House News

BigM Productions is back with a slammin' various artist EP, containing four straight floor bombs. With Tom Drummond & Slynk, Tosses & Varvez and Jiggy Joe, we got three new artists on the label. And DJ Rudd is giving
his vinyl debut in the house of BigM, after the murder success of his digital debut here. All tracks are mostly breaks and ghettofunk focused, everything with usual BigM groove guarantee!

The A f/looped up bass, punchy house drums, filtered vocals are the main order, but make sure you hold out for the drop. The B gives us a functional dubby number, laced with samples from a well known Jamaican diva.

We at Fifty Fathoms Deep are proud to release the stunning debut long player from Frederick aka Peter Oakden.

After releasing solo & duo projects throughout 2013 on Local Talk, Deep Shades of House, Miseredits and also a feature on Lay-Far's album 'So Many Ways', Peter will begin 2014 releasing his debut LP on shared label Fifty Fathoms Deep in which he runs with Craig Smith (6th Borough Project).

For someone so relatively new to the game this debut is all the more remarkable given the maturity of sound and quality of production. There's a real narrative to this collection of music that draws the listener in from the very first note, to the very last. This isn't just a random collection of dance tracks or some singles with fillers; this is music with substance that transcends genres. No gimmicks just real lasting quality.

Powell returns to his own Diagonal imprint with a three-headed monster of a 12', his first on the label since 2012's Body Music. Since then he's released a pair of acclaimed 12's through The Death Of Rave and Liberation Technologies, as well as remixes for Silent Servant and Ike Yard, all of which have tracked his musical aesthetic as it's gradually been scrubbed, honed and fully articulated for the dancefloor. The result, then, is Club Music, where Powell's characteristic arsenal of scrabbling synthesiser dirt, ruffneck drum and vocal samples and air of nocturnal cheekiness are put to the service of three livewire percussive workouts, each bristling with energy. While the influence of both techno and early drum & bass was detectable in Powell's early
music, here those genres aren't so much channelled as ruthlessly stripped down for parts, their atmosphere and momentum transferred into brutally funky beat tracks that charge forward with
gleeful intensity. They find Powell increasingly operating in his own space, forsaking the current vogue for swiftly laid-down hardware jams to focus on intricately crafted arrangements, with these three tracks often taking sudden jarring changes in direction, or slinging unexpected detail in the mix to throw dancers off kilter. 'So We Went Electric', matching its title, sparks like a cable gone haywire, spitting arcs of raw blue energy through the mix amid spidery distorted guitars and moaned vocals. 'No U Turn' is bonedry yet hot-blooded funk, its drums and bass strutting back and forth in an overdriven frenzy. And 'Maniac', which features Russell Haswell ringing the life out of a Devil Fish TB-303, roundsClub Music off at its murkiest and most grimey, peaking repeatedly in a scrambled, angry mess ofyelled voice, smashed instruments and amplifier buzz — flipping the atmosphere of an almightyonstage punk band strop into contorted, fucked up basement acid.

P.U.M.P. showcases Ali Love's talents as one of the UK's leading electronic songwriters and vocalists. The album combines up-tempo psychedelically infused house tracks such as
'Emperor', 'Deep Into The Night' & 'Perfect Picture' along with the more cosmic disco leanings of 'Cosmic Top Secret' and 'Egyptian Spaceman' and the more soulful down-tempo
'P.U.S.S.Y., 'Surrender' & 'Ride On' (featuring Kenny Glasgow of Art Department). A veritable tour-de-force, P.U.M.P. showcases Ali's talents as one of the UK's leading electronic
songwriters and vocalists. The CD is presented as a continuous segued mix to add to the evolving nature of the album and songs. Often referred to as the voice of Modern British Dance Music - Ali's the front man of the Hot Natured collective and one half of the Infinity Ink. Ali's last seven releases, whether with aforementioned acts or as solo artist, were all Radio One Essential New Tunes. P.U.M.P. is an album that is the nemesis of modern day dance music 'track' culture, a body of work that reminds us that dance music albums can still be vital.

A1 - GettinDown: a nice rework of Funky Space Reincarnation made for the floor, B1 - A proper tribute to one of Stevie's greatest. B2 - Killer rework of a Warehouse classic.

Funk, Soul, Disco, ein Down- und Midtempo-Himmel voller Soul! The Blaxploited Orchestra ist das neueste Projekt des spanischen Produzenten Simon Garcia (Poker Flat, Supplement Facts), der sich hier von klassischem Funk, Soul, Disco oder Motown beeinflusst zeigt. Unter den vier Tracks ist auch ein brillanter Remix von Good Guy Mikesh & Filburt.

