House News

The third plan comes from a member of the Portuguese Pandilla ltd.
Diogo represents perfectly our vision of micro and minimal music:
a real deep swimming with no compromise.
The cherry on the cake is a remix from the Yoyaku's finest Zendid.

LTD repress !

For our new tasty wax, we have the pleasure to have on board legends Markus Fix & Dorian Paic under their MFDP moniker. They deliver us two super strong dancefloor tools supported by the Argentinian wizard Franco Cinelli on remix duties, twisting things a little bit and of course on heavy rotation at every Ricardo Villalobos set.

Enjoy the flavours!

LTD repress !

Debut EP for remus on Sintope Vinyl Series backed-up with a remix from man-on-fire Michael James. Vinyl only!

VINYL ONLY! Berlin mainstay Ricardo Villalobos has delivered the 'Mandela Move EP,' a 4-track EP of freshly stripped-back dancefloor movers saturated in brilliantly clever, unorthodox and masterful sound design. Arriving as the second release on the Deset label, Ricardo Villalobos offers his incredible production talents to the blossoming Italian label, already heavily desired by both discerning DJs and punters alike.

Sutja Gutierrez is back on Lumière Noire. The finesse of his productions and his implacable stage performances have given him a special place within the Parisian label. In 2017, he released the EP "The Legend of Time" and one year later, he appeared on the compilation From Above with his track "Allodoxaphobia". He comes back here with an LP entitled PHYLAX SOCIETY, which confirms that Sutja Gutierrez is indeed an artist in his own right. Phylax means guardian in Latin, and the album’s title is directly inspired by the “Phylax Society”, a group of people who, in the late 19th century, wanted to create the ultimate canine breed, but who due their lack of consensus failed and dissolved. Later on, an ex-member eventually bred the very first German Shepherd. On this heartfelt record, as emotional as it is catchy, the artist deals with the feelings that come after the loss of a loved one, chiefly nostalgia and melancholia. The result is an ardent record where crooning is sincere and never a posture. The artist’s lo-fi psychedelic pop trademark oozes in every track of this album. Many of these songs feature his vocals, often doused in ethereal echoes or even shrewdly chopped and distorted in a way that reminds us of the great musique concrete experiments of the past. A DIY approach sometimes indebted to punk and post-punk music, all mixed with a vast variety of traditional pop instruments such as guitar, bass, electric keyboards and real drums, but also drum machines, synth bleeps, found sounds and other strange but fascinating samples. EMPTY FLOWER POTS, which was released as a single ahead of the LP, is definitely one of the album’s standout tracks. This catchy mid-tempo song is the perfect entry point into Sutja’s finely twisted world. A world in which you can find that particular balance between nostalgia and optimism. Oh, life is great, what is life? Life is death. . he sings. It is one of those songs that stays in your head for a while. Do not let the idea of alternative pop fool you, it is quite impossible to listen to any of these songs without reacting in some way or another through moving, dancing or thinking, regardless of the tempo or meaning. I’M DIGGIN’ might be the perfect example of this. Deceptively simple and far removed from dance music, this rock-infused number will not only have you singing along instantly, but you will also find yourself dancing and responding accordingly to the energetic mantra of this song... I'm digging for the truth, I am so diggin' into it. Truly, the dance floor is never too far, sometimes quite blatantly and sometimes in a more oblique fashion. Another case in point is PHYLAX SOCIETY, the eponym track which closes the album, a song in two parts, where a slo-mo club groove carries Sutja’s trademark singing to yet another level of uniqueness, with his surreal soundscapes, twisted melodies and everyday life sounds. An ode to humanity and an homage to the ones who are risking their lives every day in the mediterranean sea. It is rare to encounter an album which is immediately satisfying on one hand but also reveals more and more beautiful secrets with each listen. PHYLAX SOCIETY is clearly one of those special albums.

Vinyl Only, no promo, no share

Repress

Vinyl Only

Micro Orbit is back with the 4th release, an immersive EP with 2 dancefloor bombs by our label boss Zenk and the striking and charming producer Direkt.

