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2023 Repress

Two true heroes of underground electronic music, Alex Flatner & Lopazz step up the game with this brand new outing on Poker Flat. The original version of "Dinosaurs' is a pacy, energetic jam with a super-solid bass foundation.

HITSAFE are a duo of established producers operating under an enigmatic moniker. Nothing new, you might say, and that is true. The music is so outstanding and unusual though, that in this case this approach really does make sense. SERIOUS JAW-WORK is funk in its purest form. And we mean real funk! Wonder how many djs will have the guts and abilities to play this one out...
To round this release up, we asked LOPAZZ AND CASIO CASINO for a remix and these guys came up with two! Both are so good, we couldn't make a choice. So here we go with both of them on this release. The JACK REMIX on A2 is a functional tech housy Überhit, suitable for all peaktime house floors, the JANE REMIX on the B-side is a moodymanesque version with a strong ludicruous tendency, that has all necessary qualities to become a timeless epic.
MASSIVE!

Alex Niggemann's 2012-defining long player 'Paranoid Funk' dropped in June to a rapturous response from DJs, dancers and home listeners alike. Here, Poker Flat Recordings revisits some of the exceptional highlights of that record, and deliver a remix package sure to be as equally sought-after by those in the know. 'Paranoid Funk' saw the Berlin resident explore a variety of grooves and textures, an experiment that won him many new admirers and a great deal of critical acclaim. Here, some of the hottest remix talent in the scene get their hands on the originals and twist them into new shapes. Following on from releases on Cocoon, Kling Klong, Circle and two strong EPs on Poker Flat ("Dinosaurs' and 'This") renowned producers Alex Flatner and LOPAZZ take on 'Don't Wait' and drop a growling, main room monster that will standout in any set. Francys, the young Italian making quiet a name for himself on the underground house and techno circuit, lends his skills to 'Back 2 Basics feat. Benji' - channeling the spirit of the early 90s into seven ecstatic minutes. Next up is Salvatore Freda - the highly respected Swiss DJ and producer who injects Niggemann's 'I Don't Care' with a narcotic groove that sits somewhere between Detroit and Berlin - the dubbed out vocals adding an element of otherworldliness that work in perfect compliment to the track's twisted (paranoid) funk. Berlin's own Andre Lodemann picks out 'Lovers' for his excursion, a deep bomb that grows and grows around an exceptional vocal from John Rydell - this is one for the very late nights or early mornings. What is clear from this release is that Alex Niggemann's star continues to rise - the classical pianist turned producer and DJ extraordinaire is moving on to the next phase of his career - and with the slew of outstanding releases to his name already, who is to say where that could lead. Tracklist:

These tracks are responsible for a huge impression on Dream Software and the sound of the label, so it is with great honour we reissue these tracks and release them back into the outersphere. The soundtrack to a retrofuturist world gleaming with optimism. A world where humanity, technology and nature exist in a peaceful symbiosis. A real utopia. We thank you Alex for your inspirational music.

Written and produced by Alex Silvi (Alien Signal) throughout the years of 1993-1994. ‘North Polar Stars’, ‘Brilliant Evening Planets’ and ‘Violent Volcanoes of Io’ originally released on album ‘Celestial Sights of the Future’ from Upland Recordings in 1993. ‘Quantum Limit’ was originally released on album ‘The Search Begins’ also on Upland Recordings in 1993, whereas ‘Atomic (Esoteric Mix)’ was a self-release from 1994.

Lovingly remastered by Lopazz@mixmastering.de and carefully distributed by One Eye Witness.

© Dream Software, Corp (2024)

The onus of proof regarding deepness is a rather peculiar one. Even if one presses all the right buttons, quotes the correct sources and applies the textbook techniques, often something seems to be amiss. The elusive producer Mute never had that problem. Blessed with a a sound of his own, that seems to stem from within and can be called deep house without the genre’s strait-laced demeanor, his aesthetic includes a distinct feel for boogie and disco tropes. Case in point: Lost. Placed as a B2 it is the secret start of Direct Cuts II and more
prominent on this new edition of a classic Running Back record. Molded into an extended disco version by Gerd Janson with unused parts of the original recording session, it something like a curveball deep house disco song, according to the motto: you and me, we can be like a whole universe! Hard to resist and even harder not to like if you have the slightest interest in Prelude records, Diana Ross songs or Tee Scott mix techniques. Basics, Vibes and Driver’s License push further into the world and musical mindset of Mute.
Originally released in 2006 as the the fourth outing of the label and the second (and his last one to date) of the elusive artist, it is still as remarkable as on its first release. Carefully rescued from the original DAT tapes, all re-edited by Gerd Janson and remastered by Lopazz, it’s available again in a clear and present portraiture of its original intent. Early adopters like Danny Krivit and the Idjut Boys can’t be wrong.

Smallville Record sub-label Fuck Reality returns in March 2024 with Fossar’s ‘Make Me Feel’ EP.

The Fuck Reality imprint founds it origins in 2015 as a sub label of the widely lauded Smallville label with a heavy focus on classic House music. The label kicked off with the reissue of Westbam and Nena’s iconic ‘Oldschool Baby’ with remixes from Smallpeople and Gerd Janson before going on to release music from Smallville staple Moomin, Frantzvaag – who also release the first album on the label last year - and more. Here the label welcomes Fossar, co-founder of the Feuilleton imprint, onto the imprint with his new EP.
‘Good 2 Me’ opens with airy chords, robust toms, flickers of resonant synth stabs and soulful vocals running atop snappy drums before ‘Free’ embraces a classic 90’s New York aesthetic with heavily swung percussion a jazzy bass groove, emotive piano lines and warm vocal chants.
The B-side is then kicked off with ‘Make Me Feel’, diving deep with shimmering, expansive leads, looped vocal, swirling string melodies and a classic bumpy bass and snare combination. The ‘Aeriel (Windy City Version)’ then rounds things out, as the name would suggest nodding to the Chicagoan roots of House and employing all the classic tropes from slick flutes, intertwined keys, glistening piano melodies and shuffled 909 drums.


