There is little hope for the new generation of Polish house music producers these days in Poland as the scene has fallen into total obscurity in the last few years.
With almost no labels, no venues that host non-techno parties and most importantly no listeners and supporters, the scene looks grimmer than ever.
The term "music for nobody", coined some time ago on social media, describes the situation in a fitting and ironic way.
Nonetheless the Polish house music flagship Transatlantyk is back for 2019 with this new various artists EP that showcases some of the best hidden musical talents the country has to offer.
Breezy electro from Dextre, raw distorted house from K-Hole Trax, trippy ambient excursion by 1 9 9 2, and some deep sounds by Aheloy! make this versatile new EP on the label, a joy to listen at home or spin at clubs.
Limited to 200 copies!

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After a year long vacation in the Bermuda Triangle the polish electronic music flagship Transatlantyk is back with a new release.
It's new course will for sure again surprise fans of the label.
Sad, disjointed house meets old Russian synthesizers and sighing dogs.
Delirious techno mixes with mutants that crawled out from the ozone holes in the sky. This is the kind of stuff you will find on this 14th release by the label entitled 'Sigh EP'.
The man behind this beautiful mess is Mchy I Porosty, who already made his mark in 2017 with a brilliant debut EP for Brutaz from Warsaw.
It's time to go to the basement it's time to stop staring at the sky.

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No matter where the winds may blow, what storms may come or what pirates will do, the Transatlantyk ship is still sailing. Navigated for the last three years by Zambon out of Berlin, ultimately avoiding the shallow waters of the generic and constantly patrolling the seas in search of exciting sounds. After all that sailing the label just had to replenish its ranks with some fresh faces - those still capable of voyaging into the unknown.
Joining the crew is a young gun TAMTEN, who by day serves as a vinyl pusher in Warsaw's finest Side One record store. What he does by night is not the matter of this short text, but we are sure he does a lot of it. Hence his love for all things distant - from subaquatic pads and floating riffs, to new-age-y siren voices, otherworldly effects and percussion drenched in reverb.Â
There is a lot of similarly distant, sun-bleached material on this five tracker, full of a druggy and hippy Balearic feel.
Beautiful ambient jam 'Przebudzenie' is the stand out track, but 'Znaki Czasu' is equally as good with its simple, yet memorable melody, reminding of dawns and sunsets on some God forsaken beach. Sultry deepness of 'Nieznajoma' is followed by enchanting digital exotica of 'Wyrocznia' and wavey trip-hop cut 'Po Burzy'.
Overall its one of the strongest EPs that Transatlantyk managed to co-opt into its growing catalogue. Definitely one for the dreamers.

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With his new release the polish Transatlantyk sails into - as yet uncharted - waters of the 'lol- fi' breakbeat house scene to bring you the debut of DJ Stoner Dad. Not much is known about the man behind the nickname, except that he is a DJ, a dad and that he likes getting his hits from the bong on during the infamously long Warsaw afterparties. The "Raw Romantics EP" showcases his own take on the deeply saturated, smokey and breakbeat-infused house genre. 'Fake Strings' is a certified banger alluring the dancefloor with a great combo of rolling bass, squashed kicks and hats, grimy, atmospheric pads and a bits of spoken word thrown in. 'Magic Phunk' brings THAT break again and for a good measure. Drums are floating over an ocean worth of blazing pads, liquid synths, acid riffs, pillowy, yet dirty chords and whatever else DJ Stoner Dad could lay his hands on at the time. 'IV' is a full frontal ambient jam, with little bits of wandering drums coming into the picture at the very end.
Finally 'V' brings cinematic influences over slightly uneasy slow groove.

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A brand new instalment in the Trans Afryka series, that is loosely inspired by the sounds of the black continent and devoted to club-oriented Afro-House. Riding the waves of success with sold out volume 1, Zambon employed three talented producers to bring more goods to the table.
Transatlantyk regulars like DJ Dook and Universo are joined by a newcomer Tamten and together deliver a bomb of an EP! Aptly titled 'Afro Acid' by DJ Dook is exactly what it says on the sleeve - raw DJ tool with squelchy samples, mantra-like vocal loop and focused vibe. Think of an soundtrack to a futuristic version of Apocalypse Now. Just the perfect peaktime beats to heat the party a little bit more. 'Praise Song' by Universo is built on a wandering bassline reminiscent of Malian blues with tribal chants, penny whistles and various sorts of percussions on top. This beautiful groove rolls and rolls without end, like an endless summer. 'Ukukhnaya' by Tamten is the most atmospheric out of the three, fusing New Age midi sounds with the vibes of South African deep house.