Jorge Velez's take on the modern stock exchange through the eyes of a Bhopal seamstres ca. 1986 makes -as you can imagine- for a mix of elation and defeatism. Or as some might say, a Tango of Paradoxes. Jorge Velez shot onto the scene in 2012 with some well-received EPs on Rush Hour. He followed them up with more exciting material on MMT Tapes and L.I.E.S. and is now next up on Dutch label Creme Organization with five more tracks of idiosyncratic sounds. American Professor Genius is the man behind the alias, and in fact under various guises (Bridge & Tunnel Kids, Duermo) he has been making music for over seven years. Up first, 'Aventuras' is a lumpy mid tempo house jam riddled with tape drifting melodies and rough sounding drums. 'Medusa' is a high tempo, whacked out ghetto rhythm with creepy synth lines crawling over its face and 'Chant D'Ombres' is another weird concoction of dusty hi hats, whirring synths and globular melodic blobs. Punchy drums prop the whole thing up as analogue machines pull and stretch both you and themselves in all sorts of directions. 'Airplanes' is another fractured arrangement of blurting synths, off balance drums and soulful synths that is both experimental and super emotional at the same time. Last track 'Magic 8-Ball' is about jarring chord loops, wooden drums and gurgling mildly acid basslines. Like every track here it is an inventive, curiously odd and hugely original bit of music that really does sound like little else.

On the Prowl's Party Breaks imprint is back, this time with a four-track collection of tunes from label co-owner and the other half of Runaway, Jacques Renault. Here, we find the Brooklyn-based DJ and producer doing one of the things he does best: edits. However, unlike previous releases, Renault is expanding his reach and dabbling in genres he hasn't publicly unleashed before--the 12' begins with an ode to the sounds of early 90s raves (complete with air horns and a Mary J. Blige vocal sample), hops over to the deep house styles of the era with a jam that sounds right out of a Crystal Waters playbook, and finally lands on a couple of electrified, feel-good disco edits, properly (and authentically) embellished with fidgety guitars, sexy vocals, and a dash of piano glitz.

After spending 6 months in New York Tin Man returned with 2 records for Pomelo.
The first of the pair, the 'Underdog EP pt1.', features two of Tin Man's most party ready tracks to date.

On the A Side Tin Man shows how to rock at peak time. 'UR' applies rave stabs over a Tin Man trade mark acid line, achieving maximum dancefloor pressure in an always evolving 13 minutes arrangement. The track title makes it easy to guess where Tin Man drew his inspiration from.

'Stay Down' on the flip side goes deeper, delivering a hypnotically grooving minimal house tune, featuring an elevating key line that, like an Escher staircase, perpetually moves up while returning to its starting point.
Tin Man at his best

Lee Foss' 'Starfruit EP' is a sonic love letter to 1994 sent from the future. Fresh yet unmistakably Foss, each chapter is a seamless fusion of 90s RnB and low slung house grooves, amounting to his most refined and expressive solo package to date.

on limited coloured vinyl !!!

With its first three releases, Brit label Principal Records has set out its stall with a quality house and disco sound, and that continues here with a fantastic new EP from emergent talent Danimal Swainger.
Swainger is a Wigan pure breed with a love of Northern Soul and Warp Records.
He has released a number of edits that found plenty of favour with selectors everywhere, has appeared on the Kandinsky Grey label and was a resident DJ at Sheffield’s Dulo for four years.

His relationship with this label started with an excellent EP as one half of S&M (with Thatmanmonkz) and in solo mode Swainger is just as essential.

Opening his account here is 'Muzik', the laid back and deeply entrenched house groove that is awash with golden chords and sensual vocal ad-libs. Sturdy drums prop things up and the vibes remain warm, organic and inviting throughout, even when a lively bassline and whip snapping percussive flourish joins the fray.

Next up, 'T&A' is a beautifully louche and jazzy house number with real, live and organic sounding drums, a humid ambiance and long tailed pads that wistfully linger in the air. Raw, dusty hi hats and finger clicks pepper the lazy, melody strewn groove and place you right at the heart of some smoky basement club. It's a fine place to be.

Last but not least, the loose sounding drums of 'UUU' stop and start, building atmosphere as they go. Lazy Rhodes chords, clipped one word vocal snippets and tumbling drum fills all sound like they were recorded live and are stuffed with human feeling as a result.

This is a terrific EP of vibe laden house music that very much announces the arrival of a hot new talent in Daminal Swainger.

Welcome reissue of this super-rare 1978 disco classic from Greek singing superstar Demis Roussos. The extended mix of L.O.V.E. Got A Hold Of Me featured on this highly-collectable Canadian 12' pressing from Mercury was a massive favourite of David Mancuso's at his legendary Loft parties and understandably so. A tight percussive groove topped with beautiful swirling strings and the big man's soaring sexy vocals, this special long version provides ten minutes of blissful dubbed-out disco heaven which still rocks dancefloors today for any DJ lucky enough to have a copy. The flip is also rather good, with I Just Live, a very useful funky workout with another positive message that includes some fantastic percussion and great harmonica action. Top class!

