, represents a syncopated narrative of wonder and magical realism, whereas in the hands of gotshell it becomes less contemplative, shifting to a more direct perspective. backed by cascading kicks xi takes a dive into atonal realm, and kujin —the most brutal number of ep—offers a densely packed treble range running above the hammering 3/3 kicks. with hydra, it s a trip laden with wondrous soundscapes, shamanic percussion and sensations of unexplored grounds emanating from the bassline, after which the closer trioptic provides a rebellious theme fitting for times of unrest and resistance.

it s been a long time coming but now is the time for metamrophic to present out first various artist compilation. this one features 3 up and coming artists, goiz, jem, and jacksonville, as well as one track from label head dan curtin. of course the first compilation from metamorphic had to be called interstellar groove addictions, the unofficial slogan of the label since the beginning. these tracks are modern trips into the unknown, representing the mood of the label perfectly - fierce individuality, evolution in sound, and deeply felt emotional content.

streetman records kicks it off with three low-flyin’ edits. momma’s callin’ may wanna make you jack it back to your house, but thirtythree n third will keep you hanging at the curb. don’t forget about no more fuck ups, cause between the slap of a funky guitar and the snap of a snare drum, you can easily miss your step. three stone cold edits from the street!

we are happy to introduce a new release and a new project from ben vedren and chez damier, a new collaboration that has been in the making for some time now. side aa1 presents a unique sound in its vibe, kind of a minimal track. the french discussion/vocal in the background adds another dimension. you don t need to speak the language to understand what s going on, but you must wonder at some point: do i understand french or is it the music that made me understand them? an -organ- sound intervenes towards the end bringing power and light to the hall. it s eleven minutes of pure music! while -aa- is composed of two different remixes of a different track, -berlin nights in paris- it can probably be called the house anthem. it starts strong with some acid sound and is filled with a lot of wonderful elements. like a gourmet meal, you wonder if the track shouldn t have been at least three times longer to satisfy the gluttony of the listen. the techno remixes of the track. it s a perfect example of detroit meets house. techno track can, with no doubt, feed and drive the dance floor. no need for more than five words to describe it – it s a serious techno track.

here we go again! coming back with a juicy 4 track va from the french team that started their business back in 2016. alva, armless kid, mara lakour & ortella are part of this brand new adventure that you are about to discover. nothing but quality house music provided in this release, we hope you like it as much as we do!

mathias schaffhauser, founder of german label ware records debuts on third ear with a 3 track 12inch. this is big-sky, expansive, driving techno even the beatless version of grad minus 12. mathias schaffhaeusers ware records had a very recognisable sound. it was one of the defining labels of the cologne sound, most associated with kompakt these days. but in the 90s and early 00s, ware was as significant a label, especially for djs. this release is very much a good example of that sound, still sounding fresh and bristling with good energy.

one of the deepest reaching projects from the multifaceted vibraphone stable resurfaces for an extended trip through ambient sonics that marks possibly the most daring departure on the esteemed italian label to date. the harmonious tones undulating throughout sketches from space are instant soothers, taking the odd cue from techno but defiantly beatless and meditative. its a surprising addition to the long and winding vibraphone story, but also feels like one of the strongest steps forward the resurgent label has taken since returning to the fray. just try sinking into lagrangian point l4 and you ll see exactly what we mean.

not to be confused with the 80s heavy rock/funk band from the us, this living color track was written, produced and released by tony kalangis on his sophisticated funk label in 1974. kalangis, who sadly passed away in 2017, was a man of many talents who could not only write a great tune but also novels, poems, and film scripts.

in 2015, something magical happened. we met a couple of talented young swedes named artur bra&#776,ndstro&#776,m and egil kahlbom who excelled at composing and producing these lighthearted, breezy disco-hued house tracks (or house- hued disco tracks, perhaps) that both fit the aesthetic and character of lph and brought something new into the fold. the result of that first encounter was marathons, a full-length album, their debut to the world, and now, two years later, we re back for the much-anticipated follow-up. rehearsal is a little briefer than its predecessor—it s five tracks—and has a markedly different tone, one that s less about dusty, sun-bleached samples and more about tightly-engineered and delicately-crafted songs. if the first effort was marked by its carefree naivete&#769,, the sophomore effort is, well, something a bit more advanced or, perhaps, rehearsed. what hasn t changed, though, is these guys ability to home in on grooves and coax something trasncednetally hooky, memorable out of them. the five tracks contained here are low-key in attitude but powerful and punchy in approach. they re uniquely juicy, nourishing numbers for mellow hours and fearlessly fun ditties for party hours. lots of love went into the lot of them, and we hope all s you feel when you let them wash over you is that. love

