The mastermind behind long-running Inner Sunset Recordings out of San Francisco and the elusive Imperial Pressings has once again resurfaced, and resurfaced with ferocity! Inaugurating the all-new imprint PDG Discs, Homero G.’s “March of the Mighty Club Heroes” is a superbly crafted 4-track E.P. that hearkens back to the days of old, when music had unforgettable stories to tell and partying went hand in hand with making memories that lasted a lifetime.Blast off into outer space with A1, “Red Planet”. The bassline rumbles and the breaks roll with an intensity that propels you forward in a swirl of intergalactic pads. Track A2, “Rusty Robofriend”, is awesomely twinkly, grindy, happy-go-lucky breakbeat jam that your grandfather’s childhood toy robots secretly dance to when nobody is looking. B1’s “Triple Tab Fantasy” is a perky, skippy, stabby, organ-filled breakbeat delight that joyfully progresses with bursts of refreshing positivity around each and every corner. And B2, “March of the Mighty Club Heroes”, is a deep and rainy piano-adorned, break-laced anthem that gives a beautifully sentimental and heartfelt nod to all the true heads out there who will let absolutely nothing stand in their way of going to the club. Not even bad weather.A fantastic record that’s 100% built for true connoisseurs of dance music, old-schoolers and all-around music lovers alike, “March of the Mighty Club Heroes” possesses a level of detail and emotion-filled storytelling that is rarely witnessed in electronic music these days.Once again Homero G. delivers, and delivery massively. He’s notorious for not repressing prior releases, regardless of how sought after they may be later on, so grab your copy now. Because when it’s gone, it’s very likely gone for good.

Space Dust is back with it’s first release of 2022 - this time from good friend of the label and EYA Records boss, Jos. His ‘Supersonic’ EP begins with the depth and elegance of 'Polvere Di Stelle', before travelling through a wormhole to dark and dangerous territories with the slamming ‘Infrared’. Crossing over to the upside down, Jos brings us the stomping, minimal acid groove of ‘Supersonic’, before closing the record with ’Night Vision’ - a techy number built on intricate drum patterns, with haunting melodies and vocals.

Ukrainian producer and DJ Sider returns to the catalog with another ethno-techno filled four tracker!The release contains tracks that were written while traveling the world. Inspired by his favourite places- Indonesia and Sri Lanka, these tracks contain live field recordings from his travels beautifully blending techno, trance, drum & bass, amdient, electro and breaks!Halted by the travesty of war, traveling through sound has become more essential than ever. This beautiful EP represents the strong artistic culture of the many Ukrainians that are no longer able to travel physically around the world but continue to traverse soundscapes, continuing to dream and create.

On May 20th On Rotation returns for their first VA release - Genetic Memories Vol. 1.Anderson opens the release with the mystical ‘Polymorphic Magic’ - a low-slung builder combining deep synths with sampled instrumentation. 

“I’m a huge fan of self resonating / overtone instruments so using the Fujara was a no brainer. A naturally psychedelic sounding instrument, I wanted to accompany the flutey pipe with a deeper and low-mid tempo chug.” - AndersonNext up is Musty Head Records main man Jamie Leather - combining the tight drums and skilful melodic work of his previous releases with all the influences we love, ‘Discovery’ is sure to get any party going.Leading the B-Side of the record is Ed Hodge's ‘Atreides’ - a tough yet playful banger drawing influences from across the spectrum of UK music. Gun fingers guaranteed! 

“It’s probably the fastest, rowdiest track I’ve made under the Ed Hodge moniker and pulls influences from house, trance and speed garage.” - EdClosing the release, we speed things up and travel deep into the past with Phazma's ‘Arrakeen’. Featuring ethereal synths, driving rhythms and beefy low end, this floaty number works just as well at home as in the club - a perfect way to round off the EP! 