'Black Frames' is a creation from two major life transitions for Dave Aju, namely the end of a long-term relationship combined with a move away from his home town of San Francisco. Punctuated with philosophical statements and political punches, the former MC proves he isn't afraid to use his voice and production skills to unite music and passion with his latest album on Circus Company. The outer rhythms of deep-rooted electronic music form the backbone of 'Black Frames', while its veins are filled with the red­-hot attitude hip­hop, outerspace soul, and forthright lyrical content. A remarkable variety of songs covering topics such as personal relationships ('Psylica'), cultural issues ('Race on Haight') and global government actions ('Law') rock alongside bass­-centered dancefloor bombs like 'Nu Threads' and 'Clean St'. Through its body, Aju also tips his hat to 60s psych rock, early 70s fusion, and the soft undertones of blues as can be felt in the Magnum Opus of 'Vins Noirs' with it's full choir finale, the wildly fun and uptempo 'Bee's Birth' and the reflective close of 'When We Drift'. With a decade of releases under his belt and remixes for the likes of Nicolas Jaar, JT Donaldson and Herbert, San Francisco Bay Area native Marc Barrite AKA Dave Aju is a true maverick of the electronic music scene and 'Black Frames' is a proper follow-up, both a literal nod to the classic 60s/70s artwork that hung in his home studio, and a bold statement toward that rare place where breaking a sweat and breaking the rules come together. Aju's distinctive voice, a fixture in his production and live performances, has proven to have a life of its own.

Ladies and Gentlemen, welcome back to the Shimmy Sham Sham sessions. Fall is knocking at the door. Dancers bathe into the red sunsets hoping to squeeze the very last drop out of summer's bliss.

LP Style Long Cut by John Dent (approx 20mins per side)
Strictly Limited 180g Vinyl
First 150 marbled orange/grey vinyl !!!

Vtothed is a fowering Cooperation between two like minded souls
Venedikt Reyf & David Gergós. The project started in summer '11 with a
session of 'what music they like on the turntable'
Ultimately, the Music is about letting yourself go. Mind opening vibrations.
Seeing no borders between Genres. Always experimenting, only using
Analog Equipment. Love drifting, Love laughing, Love fying.

First Single of the supcoming album 'Sonic Crusador' .




[D] B1 | MIDNIGHT BLUE feat SUHRAN (JON CONVEX REMIX)

CD 1














CD 2

Destroy all Robots is an electronic band formed by Omar J Neri, David Conti a.k.a. DDJ and Alessio Lavorini, which wish to revive the classic analog sound of House, Nu-Funk, Nu-Disco music, improved with electronic nuances, similar to foreign clubs, refusing the "digital sound" and denying any form of technical simplification, the main responsible for the creative atrophy that has invaded the music market.

CD 1

01. Analog Garden (Intro) Listen
02. Garden Of Delight
03. Madness Listen
04. Drei Koppe
05. Doc Martin
06. Soul Control Listen
07. The Gates Of Heaven
08. Destroy All Robots Listen
09. Jamaica 196

Mario Weise, better known as Marlow, is no newcomer to this game. He's been releasing a tirade of quality club orientated dance music productions since 1994. Over the last twenty years he favored us with several releases on prestigious German house/techno labels like Matthias Tanzmann's & Andre Quaas' Leipizig based Moon Harbour Recordings, Berlin's Konsequenz label and Hamburg's Room With A View imprint, to name just a few. But now it's time to give the cards a shuffle and welcome Marlow on Sonar Kollektiv.

Chromeo have been delivering their scintillating hybrid of electro-funk and high-energy 80s-inspired pop since they were first formed in Montreal by childhood friends Dave 1 and P-Thugg. The rest of the world have since caught up - from the resurgence of Chic and Nice Rodgers to numerous other artists sprinkling some boogie and disco magic into their music - to make the Chromeo sound very much in vogue.

The release of their upcoming album 'White Women' in 2014 will therefore prove to be their major breakthrough. First comes the single 'Come Alive' on February 10th, a suave electro jam that features Dave 1's stuttering falsetto and guest vocals by Toro Y Moi.

'This time we wanted to go back to the effervescence of 'Fancy Footwork' with a more sophisticated production,' explains Dave 1. 'It's a feel-good album, more disco than ever, more dancey than ever, more pop than ever. It was a great challenge for us artistically. I really worked on my voice and bigger refrains.'

The album was named after influential photographer Helmut Newton's debut book 'White Woman' which infused aestheticism, technical perfection and luxurious upper-middle-class decadence into a classic piece of visual erotic literature.

'He's a huge influence on us, the legs, that 80s sexy look,' they stated in a recent AMA Reddit session. 'We thought the title was ballsy, funny, was going to get people thinking. Our music always blurred boundaries between past and present (is it retro is it modern is it both) and now we want to blur boundaries between gender and race as well.'