PULP is inaugurating this year's summer season with a lengthy affair by a certain Barry Helafonte called "One Night'. Not much is known about the artist that delivers the 12th installment for the PULP series. Nevertheless, production wise the sound is mature, and the drum machines sound like they are being hit by someone with vast experience. The balanced production quality of "Keys to The City" is prominent. A squelchy bassline is dictating the rhythm whilst washes of pads and an outlandish lead come together to form a dripping whole.

"Keys to the City" resumes with friend of the label Moon B on rework duties, turning the spaced out drums of the original

Chaotic Discord - Time Migration introduces the second vinyl-only release from Tsarskoye Selo record label.

repressed !!

Berlin-based RoundQubeMusik welcomes Cristopher Ledger (The Code Studio, Berlin) with Seventh Orphism EP' which includes three original tracks plus a remix from Gabriele Carasco & Francesco Passantino. Judging by the vastly different set of sounds used here, from the elegance of the piano to the hypnotism and abstractism of the synths mostly due to experiments with modular synthesis. 'Seventh Orphism' is an EP which marks out Ledger as a very good artist to watch out for.

Inspired by the early white label house music releases.
Vinyl only, limited copies, no digital promotion.

Videosphere, the debut album by Kompakt’s latest signing, the London-based artist Lake Turner (aka Andrew Halford), swoons into focus with “The Sunbird”, a teasing drift of lilting, ambient tones, riding out a submerged piston-pulse rhythm. Across its brief 109 seconds, it manages to traverse evocative terrain – something mythopoetic, something both humble and grandiose, a glimpse of the other behind the sky’s curtain. “I wanted to conjure up something resembling an ancient ceremony or death procession,” Turner nods. “Like a hymn to the surroundings of a faraway hill.” It’s both sky-bound and earthen, a ritual incantation to call in the music of the spheres.

Turner was introduced to the Kompakt family by his sometime collaborator Yannis Philippakis of Foals. He’d previously made music in post-punk and indie groups Great Eskimo Hoax and Trophy Wife, but Videosphere is the first time he’s fully articulated his own vision of electronic music, aside from one limited lathe-cut 12”, 2018’s Prime Mover EP, on Algebra. The lush ambient-disco-techno dreams of Videosphere were constructed and completed in his London studio and at his parents’ arable and sheep farm in Worcestershire, which might help explain the hazy, unhurried pastoralism of the album.

“There was a slight bittersweetness in finishing the record (in Worcestershire) as my parents were in the middle of selling my childhood home,” he sighs, before quipping, “on the plus, I ended up shearing a lot of sheep over the summer.” A student of archaeology and ancient history, Turner is no doubt carefully attuned to the twisting cogs of history and memory, and it’s no surprise that Videosphere has a nostalgic, melancholic cast; much of its beauty rests in the way it tugs, gently, at the heart strings – see the tear-stained cheeks of the lush, dappled “Honeycomb”, or the sweetly sad electro-roundelay of “No Way Back Forever.”

It’s not all drift-dream hypnosis, though – Videosphere is very much grounded in the now. ““No Way Back Forever” is a nod to the linear nature of time,” Turner explains by way of example, “and the tipping point of the world climate crisis that scientists have now declared.” Jayne Powell’s vocals are sent spinning through the song, wound like candyfloss; she takes centre stage on the techno hymnal title track, too. Throughout, there’s a sense of forward movement, despite the life stasis we find ourselves collectively bound by in mid-2020; there’s also a yearning for the communal, for community, that’s captured in the album title, a nod to an object Turner encountered at London’s Geoffrey Museum, “a television set in the shape of a spaceman’s helmet from the 1970s.”

“The vision I loosely had was to make an electronic record that had a communal warmth and almost ceremonial or ritual feel. I wanted to examine the relationship of our archaic minds in the trappings of the modern world,” Turner concludes. “What the Videosphere also symbolizes for me is the oneness of humanity and community, prevailing.”
Eröffnet wird "Videosphere", das Debütalbum von Kompakts jüngstem Signing, dem in London ansässigen Künstler Lake Turner (alias Andrew Halford), mit "The Sunbird" - einem herausfordernden Strom aus Ambient Sounds, die zu schweben scheinen, um sich dann in einen subtilen, maschinellen Rhythmus zu verwandeln. In gerade mal 109 Sekunden gelingt es dem Stück, ein gewaltiges Terrain abzuschreiten - etwas Mythopoetisches, bescheiden und grandios zugleich, gibt uns eine Ahnung davon, was sich hinter dem Himmel verbirgt. "Ich wollte etwas heraufbeschwören, das einer alten Zeremonie oder Totenprozession ähnelt", sagt Turner, "wie eine Hymne an die Umgebung eines weit entfernten Hügels." Himmlisch und irdisch zugleich, eine rituelle Beschwörung von Sphärenmusik.