“After some help from my musical peers and some heavy inspiration from the release of the new Dune movie, I managed to come up with something that I’m pretty stoked with!.” - Phazma

The Pearl is a collaboration between Planteaterz and the mercurial NYC rap-mystic, Sensational. The EP features four songs recorded in the winter of 2021 with Sensational on the mic and eaterz on production, and is accompanied by instrumentals and killer remixes by Maara, J. Albert, and Lowjack.The Pearl is a sound, a world, and definitely a vibe.We’re pleased to share the fruits of this collaboration with you here.

Late last year, Canadian producer Priori returned with his second album ‘Your Own Power’ to great acclaim. Released via his NAFF imprint, the album showcased a more contemplative style to his productions and featured one collaborative track with label partner Ex-Terrestrial. The story continues as Priori enlists a heavyweight line-up of artists to rework some of the album’s standout tracks.Slated to drop on the 18th March, ‘Your Own Power Remixes’ features new editions from Donato Dozzy, Aurora Halal, DJ Python, and Bambounou alongside a Priori VIP - each bringing their own flair and style to the record.Priori is an alias of Francis Latreille who first put out solo releases on Greek label Echovolt and Canadian imprint ASL Singles Club. Known to be an avid collaborator, Latreille is involved in a number of projects including Jump Source, M.S.L., Housemates, New World Science, ANF and more. He has also worked on mixing projects by fellow artists including Roza Terenzi, Ex-Terrestrial, RAMZi, Bambii, and Ouri.

A Delicate degustation for the finer palette, Taste the Bass is the latest seasonal sound delicacy via your favourite dysfunktional deep throb duo Ambien Baby. Stepping up their songwriting skillz and staying true to their heady primal sophistication, Nap & D.Tiff indulge in vocal explorations laced throughout 4 tracks, cries of couplet writing and hints of daring duets lingering on the lips. The hypnotic electroclashed EBM is served with superior rhythmic complexity and sonic depth, as per usual, niche on the streets ~ screech in the sheets.A heartfelt ode to the synthesizer that first bound them together, passion, rage & a reminder to never-ever forget to groove; all four songs come prepped rave ready, mise en plus! Clean, mean inspired techno leaning freakouts that nail that midrange tempo, filled to the brim with that special ingredient no pretenders can purchase. A raw audio feast fit for the gods… although it took God 7 days to create the earth and Ambien Baby created this in 4.

Banging tech is banging hard! Dancefloor oriented and acid lead 5 tracker with rave, trance and breakbeat influences !

Objetrouvé n°10, SYNTH IN JAPAN, is an invitation to travel within the emerging Japanese synth scene. A unique opportunity to discover the work of two non-standard personalities who each reinterpret and mix up the codes of synth in a very personal way. Rikinari Hata, aka SOLOIST ANTI POP TOTALIZATION, from Tokyo, plunges his inspiration into a material reminiscent of industrial and experimental music. He builds fantastic electronic machineries, musical space shuttles that rustle with a thousand sound inventions and drag in their trail murmurs of dreaming robots. Based in Kobe, JIN CROMANYON, Hidetaka Horie's musical double, embodies a sort of whimsical and truculent character who would have jumped out of a video game or anime to take over the dance floor. He creates synthpop gems as opening soundtracks for disquieting futuristic fables.Available in two versions: Standard vinyl edition + Collector edition / Design by Stephane Argillet Stereovoid

On ”Loos EP”, Stockholm-based producer and DJ Ari Bald returns to Västkransen Records with three original tracks aimed for the dance floor. The record’s self-titled main track is a peaktime tune whose stabbing chords, flowing pads and hypnotizing bassline testify to Ari’s love for Kerri Chandler. On the B-side, the dreamy ”Fluff” explores the boundaries between modern Nordic disco and classic house. The record closes with ”Peachy Streets”, an 80s-leaning house trackco-produced with DJ Hasse from Bike Thieves. If ”Loos EP” doesn’t get your party started, we’re not sure of what will.