The result is a collection filled with seven-minute synth jams, orchestral arrangements, more live instrumentation than ever before and their catchiest pop tunes to date. Chromeo have successfully crystallized their arch highbrow/lowbrow gospel with a collection of what they describe as 'Larry David funk... sexy, macho music with neurotically love-torn lyrics.'

Two singles are already available - 'Over Your Shoulder' ('This song was about rebuilding feminine confidence - it's easy for a young girl to watch the Blurred Lines video and develop all sorts of insecurities. We wanted to counter that but keep things funny at the same time') and 'Sexy Socialite', which features drums courtesy of Pat Mahoney (Museum of Love / ex-LCD Soundsystem). Possible future singles come to the fore throughout the album - see the insistent, bass-driven grooves of 'Jealous'; the euphoric synths, Eighties-style sax and vocodered vocals that permeate 'Once Again'; or the gospel vocals and airline samples that invade the pulsating glam of 'Frequent Flyer'.

In addition to Mahoney and Toro Y Moi, 'White Women' also features further special guest performances courtesy of Solange Knowles and Vampire Weekend's Ezra Koening on the smooth 'Ezra's Interlude'. As Dave 1 continues: 'We wanted to have that dialogue. That's why we chose to work with other artists on the album. It's important to rally them to the Chromeo movement.'

incl Jamie Lewis Remix

Sometimes what you don't do is as important as what you do. Brandt Brauer Frick have made name for themselves producing techno without the technology, using classical instruments in preference to synthesizers and computers. It's a negative that's had positive results. On the Berlin trios third album 'Miami', it's again what Brandt Brauer Frick are not doing that is once again important: they aren't slavishly following the formula of its two predecessors. ''Mr Machine' (2011's sophomore album) the record made with the (ten piece classical) ensemble, especially was very planned and strict,' says Paul Frick. 'We wanted to be more spontaneous this time. We wanted to do something very different, more dark and more rough. We wanted to write songs rather than tracks that slowly evolve.' Another major difference is the appearance of a number of guest vocalists who had a big influence on the direction the album took. There are appearances from Jamie Lidell, Om'mas Keith (Grammy nominated producer of Frank Ocean's 'Channel Orange', Kanye West, Jay Z), Gudrun Gut (Einsturzende Neubauten and German punk band Malaria!), Erika Janunger and Russian DJ and producer Nina Kraviz. The new album is accompanied by a new stripped down live show—no ensemble this time, just the three protagonists and a specially built stage set. The visuals will be created by Brandt Brauer Frick affiliated production company Park Bennett, who make all of the bands videos and also came up with the overall visual concept for the album inspired by Fluxus art of the '60s.

in stock again!!

Phat on the groove, thick on the basslines and yet subtile on the melodics. Early support Mathias Kaden, Matthias Tanzmann, Onur Ozer, 2000 and One, Lauhaus and Loco Dice !

'Black Frames' is a creation from two major life transitions for Dave Aju, namely the end of a long-term relationship combined with a move away from his home town of San Francisco. Punctuated with philosophical statements and political punches, the former MC proves he isn't afraid to use his voice and production skills to unite music and passion with his latest album on Circus Company. The outer rhythms of deep-rooted electronic music form the backbone of 'Black Frames', while its veins are filled with the red­-hot attitude of hip­hop, outerspace soul, and forthright lyrical content. A remarkable variety of songs covering topics such as personal relationships ('Psylica'), cultural issues ('Race on Haight') and global government actions ('Law') rock alongside bass­-centered dancefloor bombs like 'Nu Threads' and 'Clean St'. Through its body, Aju also tips his hat to 60s psych rock, early 70s fusion, and the soft undertones of blues as can be felt in the Magnum Opus of 'Vins Noirs' with it's full choir finale, the wildly fun and uptempo 'Bee's Birth' and the reflective close of 'When We Drift'. With a decade of releases under his belt and remixes for the likes of Nicolas Jaar, JT Donaldson and Herbert, San Francisco Bay Area native Marc Barrite AKA Dave Aju is a true maverick of the electronic music scene and 'Black Frames' is a proper follow-up, both a literal nod to the classic 60s/70s artwork that hung in his home studio, and a bold statement toward that rare place where breaking a sweat and breaking the rules come together. Aju's distinctive voice, a fixture in his production and live performances, has proven to have a life of its own.

Reiterate bounds back in the room w/a 2nd iteration, this time w/edits by JTC, DJ QU & a rmx by New York's Steve-Oh. Strictly dancefloor reworks of Dinosaur, Rafael Villafane, Bee Gees, & Liaisons Dangereuses.

95 North classics on the 20th anniversary editions of this classic New York House label.

a phat house cover version !! check all mixes !!!
finally back on stock !!!!