Der Kompakt Label-Familie wurde Turner von dessen zeitweiligen Mitarbeiter Yannis Philippakis (Foals) vorgestellt. Zuvor hatte er in den Post Punk- und Indie-Bands Great Eskimo Hoax und Trophy Wife gespielt. Bis auf eine limitierte lathe-cut 12", der "Prime Mover EP" auf Algebra von 2018, artikuliert Turner mit "Videosphere" zum ersten Mal seine eigene Vision von elektronischer Musik.

Die üppigen Ambient-Disco-Techno-Träume von "Videosphere" hat Turner in seinem Londoner Studio und auf der Schaffarm seiner Eltern in Worcestershire produziert, was den nebulösen, gemächlichen und beinahe pastoralen Charakter des Albums erklären könnte.

"Es gab einen bittersüßen Moment als ich mit der Platte (in Worcestershire) fertig geworden war, da meine Eltern gerade dabei waren, das Haus meiner Kindheit zu verkaufen", seufzt er, bevor er witzelt, "das Positive war, dass ich im Laufe des Sommers eine Menge Schafe geschoren habe". Als Student der Archäologie und der Geschichte des Altertums ist Turner zweifellos mit den sich unaufhörlich drehenden Rädern der Geschichte und der daran geknüpften Erinnerungen vertraut, und es ist keine Überraschung, dass "Videosphere" einen nostalgischen, melancholischen Einschlag hat; viel von seiner Schönheit liegt in der Art und Weise, wie es einem sanft ans Herz geht - die Tränen benetzten Wangen von "Honeycomb" oder der ambivalente Elektro-Reigen von "No Way Back Forever".

Trotz allem hypnotischen Driften und Träumen - Videosphere ist sehr stark im Jetzt verankert. "`No Way Back Forever`ist eine Anspielung auf die lineare Natur der Zeit", erklärt Turner beispielhaft, "und auf den Wendepunkt der globalen Klimakrise, den Wissenschaftler gerade ausgerufen haben". Jayne Powells Gesang wirbelt dabei wie Zuckerwatte durch den Song und steht auch im Mittelpunkt des technoid hymnischen Titelstücks. Überall ist ein Gefühl der Vorwärtsbewegung zu spüren, trotz der Stagnation, in der wir uns Mitte 2020 kollektiv befinden; trotzdem existiert eine Sehnsucht nach dem Gemeinsamen, nach Gemeinschaft, die im Albumtitel eingefangen ist - eine Referenz an ein Objekt, dem Turner im Londoner Geoffrey-Museum begegnete, "ein Fernsehgerät in Form eines Raumfahrerhelms aus den 1970er Jahren".

„Die lose Vision, die ich hatte, bestand darin, eine elektronische Platte zu machen, die eine soziale Wärme und eine fast zeremonielle oder rituelle Atmosphäre ausstrahlt. Ich wollte die Beziehung unseres archaischen Geistes in den Fallstricken der modernen Welt untersuchen", so Turner abschließend. "Was `Videosphere` für mich auch symbolisiert, ist die Einheit von Menschlichkeit und Gemeinschaft, die am Ende obsiegt".

DWAALs highly anticipated 003 is headlined by Russian beat chef, Matpri with three first-rate grooves. Keeping the DWAAL tradition, Traumer caps off the record with a remix which has been heard on sound systems all around the world.
Limited Press. No Repress.

Next up from London imprint Nuances de Nuit comes another four track V/A which further solidifies the label’s sound and vision; spaced out soundscapes and music with personality.

Their slogan ‘Pour Les Danseurs’ (for the dancers) could not be more apt, with four more cool cuts that are carefully engineered to be played right the way through parties of all sizes.