you got the stuff is not lovely day - that much is true. this ones a wigged out, extended, trip into deep space from 1978 that is truly baffling. of course, it features bill singing for the first half of the track but then all of a sudden we re launched into a cosmic wormhole as everything just falls back and the track is stripped of any earthly qualities. people find themselves asking this, this is bill withers? as lazer guided synths and rock solid drums pull us into the sonic vortex. truly amazing. obviously a nugget like this has not gone unnoticed and has been edited and chopped and sampled deftly by the more sarcastic, left-field oriented crate diggers out there but it has never been reissued legitimately - until now! a hugely sought after and collectible gem right here, backed with the wistful slow jam look to each other for love as per the original 1978 columbia promo 12inch version. this left-field, cosmic classic has been legally reissued by above board distribution in conjunction with the legal rights holders sony music entertainment. this high quality repress features original columbia pink label disco 12inch artwork and has been remastered from sonys original sources by optimum mastering, bristol uk.

holic trax takes a trip to the far east to celebrate the finest in japanese house music culture with a split 12inch from veteran producer takecha (aka takeshi fukushima) and label boss tomoki tamura. takechas productions roll out like reams of silk, peppered with cheery midi horns but not at the expense of the overall deepness of the tracks. kiara to sarara is especially infectious with its sprightly jazzy demeanour. tamura takes a tougher stance on the b side with the techy tones of taiyo mo nai and then hits up a classic house tone for the subdued but focused prhthemic.

some crate-digging compilations are often the result of someone hand-picking their choice favourites from another country’s musical history, perhaps unaware or uninvolved with its cultural lineage in the process. on this release - a treasure trove of synth jams, pop, samba boogie, balearic and electro from 1980 & ‘90s brazil - the tracks are picked by millos kaiser, one half of the brazilian duo selvagem, who are at the helm of throwing some of the country’s best dance parties. it’s a rare compilation that offers brazilian music actually picked by a brazilian.
this collection of sixteen tracks doesn’t comprise tracks scoured from deeply in-demand records, the rare sort that sell for eye-watering sums and that collectors spend years tracking down. they are the sort you’d find for a few quid should you come across but, as kaiser says, “the problem is finding them. they aren’t rare because everyone wants a copy but because no one wants them, not even the dealers.”

what can be said about the girl whose greatest friend was the mist? it can be said she was never short of adventure, for each time the mist cleared, it had a new surprise. rabbits and rocking horses came out of hats the size of hills, armies of ants played in marching bands, deer danced, giraffes juggled, elephants tap-danced atop the moon, flowers bloomed in the sky, and stars shone on the ground, because, why cant down be up? with the mist there was always the kind of hocus pocus that twisted itself into a pocus hocus, a shenanigan or a hijinks so high it could not be jinxed, but it had to be jumped. by a fish flown by a boy from out of town. it was enough to make her giddy with happy.

ground is an osaka native, but his soul is truly that of a nomad, traversing the planet, befriending kindred spirits found in humans, animals and plants. he is exceptionally receptive to the beauty in everything that surrounds him the incidental music of a city street, the orchestral chaos of a scrambling radio, the syncopated grace of migrating birds, the simplicity of an isolated hand clap—and as his roadmap continuously unfolds, he accumulates a vast catalogue of visceral tools to musically recount his experiences. sunizm is a cross section of the artist’s process—an array of complex microcosms overlapping to comprise a thematic whole—gathering field recordings, found instruments, jagged electronics, synthesized chanting, and weaving all into a dense narrative that appears obsessively constructed yet divinely improvised. logos is the first of two singles surrounding the album and is complimented with a monster remix by bartellow (a fellow esp artist, collaborator and good friend of ground) as well as a secret weapon b-side entitled discopazzle, which is exclusive to this single release. attention all humans, animals and plants, ground and the esp institute present, sunizm.

the ppa duo outta london is back with another burning hot 7inch on gamm. just like on the first 7inch they go for two rare jazz-funk tracks where they not only rework the originals but also add their own instrumentation on top. song for you (by popcorn) got a real nice boogie funk feel and sounds like an early 80s production from the uk even though its actually a rare florida production. green machine is jazz-funk original by o donel levy but now re-tweaked and with vintage clavinet and percussion added over the original track. another ppa home run!