Past Due Records and Jerome Derradji are at it again! This time with the reissue of the superb and ultra rare EP by San Francisco's Cordial: "Their First". This record was produced by Bill Withers in 1979 and is a cult favorite amongst disco lovers worldwide! "Their First" includes the legendary disco cover of Antonio Carlos Jobim "Wave". This EP is fully remastered, comes with a full sleeve and an insert with the story of Cordial and their main man, Raymond Coats! Ultra limited to 500 copies.

Four days in a New York hotel room and Lewis Taylor hadn’t heard from a soul. He took the eight-hour flight from London at the behest of D’Angelo and his camp to work on the follow-up to Brown Sugar and now, no knock on the door, no phone call, nothing. Taylor, a self-described neurotic in his early 30s, could only sit and wait for a life-changing opportunity. In New York, no one had even heard of him; his album—a brooding, confounding R&B record that excited UK music journalists but left his label wondering where the hit was—hadn’t been released in the States.As a child, he inherited his parents’ affection for the tendon-straining R&B shouters of the American South and the smooth, romantic crooners, especially Sam & Dave and Sam Cooke, and thanks to the trippy album artwork on display in a record shop in Hertfordshire, near where he grew up, he discovered prog and psychedelic rock acts like Edgar Broughton Band, Syd Barrett, and Yes. For his debut album, Lewis Taylor, he borrowed from both these fixations to create guitar-driven, structurally ornate tracks that he then blessed with his voice, a svelte tenor that sounded like it had been honed under the tutelage of Marvin Gaye. D’Angelo wanted some of that.The promise of shaping the myriad ideas mentioned by D’Angelo’s people over the phone—it was difficult to tell which direction they wanted to go in after the success of Brown Sugar—must have felt far away in the hotel room, even though D’Angelo was supposedly somewhere in the vicinity. Taylor wasn’t in the studio, where he expected to be, where he felt comfortable. Frustration mounted. What was the point of enduring this treatment, such blatant disregard for his time and feelings? After four days, he checked out and returned home.Taylor’s career is one of the most under-discussed in modern R&B history, and this anecdote, which the artist relayed to journalist and scholar Michael Anthony Neal in a 2006 Pop Matters interview, captures his frustrations and difficulties in microcosm. It’s fitting that the interview has been, for all intents and purposes, lost on the internet, only accessible if you excavate using the Wayback Machine or some other archiving project. Unlike white R&B artists like Jon B. or Rick Astley, who found new relevance in the digital cultural memory through Drake adoration and viral pranking, Taylor never found the means to keep his eclectic catalog alive for subsequent generations. It didn’t seem like he much cared to, either; he was content to have a crotchety underdog’s career releasing oblique R&B records that didn’t try to reenact note-for-note the styles of the past or embrace the genre’s meld with hip-hop. After all, this is a guy who, when asked about being a blue-eyed soul singer in a 1997 interview, responded, “Well I suppose the most unintelligent answer I could give to that is ‘fuck off.’” Eventually, the music industry responded in kind.WATCHExplore Patti Smith’s Horses (in 5 Minutes)Initially, though, Taylor cast a spell. On the strength of a demo that had a touch of Al Green’s vocal phrasing, Taylor signed with Island Records and recorded a masterpiece, the self-titled 1996 debut that gathered a cult audience which included two of the most beloved acts in R&B, D’Angelo and Aaliyah. Neal, a professor of African and African American studies at Duke, went so far as to label Taylor “white chocolate” in an academic journal, meaning a white performer of Black music who “legitimately add[s] to the tradition.” Taylor looks different ​​but still “contains all the ‘flava’ and the texture of the original.” (He wrote it, not me.)Taylor’s skill should be obvious to anyone hearing his voice and guitar-playing, something like if Marvin Gaye merged with Jeff Buckley. But what to do with him? How to market an uptight, limelight-allergic, white neo-soul singer in 1996, before that branding shorthand became commonplace—and well before you could attach, say, Mark Ronson to the project? Island couldn’t figure it out.In search of an attention-grabbing breakthrough single, the label took a page from the Pat Boone playbook, encouraging Taylor to cover soul classics like Stevie Wonder’s “Until