quête:the black e

It was released on February 2, 1993 and is celebrating its 30th Anniversary. Lead MC Grand Puba left the group to pursue a solo career in 1991, following the release of their revered debut One for All. DJ Alamo also left to work with Puba, leaving MC's Sadat X and Lord Jamar, who enlisted DJ Sincere to join the group. It was a safe bet that In God We Trust wouldn't have attempted any new jack swing crossovers or tie-dyed imagery. Though the makeover is drastic, it is convincing, with Lord Jamar and Sadat X stepping up with some of the era's fiercest, most intense rhymes and lyrics that were extremely militant reflecting the group's identity adhering to the philosophy of the Nation of Gods and Earths. The album produced two singles, Punks Jump Up to Get Beat Down and Love Me or Leave
Me Alone which both charted on the Billboard Hot 100 chart.

The debut studio album from multi-platinum singer RAYE. Featuring number one single Escapism feat. 070 Shake.

Four times BRIT nominated, RAYE is one of the most streamed artists in the world with over
2.3 billion streams of her music. She has a double-platinum, four platinum, two gold and
three silver singles to her name. She is also indisputably one of the UK's premier
songwriters. Her songs have amassed over 3 billion streams, having written for some of the
world’s biggest artists including: John Legend, Ellie Goulding, Khalid, David Guetta, Diplo,
and Beyonce. In 2019 she was awarded The BMI Impact Award in recognition of her 'groundbreaking artistry, creative vision and impact on the future of music, in 2022 she was
nominated for the Ivors Songwriter of the year, landed R1 Brits List and made her debut solo
TV performance on Jools Holland. During the summer of 2021, her cries of frustration for not being able to release her album were heard worldwide, leading to a mutual separation from her label and allowing her to
carve her own path. Having made her public tirade, followed by her personal 'declaration of
independence', Raye in effect has obligated herself to deliver the ground-breaking first
album that her 2019 BMI award prophesied.

2022 Repress !

Disco Club is a groundbreaking 1978 EP of experimental electronic
disco created by Fèvre and his collaborator under their tongue-in-cheek aliases Joachim Sherylee and Junior Claristidge. The Aphex Twin-backed Rephlex label notably reworked a handful of Disco Club tracks in 2004, however this is the first ever reissue of the EP in its complete, originally intended sequence. So synonymous is Fèvre's career with this release, he continues to perform internationally as Black Devil Disco Club today. An impossibly rare piece, this edition has been treated to a remaster from the original tapes by Fèvre himself.

Black vinyl (limited to 150 copies)

VNR label boss Chippie coming with this double A sided release. Ocean love has been shaking dance floors all across the world with its combination of dirty Reece Bass and a serious amen workout, catchy gospel like vocal making this an upto date sound from the high times of when atmospheric drum and bass was peaking in the scene.
This flip is staying on the same vibes but infused with a reggae themed vibe.
Records Available

August Greene culminates years of mutual respect and friendship, channeling the musicians’ various talents into a cohesive project. The perfect marriage of jazz, hip-hop and soul, it’s music that just is. This is black expression the way God intended: earnest, unfiltered, and harmonious. Throughout August Greene, you feel the abundance of Glasper’s rolling keys, the sheer honesty of Com’s lyrics, and the nuanced subtlety of Riggins’ drum work. It’s a fluid sound that’s sorely needed in today’s landscape, and a teachable moment for the next wave of creators. “I feel like we need to set the bar for this generation of musicians and producers,” Riggins says. “There’s a lot of computer-driven music. This is the opposite of that. We’re showing you can still use your creative muscle on an instrument to generate your own sound.” August Greene is a meditative offering that stands tall against the era of “fake news.” “They body snatching black girls in D.C. / Politics and propaganda on the TV,” Common observes on the opening track. On “Nirvana,” the lyricist uses a stuttering percussive loop and faint piano chords to search his inner being: “Thought I was gonna fly when Obama became the king … when it’s all done, will I have heaven’s dress code, and been able to let God and let go.” As Com puts it, Glasper and Riggins’ soundtrack allowed him to open up in ways he hadn’t done previously. Like on “Fly Away,” for instance, where he riffs on the public relationships he’s had. Other songs, like “Black Kennedy,” feel spacious and scenic. “I got to go new places with the music, and it didn’t have to fit within a genre for me to participate on it,” he says. “This gave me an experience I haven’t had in a long time, so I want people to feel that. I want this to be a cleansing of whatever doesn’t feel good or inspiring.” In the end, August Greene speaks to those pushing through the dark for brighter days. It's a masterpiece from which virtue can shine. “I want people to go on the ride and be open,” Glasper says. “We just created and it became a sound. I want people to approach this with an open mind and without expectations.” —Marcus J. Moore