1 copy per customer!! everybody s favourite parisian party fiends are back, polishing up another batch of patchy pound bin finds and not-on-discogs delights for your next summer soirée. putting their orange-eagle eyes to good use, the lyo crew have trawled the crates of europe and beyond for this sunkissed set, working the scalpel to the max to pack the dancefloor in arms aloft ecstasy. our party starts with the kwaito groove of -avidiyo--, a killer bit of late 80 s afro-action boasting synth marimba, alien bass blasts and life affirming vocal chants. not only is this cut moving in the ants-in-your-pants/dancing-like-a-madman sense, but its sting-on-safari emotion and clarinet solo could bring a tear to a glass eye. cartwheeling between aspirational jazz-funk and afro-cosmic, yanga mbiwaa makes its way to the heart of the party like a bewildered parisian at an ivorian wedding. as tumbling toms rumble like thunder on the serengeti, an oddball exotica chant encourages the nearby wildlife to shake a tail-feather to the club tropicana guitars and buzzing synthbass. at last you have something to keep quantum jump s lone ranger company! last but not least comes autoradio , a very well mannered monsieur living the french highlife by the sea and sun of the mediterranean coast. effervescent afrobeat guitars and swooning sax dance over a rolling rhythm section of buoyant bass and 80s percussion, while a spoken vocal drawls in your direction and the girls ask if you re ok. it s only when the pinging, ringing, madly modulated bass breakdown bounds through your surroundings that you ll wonder who slipped what in your drink...

after three major releases by tell, nachtbraker and s3a, its time for debuting italian artist verner to close our beloved trophy quartet. this milanese key virtuoso is ready to blow your mind with this eccentric yet humble ep, taking you on an emotional journey. long stretched pads, playful chord progressions, organic percussion all produced with analogue 70s and 80s vintage synthesizers and drum computers in verners studio reminding us a bit of harvey sutherland and nu guineas style. were talking groove, funk, jazz but also house and soundtrack style compositions which together form a very complete record carefully a&rd by nachtbraker. drop the needle on the a side and youll start off with linizio, a majestic piece of synthwork. hurdling through different emotions and vibes, this could easily be the intro of one of your favourite 80s tv series. upset takes you on a happy groovy tour whilst crash of the web era and the motion pictures take us on a trippy and ambient voyage that is hard to wake up from. when flipping the record to the b side, verner is stepping back into the groove and funk with tecladista, arguably the dance floor hit of this debut ep. starting of with again a majestic synth intro area drops into a festive funk and jazz bomb with some intricate synth work treating us with some lovely solos. closing this versatile ep is late night job, a deep, deep tune with a thriving baseline and mesmerizing synths. we suggest to dont sleep on this one and have a listen to this piece of art by the very talented verner.

1 copy per customer!!
just in time for your summer of love, good plus is back with three tropical disco, boogie, housey and balearic edits!
on the a side -bolji zivot- from kompleks is already a secret anthem for a long time at 20/44, the iconic small club of belgrade which is a favorite of many djs around the world (including us)
they reshape here the main theme from cult yugoslavian tv-show from late 80 s equally named -bolji zivot-. sax galore, relentless house loops, we call it a hit !
on the b side, lyo takes over with -drole de drague-, a feverish frenchie-brazilian affair which carries us straight to the lively and colorful shores of copacabana, ipanema or leblon. inspired lyrics, killer disco breaks, samba infused grooves , guarantee to make sweat any dancefloors !
finally, last but not least, lyo closes the deal with the balearic tinged -la bella vita- in a more mellow and lazy fashion, perfect for those sun drenched moments.

things take a psychedelic turn for schleiben 7 with a welcome to the label of arch exponents of mind expansion in nycs georgia and the unlikely but no less diverse inclusion of balearic stalwarts a man called adam.