You Come Back to Me” and the Supremes’ “Reflections,” and passed on a completed album he handed over something that was decidedly more Brian Wilson than Jon B. Unable to solve the marketing dilemma and seemingly uninterested in keeping a hit-less wunderkind on their roster, Island dropped Taylor outright after the release of his second album, 2000’s Lewis II.The biggest hit bearing Taylor’s name is Robbie Williams’ 2006 cover of the brilliant dance tune “Lovelight”—produced by Ronson, of course. Following in D’Angelo’s footsteps, Chaka Khan left Taylor hanging after extending an invitation to collaborate. Eventually he decided to self-release his records until a boutique label swooped in, even convincing him to book his first U.S. tour in 2006. But he played only one date, a well-reviewed Bowery Ballroom show attended by, among others, Stuart Matthewman, of Sade, before bailing on the entire endeavor and retiring.In 2016, Taylor explained his decision in a candid, sometimes prickly interview on the blog Soul Jones, saying that his pursuit of music had turned him from an “eccentric, slightly arrogant little nerd to an egotistical self-centered little shit.” And, obviously, it couldn’t have been the result of fame; Taylor said that the transformation began before he released his debut. It took standing on the brink of an international tour to realize that if he didn’t walk away from music, he couldn’t change from what he’d become.Male insecurity—the perhaps harder-to-claim reality coursing beneath the brash egotistical ugliness—is the great subject of Taylor’s music and there’s no better, more engaging expression of that tumult than his self-titled record. The album begins in media res as we listen in on the pleading, bewilderment, and frustration of a breakup in progress. After a tense, patience-testing instrumental introduction, Taylor's first words are, “Tell me what we’re gonna do/I wanna know how we’re gonna pull through.”Imagine if Let’s Get It On opened with Gaye’s world-ending divorce song “Just to Keep You Satisfied” instead of the title track—that’s the mood, but with less weary resignation and more agitated confusion and anger. Taylor insisted that the blues—“playing six guitar parts at once and singing on top”—inspired his writing during this period more than anything else, and the genre’s plaintiveness (and occasional meanness) suffused his lyrics, too. About four minutes in, Taylor resolves the musical tension by incorporating the kind of layered doo-wop vocals Gaye sculpted with genius (those velvet ooos and la-la-las), while simultaneously activating full son-of-a-bitch mode, singing, “If we don’t make love, it’s over, baby...If we don’t work tonight/Then we just ain’t right.” Not getting laid one last time makes the split real, especially since she’ll be denied his gusto: “If I don’t get lucky, you don’t get lucky too.” A real gentleman, this guy.There are many abject flavors on this record and the most satisfying comes via the next song, “Bittersweet.” Aaliyah called it perfect; it should be considered a peak of the neo-soul era, spoken about with the same delight and awe reserved for “Untitled,” “On & On” and “Ascension.” (One of the ironies of Taylor’s career is that, despite his whiteness, he still missed out on commercial success, thus avoiding the disdainful “Elvis Effect” of sanitizing Black music for lucrative, history-erasing white consumption.) “Bittersweet” enacts the taste of its title by moving from gloomy to transcendent. The lyrics describe a relationship the very miserable narrator says he wants to leave but can’t muster the courage to end: “I pick up the telephone to say it’s over/Soon as I hear you talk it’s started all over again.” She laughs at him when they make love. His friends have abandoned him, calling him crazy for putting up with this. He is, in short, down bad.And yet! Rather than wallowing in self-pity, the song finds ecstasy in agony. At first “Bittersweet” is brittle and ominous—the opening piano noises are stark, like something creaking in the attic. The guitar line is sinuous, paranoia-stoking. At intervals, he triggers a stack of his vocals doing something that sounds like an ugly inhale. It doesn’t seem possible that any sweetness could be extracted from this murk. But by the time the bridge begins, there’s no predicting the evolution of these monstrous, conflicted feelings. The thundering piano chords that bring the chorus back sound like church. “Oh, come on/You got me losing my mind,” he wails, his voice coming from somewhere beyond despair or joy. This kind of bad love isn’t novel subject matter, but Taylor’s execution is ambitious enough to