An aura of mystery is hidden on this magnificent album released on EMI Nigeria in 1974 and today a collector’s cult object was the only one named Moonrakers Band.

Steve Black tells: “We were the original members of The Moonrakers and were based in Zaria, then in 1972 we left band management and started The Elcados. The original management of The Moonrakers sold the name to his elder brother who had a club in Kano and they brought Prince Bola Agbana to get other musicians to continue The Moonrakers while we moved in as The Elcados.”

Moonrakers Band and Elcados were the two bands that inflamed northern Nigeria in the early 70s with a more rocking and virtuoso sound, and especially with tons of rare grooves, then everything else around it.

Coming to the album content tracks like Wait For Me, Cut Your Coat According To You Size, Yara Manyan Gobe, but also Enia Sa Pele and Move on, will make floating camels appear on the dancefloor, or in your house.

The killer 1981’s Nigerian funk boogie disco and reggae by Kio Amachree repressed for the first time.

Alignment is back on Charlotte de Witte's KNTXT label for a fourth time with his Attack EP. It offers four more forward-thinking tracks of trance infused techno.

Berlin-based, Italian-born artist Alignment, whose real name is Francesco Pierfelice, has emerged as a real force in the techno world in recent years. He has had an outstanding array of vital productions, and his sound helps carry forward the diversity and musical identity KNTXT stands for. His sound has smartly evolved since as he continues to pick up new influences. All that comes out on this superb new release.

Says the artist, ‘I am more than happy to contribute with ‘Attack EP’, another release on such a renowned imprint like KNTXT. Charlotte has supported me since day one, and I am hugely grateful to release for the fourth time on her label. Four tracks that are straight to the floor, they are the outcome of touring clubs and festivals again now in 2022. Enjoy this selection and see you soon on the dance-floor!’

Says label boss Charlotte de Witte, ‘Alignment is one of my favourite producers out there. His high energy style and sound always deliver on the dancefloor. I'm very proud and honoured to have him once again on board for another four killer tracks on KNTXT.’

Attack opens up with hammering drums and turbo-charged synths. It is an all powerful track that drills deep and brings a real sense of rave to the club. There is an ever present sense of euphoria to Dream State as the trance synth loops bring real light and emotion to the flat footed and slamming drums. Some steamy vocals add that all important hook and ensure real dance floor destruction. Multiverse brings bouncing techno funk beneath edgy synth stabs and industrial percussion design for soot-black warehouse spaces. Last of all is The Way, another unstoppable and supersized techno offering with hands-in-the air synth designs and drums that just don't quit.

This is another fiery offering of new school techno from Alignment.

2023 Repress

When the reopening is slowly approaching, chaos is slowly dissolving. We pushed the button to try the new reality and for the soundtrack we've got for one of the more club oriented releases we have made till date.

Dakar's newest affiliate midnight menace starts the release with his already known schranz alike beat, dark and acidic pushing the Dance floor limits.

Cressida strikes with a funk push which could have totally fit in a Black Nation record from 2002, one of the very few produces using swing in his tracks these days. Freshness guaranteed.