there are west coast classics, and then there is music to driveby, the third lp from the group that birthed mc eiht: compton’s most wanted. although the group started in the late ‘80s with multiple mcs (including tha chill and boom bam), by 1992 eiht as pulling the group’s vocal weight – supported by dj mike t on turntables and production – and even producing and co-producing tracks. music to driveby might lack beats-per-minute variety, but to fans that’s not a bad thing. across the board, this is mid-tempo, super deep, funky hip-hop, made for cars creeping along boulevards across the west and south, and it’s about as good as it gets for such purposes. just about filler-free, the album struts intensely and with purpose, as eiht throws tales of cali street life at fans for an hour straight, almost without a break. this solo marathon is given a respite only once, with scarface’s guest spot on “n 2 deep,” an excellent hood roller supported by a soulful guitar lick sampled from lyn collins’ “do your thing.” elsewhere, eiht rolls alone and intensely, on cuts like the classic mash single “hood took me under”, the album’s second single and tim dog attack “who’s fu**ing who?”, the hometown big-up “compton 4 life”, and hustle tales like “jack mode” and “i gots to get over.” after this album, eiht released more classics under his own name, and with similar fan worship. it was the continuation of a legendary career and music to driveby still ranks high on anyone’s “west coast legends” playlist.

“we are doing this on our own, with not much help from government. i am proud that we are building a movement. it’s like a child that you can see growing and evolving. it’s growing exponentially, but that was the plan… we are standing on the shoulders of giants. i grew up respecting the craft. there was that golden era of reggae music when everyone looked to jamaica. i know the history, i know the impact reggae music can have, and i want to be part of an era that brings it back to that stature” - protoje

we share with kaffe crème, a penchant for side roads, for mixing textures and visiting other territories. if house music is at the heart of our project and history, it is often just a medium to cross the path of genres and bringing into some of our other tastes like here jazz, broken beat or hip hop.after his remarkable debut ep in 2016 which was containing the staggering beauty kapo choc that still resonates every weekend in many clubs around the world, we are very happy to welcome, the lyon-based kaffe crème for our fourth release. you ll find there everything you loved about his debut ep, which means, a beautifully produced organic and dusty house music that make a leap into contemporary jazz (i <3 u) and dig into warm finely mpc-sliced syncopated beats. but you ll also find an astonishing broken beat song (umusa) that show all the former-percussionist s talent for making sophisticated and ambitious jazz-infused rhythm compositions.

what should have been a quick process has taken a bit longer than we hoped, but thats the way of handcrafted products, be they ginger beer or sourdough bread, and like the bread, the vinyl is currently cooling down to ensure an undisturbed, top quality product. np004 contains two tracks, cunningly devised in yorkshire, reflecting the area s no nonsense attitude and warmth. the final touches of mastering, have been added once again by the highly trained ears of moog expert dr spaventi. this continues to give us a very important international dimension to what is still a local artisanal product. specially formulated to make you dance and give you something a little extra, we ve switched to stealth black paper sleeves for this release, and where cutting engineer failed with inscriptions, as can be their wont, we ve lovingly re-designed the label to incorporate details of the free gift we re providing

autodidact is back with an ep by qindek, who offers up three delicate techno tracks with beautiful modular sounds and intricate drum patterns. on the b-side we find the legendary icelandic (dub)techno producer thor (thule records) with a deep but dancefloor-friendly remix.

after recently playing host to established names such as fabe, nima gorji and michael james, pathway traxx returns to its roots by introducing a new artist, but long time friend wiremu. this pure club record, and vocal infused ep is set to light up a dance floor near you very soon. wiremu brings his unique chugging sound by the bucket load while label boss niko keeps it smooth on the b-side.

for this seconde release, the brotherhood from marseille wanted to present their personal profiles, this ep is built like a various, but built with a common touch, the random bass! hypnotic, trippy and randomised, these tracks are done to push up the dancefloors. the last track is a downtempo vision of the eclectism of this southern crew, hip-hop beat and a bassline played by there friend mike b4, a real candy to close this ep!

out-er sub-label pregnant void is proud to announce the release of hi.mo’s debut album “urtiis”. landing on double vinyl in june 2018, it is a fantastically absorbing showcase of the italian’s weird and wonderful fusion of various strains of sound from jazz to hip hop to classical. “the alteration of conventional musical patterns thrills me”, says the artist who is classically trained in piano and uses that knowledge to play with rules, structures and forms. influenced by idm, african drums, jazz and the interplay of chords, rhythm and harmony, hi.mo infuses his electro-acoustic productions with found sound samples and analogue and digital tools. this is a spelling-binding and intimate album that is filled with invention, but never at the expense of the overall experience, which is beautiful and beguiling throughout.