blow your hair back. “Bittersweet” so moved Aaliyah that it compelled her in an MTV interview to ask that Taylor “call a sista: let’s hook up, let’s do something.” She had found a copy of his record in Australia.MOST READ REVIEWSAngel Olsen: Big TimeBig TimeAngel OlsenNancy Sinatra & Lee Hazlewood: Nancy & LeeNancy & LeeNancy Sinatra / Lee HazlewoodMaria BC: HyalineHyalineMaria BCThe songs on the opening side of Lewis Taylor make surprising choices that keep them dynamic and alive. Not a single one ends in a place you could anticipate from the opening minute, and Taylor crafts consistently stunning endings. Some criticism of his second album focused on his “cerebral, convoluted chord structures,” but such extravagances never weigh down Lewis Taylor. “Whoever,” “Track,” “Song”—all have refrains liable to stick with you for days. The latter is so weirdly skeletal at the start, barely more than his voice, clanging percussion, and some bass, and from that emptiness, a massive hook emerges that he lets ride for the final two minutes. It’s an anthem for suckers in love: “Find me weak, find me strong/I get all messed up whenever you call my name.” Male R&B stars in the ’90s increasingly emulated the bravado of hip-hop, but Lewis Taylor offers a kind of emasculated R&B, more excited by self-destructive feelings than pleasure.Unable to resist a twist, the back half of Lewis Taylor provides a thoughtful repudiation of all that fit-throwing and floundering, signaled by track six, “Betterlove” (and, later, “How” and “Right”). It’s an easy-going ballad with the kind of last-minute key change that screams love triumphant in the face of adversity. “You teach me and I learn about the way a man should be,” Taylor sings, petulant and self-effacing no more. On “Right,” he puts it as laconically as possible: “She’s right and I’m wrong.”There was a real secret behind the creation of the album that informed these lessons. The record has been portrayed as a Prince-esque solo effort, the lone genius in a studio brimming over with ideas and technical ability. The liner notes billed his manager and romantic partner Sabina Smyth as the executive producer. This undersold her contributions. In the interview where Taylor cleared up rumors about his retirement, he also spoke about collaborating with Smyth. “She was involved in the writing, the arrangements, sounds and textures, and the production [on Lewis Taylor],” he said. “And I didn’t credit her because I was so insecure, immature and self-involved. I would say that the executive producer credit I eventually gave her on that album is patronizing at best.”There’s an edge in that last line, a whiff of self-loathing. Patronizing at best—like his past behavior still beckons as a lash to use against himself, even after he’s owned up to his mistakes. The sense memory of an indiscretion stays vivid. The mixture of anger, lust, shame, pride, and remorse channeled in Lewis Taylor is as potent as modern R&B has produced. The genre is often at its best when it grapples with the unsavory complexities of the heart, even if the music isn’t as widely palatable when scraping around in the dark corners of a relationship. Here, My Dear was never as popular as Let’s Get It On. It took time to lure its audience.MOST READ REVIEWSAngel Olsen: Big TimeBig TimeAngel OlsenNancy Sinatra & Lee Hazlewood: Nancy & LeeNancy & LeeNancy Sinatra / Lee HazlewoodMaria BC: HyalineHyalineMaria BCThis has been the year of renewed interest in Taylor. In January, D’Angelo debuted a radio show with Sonos and played a cut from the Japanese release of Lewis Taylor, a strange and beautiful bonus track called “I Dream the Better Dream,” which sounds like In a Silent Way shaking hands with Music of My Mind. “This motherfucker’s a genius, man,” D’Angelo murmured, in his cigarette-husked voice. The discerning British reissue label Be With Records released Lewis Taylor on vinyl in a handsome edition over the summer. And in June, the most unexpected event: the newly launched Lewis Taylor Instagram teased a new album. “After taking a bit of a break, Lewis and Sabina have returned to the studio,” went the caption.It’s tempting to read “Bittersweet” as a metaphor for Taylor’s relationship with music: a bad love affair that brings as much displeasure as delight. If making music brought him the kind of stress heard on that record, it’s no wonder he needed some long breaks, some soul-searching. But that turmoil is precisely what makes Lewis Taylor a success. The phone stayed silent, that plum collaboration up and evaporated, the single didn’t garner the audience it deserved—these things cease to matter once you press play.