Debuting the Spaniard Jheal Bashta deliver a hyper futuristic song, amen breaks, autotune, which year is it again?

Closing the issue, we warmly welcome to the legend Deeon, who deserves no introductions. Ghetto-punk. For disc-jockeys and collectors.

We spit on your plate f*kers
#oftenplusneverminus8

After successful releases on Transatlantic and Monnom Black, German FM synthesis wizard Luca Daniel Schwarz (aka LDS) presents his latest record ‘algo5’. The EP captures a wide range of sonic ground with innovative and futuristic edge.

’nbdfoil’ the opening track starts the voyage with mesmerising awe before sliding into ‘kizzt_VF’ where reality distorts and mind-warping events unfold. Closing out the A side the interlude ‘<13’ stumbles along with playful weirdness and explorative sonic gestures. Back in more familiar territory the B-side’s ‘fl+’ and ‘Vone’ propel dynamic rhythms through the ether until arriving at the final track, ‘mfäg’ where fragmented arps and cinematic ambience give an emotional sense of closure.

LDS’s ability to compose to a high level of depth and intrigue is unmistakably a significant feat for any electronic dance music producer and testament to the possibilities of modern sound design.

After “Refined”, their first release on Thisbe Recordings back in April 2021, Radial Gaze are back on the Berlin-based independent label with “Tetra Seeds”, their brand new EP. It includes 3 original tracks and three remixes by Dominik Marz, Balam, and label owner Pyrame.

The two St-Petersburg-based brothers , Andrey – electronic musician and producer, mixing and mastering engineer – along with Stas – sound designer, guitarist, and theatre director – stay true to their identity : In “Tetra Seeds”, they deliver an irresistible blend of slow techno, ethnic-infused electro, and percussive wonders.

Printed on a yellow vinyl, the 6 tracks 12″ is a limited edition with astonishing artwork by Maksim Cherny.

Green Splatter Vinyl

Attention… There has been a sighting of an unidentified spinning object in the area. It’s splattered green and black, waxy, 12 inch in diameter and contains two extremely dangerous peak time recordings that have been causing destruction on dancefloors the world over. Proceed with caution, as these are two super slick takes on tracks you may or may not have heard before, you’re mind is at risk of reaching pure euphoria.


DJ Support: Marco Carola, Sepp, Arapu, Nu Zao, Bodeler, Ben Sterling, Archie Hamilton, Rossi.

Black Vinyl Repress!


For the first time, these exclusive extended versions of NJOI's seminal tracks are available as a 3 coloured disc vinyl-only release. Carefully lifted from their original early 90's live sets, these tracks have been re-crafted, extended and mastered to todays sonic standards and we're very proud to present 'Collected' on Food Music.

This project is much more than simply re-issuing the cream of NJOI's catalogue. As we enter 2022, we begin a year long journey with the duo, eventually unveiling 30 year old unreleased sought-after material for the first time ever, together with remixes from some of the todays finest electronic artists. It’s a privilege to complete the circle with NJOI and their timeless music.

Keinemusik’s Reznik once again is pairing up with long time friend and kindred spirit Good Guy Mikesh to lay down One More EP. The like-titled A-side is captioned with the tagline „Let’s give it one more try.“ - emotively crooned by Mikesh himself. We’ve all said it at some point in our life’s, right? Be it over a post-breakup coffee with the ex, be it at the black jack-table, be it in an early stage of a juggle practice. And it might cross our minds even now in the DJ booth, loading this very tune onto the player, curious if its heartfelt yearning might resonate with the crowd. Chances are it’ll resonate quite well. This sensitive yet grooving, string and piano-kissed tune shows all qualities of a future anthem. And so does the B-side „Read The Room“ - yet another directive one should always be aware of, in or outside the DJ-booth. Chances are, with this übermelodic, suspenseful, synth-hook-laden choon it’ll be almost impossible to misread the dancefloor. The vinyl version of this release comes with one exclusive bonus track.