Kicking things off is Mehlor and Le Louche’s Chromium, a slick fusion of cut up breaks, modulated synths and a fuckton of groove. Next up is the ‘Ode To Joy Instrumental’ mix of More Pumpin by Thyone Girls - A peak-time dance floor raiser. On the flip we have Local Dub, whom having garnered recent support from the likes of Gene On Earth follow on from a stand out EP on iO Mulen’s Hoarder with their contribution, Moon Dog. Rounding off is the return of Karaba to the label, dishing out a large helping of quirky house music with some intelligently executed synth work.

A power Split release straight up into our vinyl catalogue. First we've got two original Prodot tunes, a majestic producer from Cordoba Argentina with releases on Re.Face and Blind Vision, Prodot delivers concrete sequences of beats and lows, perfect for extreme club situations.

On the Other Side from France "Only Slave Nation" part of Def Raw Music Concept group (DRMC) and releases on HighPath and signatune, sending us the closure for this record, a couple of deep sounding tracks that resemble France popular way of music making.

After 3 years of our journey with our series Love Songs for Dragons' we present a beautiful double EP signed by Ciprian Stan, a romanian artist with a heaven of sounds.

Moody repetitions with a Chilean background. TIP!
Feeling a strong connection with the minimal house emerging in the 90's from Detroit and with his roots up in Santiago de Chile, it is after releases on Matrix Recordings', Deepartsounds' and his own record label Ojodeapolo.cl' time for Jorge C. to release his sounds on Dopeness Galore.

The distinctive rhythm and sound slowly presents an Old Dream (Sueño Viejo) to one another.

An Old Dream for people loving house king's like Rick Wade, Hieroglyphic Being & DJ Sprinkles but also the French Cassius. Open up to Jorge C. - Sueño Viejo'

Work in Progress is a new vinyl only label focused on underground house music.

First release comes with 2 original tracks from ROAR and 1 remix from Levi Verspeek.

supported and played by Dewalta, Alexkid, ViD, Jef K, D'Julz, The Willers Brothers, Pheek...

What happens when you stick two audiophiles together in alpine seclusion? The answer is given over the two intense and brilliantly built tracks of Eiger Nordwand, the new EP by Stimming and Marcus Worgull.

AISSA RECORDS is a vinyl sub label of its Montreal based digital counterpart SULEIMAN RECORDS. Founded by DJ/producer, Darem Aissa, the name of the imprint pays homage to Suleiman Al-Aissa, one of Syria's most prominent contemporary poets.

The intent is to promote and produce positive, quality electronic music, involving a diverse array of talented artists, worldwide.

ISA001 debuts at elevated standards with Gospegoord. DUBFOUND delivers 3 groovy and minimal originals, while LEE BURTON lends his craftsmanship by adding an impeccable remix to the EP.

Shimza, one of South-Africa’s shining talents, makes his return to Cadenza with ‘Eminence’, a burning compound of profound percussions and late-night rapturing synths. This Gauteng-born artist is one of the most celebrated African electronic musicians and has garnered the reputation of the “Effect Master” and “Vinyl Assassin” for his technical prowess and intricate mixing abilities. The vibrating drums and persistent arpeggios of ‘Eminence’ make for a captivating peak-time anthem, offering the nostalgic essence of Detroit’s late-nineties splendour. As the EP journeys to ‘Dancefloor Keeper’, the slick trance-inspired stabs and permeating bassline expose its ominous nature as it swells to a seismic drop. On the B-side, Shimza expresses his creative flare with ‘Kunye’; a hypnotic cut that blends the spirit of futuristic synthwave with the soul of African tribalism. ‘Warrant For Arrest’ is a charged number, driven by a snappy compressed kick drum and chiming sequences. As its percussive forces fall away to the second break, a monstrous siren and obscure vocal cuts take focus, guiding it to its summit. The penultimate offering ‘MSC’, is a euphoric gem that flows with expressive phrases and evolving synth pads. The EP’s digital-only bonus track ‘Mirrors’ shuffles effortlessly with a funk-tinged riff, maintaining a high voltage pace, closing the EP in an emphatic manner. Shimza has been on a mission to make 2019 his biggest year to date. Launching his One Man Show concept in Soweto in 2009 to help raise funds for underprivileged children, the project has now matured into an annual event that draws in over 25,000 people each year, hosting some of the country’s most in-demand artists, such as AKA, Black Coffee and Black Motion. The show has seen international editions in France, Spain and Portugal and has helped position Shimza as one o

First release for this newborn collaboration on wax from two allied
connected by the pure energy of the sun and the sea.
Alienist label aiming to showcase prime fine beats from all the Alienated people around the globe. Promising good vibes and timeless grooves to come.