All tracks written, produced and mixed by Pchris Gruber
Mastering by Lopazz / Mixmastering, vinyl Cut by Helmut Erler / Lathesville
Artwork and Typography by Stefan Marx
Distributed by Wordandsound

A famous anthem once begged: “Don’t Make Me Wait.” Sometimes, though, it’s good to make ‘em wait—even just a little bit. Case in point: The production duo of Fabrizio Mammarella and Phillip Lauer, known to clubbers, DJs and music heads as Black Spuma.

Three years after their last EP—and nearly a decade into their production existence—the duo have finally given us a full-length manifesto. Sure, there have been a smattering of remixes and EPs over the years on labels like Futureboogie, International Feel and Live At Robert Johnson. But on their new LP “No No No,” the Spumas at last get to stretch out and give us their full-meal-deal.

The pair birthed the tracks at Lauer’s famed Pyramide III studio, with 10 tunes finalised and selected remotely, thanks to the wonders of high-speed Internet. While the Spumas are well-known (both together and as solo acts) for their melodic, 80s-tinged club workouts, the album format has allowed the guys to push their sound into parts unknown. The album drops at the end of May on Permanent Vacation, and it distils all the things we love about the duo: The melody, the playfulness and the musicianship of two veterans in full command of their powers.



Take the tune “Obereggen,” which expands a punchy, staccato bassline into that sweet spot where trance and italo can play next to each other. Or the cut “Fracture,” which is built on a Detroit-like chassis but makes room for gorgeous pads, subby bass and a nimble breakbeat.

For the established fans, there’ll be plenty to latch onto, including the title cut (and first single), which sounds like something Robocop may have produced if he’d taught a violence diversion program.
Meanwhile, cuts like “Dillingen” remind us of one of those lost Eurythmics B-sides that show up in the dark corners of MixesDB. The album was mixed and mastered by Lopazz, and boasts a colourful cover from Berlin-based artist Ilja Karilampi.

So, 17 years after initially meeting, we finally have a full album from these Spuma Men. And in the end, it was worth the wait.

In its main mix, Surprise is a classic early nineties house track that heavily nods towards the Big Apple, house music’s disco roots and the power of swinging drum programming, albeit with meticulous production work and engineering. In short, it sounded and sounds as un-German as Germans can. The Holy Bassline Mix on the other hand is already in the shape of things to come. Carried by a Roland TB-303, sprinkled with trance bits and elegiac pads, its in perfect balance.
Others thought so as well. Heavily supported by David Holmes and Andrew Weatherall, it was the manager of the latter who licensed it to Eye-Q Records UK with the addition of the Fake Jazz Mix and ordered remixes by freshmen Isoleé and Losoul who became pillars of Playhouse. The first known for his idiosyncratic and sculptural ways of creating dance music meets the irresistible funk of his peer and both add spice to the already great menu. Here you have the chance to listen and digest Surprise in all its glory and entirety for the first time. Carefully remastered and processed by Lopazz and packaged by Running Back. Remember the good times and get some more.

Move D has seen a massive career over the years, starting with his early days as a German pioneer of House Music. In 1993 this was one of his first 12“ records on TIME UNLIMITED which was mostly known for Trance and Hard Trance. This surely is a cult record and has become highly sought after over the last ten years. Its unique style of sampling comined with an uplifting, basement style production is still mindbending and timeless. This reissue was remastered by David's long-term friend LOPAZZ for a full range sound experience.

t’s Indian Summer again and it’s like an unwritten rule to please you with another Atelier release at this beautiful time of the year.
So here we are with a collection of superb re-interpretations of a few tracks taken from the duos debut album “Varsam Court”. Delivering the goods we have no one less than Dutch high flyer’s Tunnelvisions, Lisboa’s LuxFrágil resident Switchdance, Heidelberg’s Lopazz & Casio Casino, Lossless co-head Mathias Schober and Alexander Inggs – one half of Atelier.
No doubt that we’re proud about this line-up and couldn’t be happier with the music we’re going to share with you now – enjoy!
Atelier quoting on the remixes:
“After writing the album Varsam Court, it was truly exciting to hear the songs in a different context. Originally, the album was not written for the clubs, but the remixes on the EP transcend that line, bringing the original ideas to a wider audience and into a new space. These reinterpretations by the artists are a great testament to how
everyone really does hear and feel music differently.”

When Bandcamp announced that they will be holding a special fundraiser on June 19th „that is specifically focused on racial justice, equality, and that they will donate their „share of revenues that day to the NAACP Legal Defence Fund“, we thought to put out a special sampler that contributes to that cause. All profits of the sales of „Music for the NAACP“ will go exactly there. Due to the lack of time, it might seemed knocked together, but old and new friends, from near and far alike did their best, to set it up. So, special thanks to everyone involved: especially to Lopazz at Mixmastering, Heidelberg, Rand Muzik Leipzig and the SST cutting house in Frankfurt, who did their part to also make this available on a 2x12“ compilation (same destination for its profits). Thank you for listening, helping and donating.

Sincerely,

Gerd Janson