• Gil Scott-Heron’s “Pieces Of A Man” is one of the most important albums in the history of black American music. Although it didn’t set the charts alight, it stands as a masterpiece alongside contemporary works such as Marvin Gaye’s “What’s Going On”, Curtis Mayfield’s debut LP, Funkadelic's “Maggot Brain” and Isaac Hayes’ “Shaft”. All were brilliant in their way, but lyrically Scott-Heron was on a different level from almost every other writer.

• It was a landmark album with its bold, poetic lyrical content allied to progressive and melodic music, and it saw producer Bob Thiele help Gil and his musical partner Brian Jackson paint the picture they needed to get their message across. Thiele put Gil and Brian together with Ron Carter, Hubert Laws and Bernard Purdie, giving them the musical heft they wanted.

• For many years the focus was on ‘The Revolution Will Not Be Televised’, which was included in the Grammy Hall Of Fame in 2014, but this focus sometimes overshadowed the heights which Gil reached throughout the album. Today ‘Home Is Where The Hatred Is’ and ‘Lady Day And John Coltrane’ are also considered standards, whilst the album’s title track is a prescient and heart-breaking warning about the way in which big business dehumanises its workers.

• The album reached its landmark 50th year in 2021 and we decided that we would create this special edition to celebrate its incredible sound. The original master tape was taken to Frank Merritt at The Carvery in London, who cut it as a double disc 2 x 45 RPM record, in an all-analogue chain. The original record - especially side two - was long, and serving it up this way allowed the music a greater level of fidelity.

• The release is packaged in the original album’s gatefold sleeve.

The moons of Saturn are the inspiration for this brooding, often soaring and searching odyssey of dark electronica.

The second largest planet in the solar system after Jupiter, and the sixth planet from the sun, Saturn is orbited by 53 confirmed moons, with another 29 that are unnamed and still being studied.

Saturnian is a suite of thirteen choral tracks taking their names from some of Saturn's known moons; Dione, Daphnis, Phoebe, Prometheus, Rhea, Janus, Titan, Enceladus, Tethys, Telesto, Mimas, Hyperion and Iapetus, all named after figures from Greek and Roman mythology, each loaded with their own turbulent back stories. It is the debut release by Holmes + atten Ash, written, recorded and produced remotely in Edinburgh and Bristol by the duo Simon Holmes and Paul Nash.

Their project began during the 2020 lockdown. For Simon, time was spent exploring the Pentland Hills south of Edinburgh. For Paul, the Mendip Hills, south of Bristol. Both would experience the darker side of our human impact on the environment. Simon observed the wilderness as a wasteland, finding discarded, rusting metal littering the Pentland Hills while Paul witnessed the decimation of the ancient woodland of the Mendips' King's Wood due to the destructive tree fungus ash dieback.

These field trips fuelled a desire to navigate not just the landscape, but the duo's emotional place within it. Their collaboration led to a concept album that explores the outer reaches of the solar system, while simultaneously grounding them in a specific place. Looking inwards as much as outwards, theycreated soundscapes based on deeply imagined and felt connections to their surroundings.

After Simon had created a choral piece to accompany Luke Jerram's enormous, world touring artwork Museum of the Moon, Saturnian was a natural progression. When Simon was sent an initial score for the ethereal track Enceladus, composed by Paul in Bristol, he added choral arrangements recorded in Edinburgh. Their shimmering, tense opus continued to evolve from there. Just as the discarded bed springs and abandoned car parts that Simon stumbled upon in the Pentland Hills seemed to him at once "horrible but also oddly beautiful", Saturnian melds together melancholy and levity, fusing moments of dark angst with a celestial calm.