Panorama EP could be considered Erta Ale’s personal homage to the early 90's progressive house . Repetitive patterns, infectious bass lines and emotional chord progressions cooked together with precise rhythmical structures as well as featuring short vocal loops and acid lines typical for that time. The intention from Erta is to bring the crowd back in time and far from intellectualism and negative trips, in a place and time where dancing, dreaming and positive feelings were always present on the dance floor. Side B features an impeccable remix by the growing talented Italian duo we.amps, who as usual deliver powerful and tasteful dance floor tracks.

From deep inside the inner workings of L3 Liverpool comes the latest instalment from the city’s very own, Aerofunk. An EP built through atmospheric melodies, break scattered percussion and the heavy sub-driven, relentlessly shifting basslines he is becoming renowned for.The EP opens itself out into true break-funk fashion with ‘The Definition III’, setting off via back-and-forth percussive movements with hints of hypnotising, atmospheric keys, that pave the way for one of his signature hard hitting, scattered basslines.Moving in an ever forward style, ‘Funky Breaky West’ cranks up the level for the A-Side. The repetitive bassline layered beneath a kick that skips itself in-and-out of various timings throughout the track, alongside staple, party worthy snare and hat crashes, guide the music on course before delightfully introducing an added touch of flavour with two competing basslines that work together perfectly, hand in hand.To the flip, there’s no time for pause, as ‘Zezwa’, a track built upon a differed style to its predecessors yet sugar coated in the unmistakeable A-F style, noticeably designates itself in a groove to make its listeners relentlessly move. Throughout and just in ear shot, riding their way throughout that background, is the unmissable sound of scurrying hats and cow bell strikes that seem to make spontaneous decisions for their choice of inclusion.The B-Side close out supplies an ending filled with a stripped back groove, plied by guided reverberating horn sounds that give off a sense of alarm aimed to draw a mind to the fullest attention. All the while, the music shifts itself on in true, groove driven funk fashion. The keys and atmospheric tones that work themselves in midway through the track are worthy of noting, as if to cultivate the way for that melody one could easily mistake to have been designed by the touch of a musical robotics lab.

For this second release, Yuko Records introduces Emi Ömar, member of Recordeep. He delivers three tracks with a homogeneous musical universe, symbolized by his synthesizer signature sound and 90's influences on the tracks "Trou Noir" and "Largo Winch" and an organ house touch on the last track "Découpe du Roi". Vinyl only.

After a few silent years, the Beau Mot Plage crew is finally relaunching its label with a kick !The record showcases the skills of BMP’s co-founder, Alexis Namur. The Frenchman has been crafting his sound quietly for many years, finding influences in the music he digs.The result is a 4 track debut EP that oscillates between straight-forward tech-house groovers and subtle slow-burners, sprinkled with that 90’s progressive vibe that we love so much.

New EP from our favorite home boy and E&P originators : Life Recorder.Number fourth of its Life Notes imprint, with an excellent four tracker packed with emotions and grooves, between deep house lushness and Detroit techno effectiveness. We are still moving...as well as the music. As we have to deal with new realities in an altered world, the musical expression still has to find a way to the people. That's the mood behind the first Life Recorder ep on Life Notes. Another deep house/techno exploration always connected to the timeless influences through emotive pads, tones and driving rhytmical elements.Don't sleep on it, it's yet another banger from the Marseille based producer !