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Brand new Transatlantyk release contains elusive synth works of Sasha Zakrevska aka Poly Chain.She likes to call herself a 'Ukrainian ambient chavette' and the title of her debut album is a tongue-in-cheek spin on Eno's classic. 'Music For Candy Shops' is much more sticky and syrupy than its famous predecessor though. In every track on this record Poly Chain's rich and warm synth textures are glazed with another layer of radioactive sweeting.
From atonal melodies on top to occasional spicing in form of odd reverbs, delays and drum sounds - it's all there. Let me tell you straight up: this candy shop serves some weird sort of sweets, inducing hallucinations, anxious feelings of omniscience and transcendency. Use with caution!
Available as a 200 copies only vinyl LP

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Transatlantyk return with a double header informed by the Dark Continent Label regular Universo (architect of their best EP no less) cooks up a splendid slice of culturally appropriated, campfire heat. It's Graceland era Paul Simon fed through some expertly assembled 21st century software. On the flip Ryan R (Reynolds maybe ?) offers up Umqondo. As Western Poland's answer to Awesome Tapes From Africa, we'd say he knows from whence he takes. It's a groove so thick even Dr Livingstone would have trouble hacking through it, an immersive ride though to be sure, and one which will make infinitely more sense at 4am Sunday morning than it does at midday on a Tuesday...

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After a string of 12's released on Studio Barnhus, Father And Son Records And Tapes and Transatlantyk, Polish producer Naphta returns to the latter with his debut LP. '7th Expedition' is an immersive exploration through Jazz and Afrobeat influences, cleverly touched by seductive house and warming hip-hop elements. This spaced out and eerie musical narrative is wrapped in a concept album - a captivating tale told in collaboration with guest musicians from all over the world. Along with the amazing artwork by Natalia Labedz, '7th Expedition' truly becomes an exciting journey into the uncharted soundscapes.
Available as a 200 copies only vinyl LP

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One of the most charismatic and respected DJs in Poland, Eltron (aka Eltron John) presents what is probably the most expressely club-oriented record in Transatlantyk history. His four track offering sounds much like his sets - ferocious and subtle, raw and sophisticated at the same time. The main mix of 'B&S' blends druggy deepness inspired by the vibe of 90s Tribal America with UK Funky riddims, creating the sort of pneumatic house groove that never fails to get the party rocking. This simple, yet meticulously produced tune has already been road-tested and received enthusiastic feedback from a number of jocks around Europe, and the vinyl version seems destined to strengthen its deserved banger-with-a-message status. The dub version of fuses layers of darker, industrial bleeps with a classic break and a rather healthy dose of echo. Trippy and rough, yet exhilarating - it is exactly the kind of track you want to hear in a dark warehouse. Switch to the B-side for 'The Light', where sampled vocals, pitched-down drums and fuzzy pads are combined to form a unique specimen of lo-fi R'n'B, Eltron-style. This hazy groove is guaranteed to guide dancers ever-so-gently into the light of the morning. Finally, 'Reprise' exposes the bare bones of the original. With its dubby, in-your-face quality, it is one for the track heads, definitely.

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Transatlantyk delivers more deep dancefloor heat straight from the Polish house underground. This time Zambon has recruited two duets from the opposite corners of the country, hence the name of the sampler (Polnoc/Poludnie = North/South). The result is one of the most diverse and playful Transatlantyk releases yet. Jazxing are two youngsters from Gdansk, who cut their teeth playing drums, keys and bass in local reggae and new wave bands. Fusing their musicianship with an ear for classic American house production, they are delivering two fresh and charming tracks. 'KS Gruv' is the road tested crowd favourite, never failing to move the dancefloor into the jacking direction. 'The Coast' is a slower, more seductive and deeper affair. Its phased strings and swinging bassline form a perfect soundtrack for a late night or early morning at the Loft. Unitrax come from Cracow. These two seasoned DJs share mutual affirmation of all good things in life. They also share their love of dusty samples and analogue machinery. Here they showcase the sound of deep, mystic, meditative house with a hint of medicine overdose. 'Oasis (Water Of Love)' is filled with druggy and sultry atmosphere (and some really nice synth action as well). This beautiful jam will definitely keep your happiness level high in a different situations. 'Another Feeling' sounds more sedative, like a post-coital cigarette in the early morning light. Buy on sight, play it in your local opium den and you won't be disappointed.

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More abstract, forward thinking house music courtesy of Transatlantyk. 'Mondo Hehe' is the fifth EP in a growing catalogue of the label and is one of its most adventurous offerings yet. Lutto Lento (real name Lubomir Grzelak) is an experimental musician from Warsaw, Poland, who specialises in dark, spooky, uneasy music that's hard to categorise. Apart from running two experimental cassette only labels (Sangoplasmo and DUNNO Recordings), Lutto Lento records music for contemporary theatre and forward thinking European labels like FTD and Where To Now? He is equally inspired by avant-garde and surreal sounds from the bygone eras as well as raw house and techno music of today. His music tends to absorb the listener into a parallel, imaginary world, where sounds of a lamenting cry of a trumpet (B2) and a voice counting numbers on top of the rolling exotica style bongos (A2) are as important as jacking Chicago house drums (B1) and energetic basslines (A3). From the jumping beats of the title track, to the late night deep roller 'Casino', the 'Mondo Hehe EP' is a superb collection of non-generic House music that sounds as good at a club, as it does at home.