Opening with the glistening, hopeful brightness of Dione, increasingly urgent rhythms give way to digital, otherworldly calls from what might be rainforest creatures chirping into life with robotic squawks and delicate keyboard lines on Phoebe, followed by slowed down, monastic song on Rhea. Tethys is a hypnotic blur of synthesiser and soft chanting, while Rhea is a mysterious, echoing chasm, lifted by melodic, gentle male vocals. Janus has a glowing, effervescent energy, swiftly followed by a sense of tension on Titan, which throbs with driving percussive unease.

The album artwork is a pencil drawing created by Edinburgh artist Simon Kirby. It was made by a robot drawing machine, using custom algorithms that bring to life recordings of the sound of magnetic waves near Saturn's icy moon, Enceladus. The lines in the centre of the drawing are distorted by sound captured by the Cassini spacecraft which studied Saturn for over a decade.

Much like Saturn and its frozen, rocky moons, this debut album from Holmes + atten Ash is mysterious and beguiling, with a hint of foreboding in the depths of its powerful beauty and epic scale.

OUT OF PLACE ARTEFACTS, the collaboration alchemizing the sounds of german producers Rødhåd and .VRIL, embarks on a new sonic exploration with “II” on Rødhåd’s label WSNWG.

This second longplayer ventures significantly deeper into the spheres of electronic music - exploring a wide range of abysmal drums and breaks as well as focusing on flickering sound sketches and elusive noises whose origin will have to remain a mystery for the listener. It aims to leave them in inexplicable realms between the dance floor and deep listening, unfolding its magnetism beyond genre definitions.

Throughout the listening experience, one is exposed to bewildering surprises such as traces of lightheartedness and stronger use of samples, vocals and strings. “Universian” invites a softer tone, revealing a more seductive, gloomier and poppier facette of the duo.

The closing track “Triskaideka” concludes the journey by featuring classical musicians Angelina Delgado (Violin) and Alexandra Ivanova (Viola).

OUT OF PLACE ARTEFACTS considerably developed the rapport between both artists' contributions for this LP- merging them into a more harmonious, yet very distinct expression. Each of the 13 tracks showcases layered, intricate arrangements so that they become their own microcosms, forming a radiant universe as a whole album.

Kenny Summit revisits Lectroluv’s ‘Dream Drums’ for a brand-new remix package, welcoming fresh interpretations from Joeski, Roberto Rodriguez, Eric Kupper, Lenny RX and Summit himself.

Originally released by Lectroluv, aka Frederick Jorgio, in 1993 and championed by Junior Vasquez before becoming a worldwide anthem across dancefloors across the globe, ‘Dream Drums’ holds a place for many as one of the truly iconic house records from the early 90s. Now almost 30 years on, Good For You boss Kenny Summit presents a carefully curated remix package as he revisits and pays homage to the seminal record. Welcoming fresh interpretations from Freerange regular Roberto Rodriguez, NYC house legend Joeski, Plastik People Recordings boss Marc Cotterell, and his own take alongside longstanding Brooklyn rave staple Lenny RX and Grammy-nominated and multi-platinum-selling recording artist Eric Kupper, the expansive package arrives via his sub-label Afternoon Delight.

Opening the package, Roberto Rodriguez’s take builds on the original’s iconic vocals and slick drums through sweeping melodies and airy pads to offer a hazy, paired-back interpretation of the production. Next up, Joeski’s remix lays the focus on percussion as he introduces Latin and Afro influences for a euphoric peak-time production set to get crowds moving, while Marc Cotterell delivers a signature blend of garage-led organ chords and two-step arrangements for a vibrant, sun-soaked cut. To close, the trio of Eric Kupper, Lenny RX and Kenny Summit join forces for a special ‘NYC Never Sleeps’ remix, introducing a killer lead line and warping synths to shape things up in style.


Early DJ Support:

Solomun, Claptone and Black Coffee

Force Placement's AEROBICIDE EP is a killer workout of afterhours acid and galaxian breakbeat.