Following up on last year’s release, we continue the smoky adventure with a debut EP by our brother Koldd and another sight at what Marseille is up to with a house focused 4-tracker composed between the beaches of Tahiti and Marseille. Moorea EP is exploring the influences of Koldd, ranging from ambient tale to abstract downtempo, through banging house and minimalistic grooves, and resulting in a complete and mature EP for the mid-20’s producer. It comes in a 180g heavy and hand stamped 12 inch white label, and including a special insert of Vava Dudu’s unique drawing style.

First release of our very own imprint Smoky Window with local producer Searaime cooking up his debut EP in between the inspirations from Autechre or Aphex Twin : excellent 4-track EP ranging from spaced out IDM, to fast paced electro through breakcore and ambient. ESSENTIAL as these copies are the last ones we still have in stock ...For the first Smoky Window release, we are more than excited to introduce local gun Searaime and to present his debut EP : Casual Frequencies. Fed and grown by the abstract works of the likes of Autechre and Aphex Twin, his record is the result of experimentations led from his south side Marseille's studio, with four long cuts protraying his various production trails : from dreamy ambient to raw break core, through complex and subtle broken and electro anthems. Comes with a printed picture, taken by Claire Mercier on the Marseille's coast.

De son vrai nom Sylvain Bremond, il est un musicien et producteur de 25 ans basé à Aix-en-Provence dans les Bouches du Rhones. Il débute dans la musique à la batterie à l'âge de 10 ans, poursuit son cursus d'apprentissage musical dans plusieurs écoles de musique du Vaucluse, en Jazz, musiques actuelles, en jouant parallèlement dans divers groupes musicaux aux styles tous différents jusqu'à ses 20 ans. Année durant laquelle il rompt momentanément ses liens avec la batterie et se penche sur la culture du Vinyle, puis des boites à rythme et diverses machines et séquenceurs, avec lesquelles il débute la production, en abordant la maitrise des techniques liées au Hip-Hop. Il s'inspire énormément des compositions Françaises, telles que celles de la Fonky Family, d'IAM, Carré Rouge, Mani Deiz, Goomar, Creestal ... Ainsi que celle des Etats-Unis, allant des productions de Wu-Tang Clan, Dj Premier, Lewis Parker, en passant par J Dilla, Madlib, Flying Lotus, Kev Brown, CM Jones ... Chemin faisant, et se sensibilisant toujours plus aux musiques de tous horizons, le Trip-Hop vint entre ses mains comme une évidence. Très tôt Bonobo vint faire résonner durant son adolescence, l'envie de se diriger vers ces orchestrations aux outils largement divers. S'en suivirent des artistes tels que Shlohmo, Shigeto, Quantic, Morcheeba, Kaytranada ... Aujourd'hui, après plusieurs années d'apprentissage, de recherche en sonorité, en techniques, d'expérimentations diverses, en collaboration avec des musiciens et artistes de tout genres, NoQuantize vous livre enfin un premier jet de cette introspection musicale, l'ayant fait saisir son univers ainsi que son empreinte sonore à travers son premier EP : " Bird Syndrome "

Jed-knight producer and Marseille's best purveyor of the finest P-funk around, Mofak is back with its first auto-produced LP "My Town". Shop's favorite and unlimited source of groove, this record is absolutely essential to those who dig the boogie within those black grooves. RECOMMENDED!

Following up on last year’s release, we continue the smoky adventure with a debut EP by our brother Koldd and another sight at what Marseille is up to with a house focused 4-tracker composed between the beaches of Tahiti and Marseille. Moorea EP is exploring the influences of Koldd, ranging from ambient tale to abstract downtempo, through banging house and minimalistic grooves, and resulting in a complete and mature EP for the mid-20’s producer. It comes in a 180g heavy and hand stamped 12 inch white label, and including a special insert of Vava Dudu’s unique drawing style.

Second release from shop's favorite Lemme Records, with an excellent mini album from Berlin's Trummerschlunk and his modular sounds exploring downtempo, acid, ambient and abstract fields. TIP!

First compilation from the young label based in Marseille, Omakase Recordings. 12 tracks between Trip Hop, IDM, Ambient and Downtempo. Highly Recommended !