From the Latin word alius, meaning "other.
In the case of alienist, referring to a doctor who treats the insane.'

No5 means a lot for our label. The new release comes with eight tracks of multiple styles, genres and textures signed by various artists, showcasing once again, the true identity of the label. From Spain to Russia, UK and The Netherlands, the artists that are part of this release are both promising and experienced. This compilation brings together, for the first time, Scape One, Cignol, Low Tape, Garçon Taupe, Promising/Youngster, Ochre and Rec_Overflow in an electronic trip between extreme sensitivity and balanced sounds.
This new album has a vinyl exclusive track by Ochre that won’t be distributed in digital platforms. Only for vinyl lovers !

A new sub-label of the longstanding Canadian electro imprint Suction Records, Ice Machine — focusing on old-school wave/post-punk sounds — launches on Valentines Day 2020, debuting with this new vinyl reissue of Ceramic Hello’s 1981 minimal synth classic “The Absence Of A Canary.”

A long-time cult favourite among fans of obscure '80s synth-pop, this LP remains highly sought-after, and is rated as one of the genre’s top 20 records ever made by Minimal Wave label head Veronica Vasicka, who calls it “a beautiful record, inside and out.” This is our 2nd edition of the LP — it was previously reissued on Suction Records in 2002, but even that reissue is now long sold out, and the interest in this strange, utterly unique DIY time-capsule has not subsided in the least. The reissue was transferred and painstakingly remastered from perhaps the last sealed copy of the original 1981 LP in existence. We are proud to make this Canadian synth classic available again.

Ceramic Hello hailed from Burlington Ontario, about an hour outside of Toronto, and comprised of Brett Wickens, who composed and performed the more synth-pop-oriented songs on the LP, with clear nods to early-Ultravox and OMD, plus Roger Humphries, who contributed the album’s otherwordly, classically-informed synth interludes. Shortly after the 1981 release of the LP, Wickens moved to the UK to work for legendary Factory Records-associated design firm Peter Saville Associates, where he created iconic LP covers for the likes of New Order, Joy Division, and Peter Gabriel. The Absence Of A Canary’s striking cover, an eerie silver-faced enigma, was Wickens’ first LP design and has become iconic in its own right — an enduring signpost in the minimal synth underground.

The LP contains 14 songs, and is housed in a recreation of the original silver jacket, with an insert/poster + 4-page-lyric-sheet and equipment list (a reproduction - this was originally available by mailing to Ceramic Hello in 1981 - scarce few copies exist and we were finally able to obtain a scan for this new pressing!).

Like the proverbial bus, you wait five years for a Cottam release and two turn up within 6 months. 'Consciousness' on the A re-works the soundtrack to a classic Japanese film into a devastating club track; ghostly vocals combine with dub effects and acid riffs for an unnerving slice of headfunk.

On the flip 'Rivers of Blood' starts with a deep bassline and keeps on cranking up and piling on the pressure, until the synths wash in after four minutes and the track becomes a tempestuous torrent of Detroitian hi-tech jazz.

Tallinn based producer Olga debuts on LIITHELI with four elevating cuts on a release entitled ‘Krakow Horse Racing’.

Born and raised in Tallinn, Olga is the moniker of a local producer who is active in a variety of music genres. The Olga alter-ego was formed to be a 120-140 bpm project which fulfills “guilty pleasures” of the creator who continuously seeks to develop innovative sounds and ideas through expansive experimentalism and creativity. ‘Krakow Horse Racing’ sees him join the Estonian based label LIITHELI who continue to provide a platform for local producers following the likes of Rando Arand, Mava & Nebukat, N1MA and the label boss Ali Asker on releases that picked up support from artists such as Ben Sims, Axel Boman, Italo Johnson, Efdemin, Bruce Forest Drive West, Éclair Fifi and many more.