Four hypnotic bangers from Los Angeles with remix support from DJ Manny, D.I.E., and Martyn Bootyspoon

Los Angeles – Following releases on 100% Silk, Clave House, BANK NYC and Lost Soul Enterprises, FORCE PLACEMENT arrives on EVAR Records with four tracks of naughty squelching acid and breakbeat techno hypnotically calling you to the afterhours, backed by a trio of remixes from Martyn Bootyspoon, Detroit In Effect, and DJ Manny, representing North American excellence in techno, electro, and footwork, respectively.

A longtime friend of the EVAR crew from renegade breakcore parties in Santa Barbara to underground experimental electronics happenings in Los Angeles, Into the Woods and The Black Lodge resident Jason "Force Placement" James taps into his love of weird trippy atmospherics, rhythmic complexity and DIY punk/noise aesthetics to create this quartet of mystic, mysterious bangers, crafted with the MPC1000, Elektron's Octatrack sampler, the Korg minilogue, and Ableton.

The AEROBICIDE EP begins its killer workout with "Yeeks," a cabalistic ass-mover driven by a haunted female vocal sample floating atop locomotive bass and shakers – a factory's worth of industrial sounds and eerie accents move in and out of the mix, adding intrigue and interest.

Moving to the main room of the rave, "Balloon Animal" shoots you through an inflatable tube of squelchy acid techno as knives cut the air around you, while "Upsetter" adds a shuffling breakbeat rave bounce into the acid mix. "Quartered" chops it up with Clone-style dark analog electro that gets increasingly deconstructed by dirty, stretched percussion and rivulets of synth reverb raining down the walls.

Rounding out this occult aerobics class, some of North America's most compelling forces in dance music are called in for remix duty. Unsung electro hero Detroit In Effect aka D.I.E. – the man behind such classics as "RU Married" and "Get Up" – leans deep into the classic Motor City palette, pairing lush, spacey pads with that hard-swung Detroit bounce to create a mellow groover that will keep you going all night. Montreal's world-class party starter M. Bootyspoon recalls Substance Abuse-era Hawtin and mid-'90s Midwest techno on his "Balloon Animals" remix, with nasty claps and concentric loops of hard acid bleeps and squelches. And who better to tackle "Upsetter" than Southside Chicago's footwork futurist DJ Manny? The Teklife king eschews the romantic R&B tones of his recent Planet Mu album for a tough-as-nails rework that ups the tension and the tempo to create an otherworldly saga for the dance circle.

We are excited to present you our first Ep on our new series called RELIKT ORIGINALS. This series is about putting the full attention on a single artist.

Our focus is to tell musical stories about an entire record. The artwork will be simple and all records are always black. On this label we will release strictly original mixes. As always, the label will be vinyl only - limited copies - no repress.

We are more than happy to present you Jose Antonio Jaen for the first release.

He is a young and talented Dj/ Producer from Lima, Peru. Welcome on board.

Limited edition reissue of the rare sought after Boo Williams classic Fruits Of The Spirit originally release in 99.

Up The Stuss goes down under as Sydney's Litmus steps for the label's tenth release. A bubbling member of Australia’s house and minimal scene, his productions via No Art, Piv And Dailycid have seen the exciting Aussie emerge onto the global landscape and make some noise.

Continuing in slick fashion, his 'Plus One' EP showcases a wealth of vibrant solo flavours while partnering up with Berlin's Black Loops for a crisp collaborative sprinkling of house delight - all backed by French live act and man of the moment Leo Pol as he delivers a heady, piano-driven remix of the title cut.

Today we have a piece from Kharkiv. Yes, THAT Kharkiv, the hometown of the Ukrainian dynamic duo of Komponente and Kurilo with their Trance Pandemic label, also the city on the frontier of the Russian/Ukrainian war. Living in a much calmer city in Ukraine, it’s really hard for me to imagine making any production plans there, in this case, it means nothing but honor and respect for the guys. Red and black colouring was changed to yellow and blue (the colors of the year), the music is still great.