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From the land of Roman Polanski, Anja Rubik and - plumbers comes Polo House, an umbrella term for the rich homegrown house music scene of Poland.
This double LP is a first attempt to present high quality underground dance music coming from the country. Curated by Zambon, the boss of both Transatlantyk and The Very Polish Cut-Outs, this compilation showcases the brightest and most talented house producers from Poland on 2 slabs of black wax. A combination of underground heroes and some of the most talented rookies brings you nine versatile high quality house tracks. From great tropical adventures of Selvy & Naphta, through the summer breeze of the Baltic Beat served here by The Phantom, to some raw dusty warehouse grooves provided by Lutto Lento and deep sea expeditions of Universo - it's all there, and much more Like the epic Balearic house cut 'Loft Version' by Newborn Jr. If you didn't fall in love with the sound of Transatlantyk until now after hearing this - you will for sure.

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Tracklisting
A1 DJ Misjah & DJ Tim - Access
B1 DJ Misjah - Keep Your Love
B2 DJ Misjah - Mind Recorder

Sales Note
Planet Rhythm proudly kicks off its brand new ORIGINALS series with a heavyweight reissue of classic DJ Misjah cuts - essential gems that shaped the hard-edged techno sound of the mid-90s. Remastered with care and pressed on high-quality vinyl, these tracks capture the raw energy and relentless groove that made DJ Misjah a household name in underground techno circles. An unmissable chance for collectors and fans of authentic underground techno to own a piece of techno history, fully restored and ready to devastate dancefloors once again.

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2025 Edition - Clear Marbled Transparent Vinyl - Black Box Set!! New Price!

Emmanuel Top's Attack Records stands as a milestone in the 1990s techno-acid scene.
The French producer pioneered a unique sound that continues to resonate today. Tracks like "Turkish Bazar" and "Acid Phase" remain iconic, even considered among the best techno productions of the 90s.
Thirty years after their original release, all the key tracks by Emmanuel Top on his own Attack Records return to vinyl, remastered in a 5 x 12" boxset.

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DJ SUPPORT- DJ Harvey

New Series from SIRS Maxi Maximal will focus on reworking timeless classics for maximum pleasure.
Time Of My Life - sounds like a lost or unreleased Dub version from the original, the main arrangement has been changed to focus on the bass and strings to give it a Balearic feel, building to the payoff. Let us Dance Just A Little Bit More – is pure 80’s Euro pop vibes which has been remixed and arranged with today’s dancefloors in mind.

On the B side with have an epic rework of ‘State Of Independence’ with added keys and beats, changing the melody and vibe for a more 90’s House feel.

A great way to kick off the Maxi Maximal Series.

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DJ Support: DJ Harvey, Kelvin Andrews/ Balearic MIke (Down to the Sea and Back), Howler (Pikes/Totem Projects) Joe Morris (Shades of Sound/Pikes)

New vinyl only 4 track EP of reinterpretations on the fledgling Oswego Music label, from the mysterious Lovehandles.‘Unrequited Dub’ sees a quintessential eighties tune and Larry Levan favourite reframed as an epic 11 minute balearic slow jam- with scarce copies available digitally getting plays in recent months from Kelvin Andrews/ Balearic Mike (Down to the Sea and Back), Howler (Pikes/Faith/Totem Projects) Joe Morris (Shades of Sound/Pikes) and even Mr Harvey Bassett seeking out a copy. One for sunsets and heartbreak. Next up-‘Stars before the Sun’ is a recut of a thrift store Hare Krishna disco funk cut. WIth solina strings, drum breaks and a positive message to live for now. ‘Crystal Lites’ first on the flip; heads to the disco. Versioned here with whacked out pinging delays and reverbs. It’s been reworked before, but never like this. ‘It’s a Long Shot’ second on side two, is a 12” mix that never was- an eighties Balearic drum machine pop favourite,extended for djs. Its ethereal vocals, minor keys and spaced out fx perfect for late nights and early mornings. ‘The Drum-Set (skit)’ rounds things off here- a short and sweet reminder of the international, multiracial origins of rhythm. Perfect for mixtape intros and interludes.

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Volume 2 of this expertly curated project of 90s Italian House - put together by Don Carlos.

If Paradise was half as nice… by Fabio De Luca.

Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.

It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.

Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.

In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.

No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.

For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.

“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy.

Tracklisting Vol.2:
A1 Montego Bay – Everything (Paradise Mix)
A2 Atelier – Got To Live Together (Club Mix)
A3 Golem – Music Sensation
B1 The True Underground Sound Of Rome – Gladiators
B2 Eagle Paradise – I Believe
C1 D.J. Le Roy feat. Bocachica – Yo Te Quiero
C2 Carol Bailey - Understand Me Free Your Mind (Dream Piano Remix)
C3 M.C.J. feat. Sima – Sexitivity (Deep Mix)
D1 Kwanza Posse feat. Funk Master Sweat – Wicked Funk (Afro Ambient Mix)
D2 Progetto Tribale – The Bird Of Paradise / MBG – The Quiet

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Disco Deviance continue to unearth those secret DJ weapons that will really set your dance floor on fire. For this latest edition they invite youthful crate diggers SHMLSS from the vibrant Amsterdam scene to deliver two cut-up gems of the very highest order. Both tracks are lovingly edited and beautifully re-mastered. Enjoy the music!!!


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