‘Wedjan31’ begins proceedings with fluttering pads sweeping underneath a breaks rhythm and oscillating melodic stabs before ‘Krakow Horse Racing’ offers up intense synth notes, blissful leads and revolving percussion in this bright, euphoric house cut.

On the flip, ‘‘Friday’ features sunshine filled strings and pulsating low-end balance harmoniously with revolving modulations that progress delightfully throughout until ‘Olga’s Dream’ rounds off the EP with an ambient cut featuring murky, half-time drums, cinematic atmospheres and dreamy soundscapes providing an introspective yet soothing experience to finish.

*LTD REPRESS*

Stamp Records is back with an EP produced by the label's owner, Petit Batou. On side A, there are two mysterious original mixes which by their melodies, highlights the emotional face of the talented producer. On the B side, romanian Piktor delivers a sumptuous hypnotic remix while romanian Bucurie brings a poetic rework to close this beautiful release.

Supports from Janeret, Romar, Sublee and more...

Upon the arrival of our third release, we are welcoming a Romanian producer who delivers a unique combination of House and Breakbeat with a hint of grooviness. The EP Is signed by Andrei Bumbu aka Hansel! and it contains 3 track's, one on the A side and other two on B side

Side label for Millions Of Moments with deep chords and big dubby basslines and everlasting echo's getting lost in space. 4 tracks by Bvdub, SF100, Masafumi Eno and Shinsuke Matsumoto. Futuristic vintage techno on this fine label from Berlin.

Old records spun in new directions: Nebraska re-examines the space between the grooves, zooming in to the textural detail of old vinyl and amplifying the incidental and transient. The music of sound for dancefloors without edges.

With releases on the likes of Organic Music, Housewax and (djebali), plus a string of stand-out EP’s via their own labels Sintope and Sintope Digital, Timisoara’s NTFO have established themselves as key names within the realm of minimal and deep house since making their production debut back in early 2008. Having released their ‘Esperantza’ EP on the label last year, here we see the pairing return to Bondage Music in fine form to open their account in 2019 with the impressive ‘Dobr’.
Title cut ‘Dobr’ opens the EP as the duo quickly go to work, introducing a slick blend of sharp drum shots amongst snaking bassline patterns, whilst ‘Blissed Out’ combines organic percussion licks, punch low end tones and warping synth leads to great effect. Next, the first vinyl only track on the package ‘Riddin’ welcomes dubby pads and crisp hats before flowing steadily into the slinking, metallic tones and 303-tinged bass stabs found throughout ‘Standers’.

Clear vinyl

Spacetravel on Hearing Colors, Miami-Berlin based label.

The first release in the Rendr vinyl series, A humble moment for the label. Welcoming two highly regarded artists to the imprint who join together to use both their individual signatures and joint abilities to produce two originals that ooze inspiration and soul. Both originals blend warm melodic elements and rhythmic bass lines along with hypnotic leads, all coming together to form the ideal opening for the first release. On the flip side, Peruvian composer Alejandro Cuestas & Argentina’s Kevin Toro take the baton and implement their own touch on the originals to produce some hard hitting yet fundamental grooving records.

PIV030 marks the return of Chris Stussy at his home soil and highlights the evolutionary nature of his works.

Containing the much sought after title track "Across Ocean" and his "Independent Women" collaboration with Australian fellow Litmus.

Welcome Robert Apetrei on Hashplant - HPR010 - Limited Copies

Canadian maestro Jay Tripwire is a long time underground stalwart with countless gold-dust releases to his name, and still the modest artist keeps pushing on with more stellar tech house immersion heaters. Here he's been invited to Euphoria for an EP that burrows into the most shadowy corners of his sound. "H3misphere" is a spooky jam driven by a shuffling groove and offset with some dubby flourishes - a perfectly balanced workout for the club with a seductive air of mystery lingering around the rhythm section. "Werqles" is a lighter affair, but it's no slouch in the freaky department as a plethora of disembodied machine wriggles ping around the crisp 4/4 throwdown. The whole B-side is given over to SIT's "Remux" of "H3misphere", which holds the groove down in a more linear manner but keeps that chilling atmosphere intact just behind the beats.