Luca LTJ Trevisi (LTJ Xperience) began his dj/producer career in the 80s. As resident dj in two of the most famous Italian clubs of the
time, Kinky in Bologna and Cap Creus in Imola, he was one of the first Italian jocks to spin House and to re-propose those black music,
jazz and latin-bossa classics from the 70s that at the end of the same decade would have given birth to the Acid Jazz and Rare Groove
movements. His first single release in 1988, titled First Job, together with Kekkotronics, was also the first release ever on Bologna
based Irma Records. It was featured in a lot of compilations of the time and entered several playlists, rapidly reaching cult status for
many UK and US djs. During the early 90s LTJ delivered a couple of singles in a kind of pre-breakbeat style: Dont Stop The Sax, released all over Europe, and Funky Superfly. He also produced US singer Tameka Starrs single Going In Circles, always for Irma Records, still a classic in the downtempo/r&b field. In the second half of the nineties Luca began to produce acid jazz bands like Bossa
Nostra, still today one of Irma Records main acts. Their first album had Vicky Anderson as special guest and today is still considered
one of the most important European acid jazz albums. In the following years he concentrated on developing his activity as collector
and rare vinyl merchant, which gave him the chance to get in touch with djs from all over the World and to discover many forgotten
gems from the past years. Thanks to this experience he was able to create two extremely successful rarities series on Irma Records:
Groovy and Suono Libero. In the meanwhile LTJ started to dj outside Italy too, performing in important venues like the Blue Note and
Jazz Café in London, Giant Step in New York and Montreux Jazz Festival in Switzerland. In 1999 saw the release of his first solo
album under the LTJ Xperience moniker. The album was produced with the collaboration of fellow Irma artist and producer Ohm Guru
and had Taka Boom and Jackson Sloan among the guests. Two of the main tracks on the album are brazil house classic Sombre
Guitar and title track Moon Beat, which became a true hit of the Chill Out genre, featured in dozens of important compilations.
After making countless productions for Irma Records, including their second album When The Rain Begins To Fall (with the participation
of the historic Spanish-American singer Joe Bataan), and the recents singles as ORGAN MIND / I LOVE YOU (favorite track by Larry
Heard ) & ON THE FLOOR / SOUND MACHINE, LTJ is devoted almost exclusively to re-edit and reconstruct tracks from the past with
the addition of sounds and rhythms in post production for labels like SUPER VALUE, SMALL WORLD DISCO, HOT GROOVY RECORDS, OH CRISTO! increasing the production of this new musical genre that is currently defined as beatdown/slo-mo, working with
international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R. Music For Dreams, Apersonal Music, Roam
Recordings, !K7.

The latest three CDs on the Irma label “I Don’t Want This Groove To Ever End” (2012), “Ain’t Nothing But A Groove” (2013), “Don’t Let
The System Get You Down” (2015) and “Beggar Groove” (2017) show the funkiest and grooviest side of LTJ !
In the last years LTJ has literally toured the world, some really important and popular Festivals have booked him for his reknown DJ
Set performances, Scottish Soul Weekender (Dumfries, Scotland), Mareh Festival (Boipeba Island, Brazil), Garden Festival (Tisno,
Croatia), Jazz Refound Festival (Vercelli, Italy)
And visiting Cities like: Tel Aviv, Skopje(Macedonia), Belfast e Derry (Ireland), London, New York, Berlin, Bucarest, Amsterdam, Paris,
Marsille, Barcelona, and Vilnius (Lithuania). just to name a few.
Deepening of a Groove is the new album, the fifth dedicated to the research of sounds Disco Funk from its origins revisited by today's
rhythms and the dancefloor feeling of 2000. For the first time on this album 4 sung songs appear. Bad Side (already released in single
version) and Infiltrator are sung by Anduze, soul singer from Los Angeles also known for his collaboration with Parov Stelar. I'm Gonna
Funk U and Stranger are sung by the Marche singer AdniL for the first time in collaboration with LTJ.