Tracklisting
A1 Jacob Korn - Mother's Otto Dix
B1 Jacob Korn - Ringkampf
B2 Jacob Korn - The Dark

Sales Note
Dirty Dancing is back with an impressive new 12 by infamous electronic producer Jacob Korn. Mothers Otto Dix is a three-track trip showcasing Korn's skills in embracing the Acid tradition: pure and raw Acid laid out during the past few years and finally brought to wax (not before running it through tape first).
And even its fitting cover image, which dates back 100 years, reflects the roughness of the 3 tracks. After all, its completely hand made.

With thanks to Dresdens University of Fine Arts!
Ltd to merely 200 copies including silk screen printed label artwork and risograph printed sleeves. Go on and get your healthy dose of Acid...

Produced by Jacob Korn
Tape mastered at www.tailout.de
Vinyl cut by LXC
Pressed @ R.A.N.D. Muzik
Design/Layout by Hallo31
silk screen print by geoeff.net
risograph print and cover lithography by Dresden University of Fine Arts

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Do yourself a favour and dance across the floor when listening to the new Jacob Korn-record, aptly titled Son Of GX. The music is heavily based on the good old Yamaha Electone Organ. The home organ for the world's gentlemen was modified by Jacob himself and is now an integral part of his studio. As you'll hear it on the EP, it injects a decent dose of fun into Jacob's vision of House music. At least, you will instantly notice that when listening to Singlefinger Chord, a track that conquers the floor with its Disco elements. Rumours say that Jacob's cat toddled on his poor man's Yamaha CS80 when producing Cats On Organs. If that's true, the cat provided an irresistible hook to an already slamming, Italo-inspired track. Son Of GX is every bit as compelling as the first two tracks with its synth trumpet glory while the slighty darker Fun Blocks sustains us with heavy percussion works straight out of the Yamaha Electone Organ. On top, you'll get a remix for Singlefinger Chord by New York's Jacques Renault (Let's Play House) as digital bonus.

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The mighty Jacob Korn continues the series with the aptly titled "EP2", a collection of tracks that underline Jacob's talent to produce Dance Music with appeal for both the main floors as well as deep house connaisseurs.

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Another new face for shtum but certainly not for all the Techno aficionados out there: Jacob Korn makes his debut on Uncanny Valley's sub label to celebrate his old but not forgotten love for dark and bleepy Techno. The tracks' origins date back to the 1990s when Jacob used to work with a MS-DOS based software sequencer called FastTracker. Imagine programming beats with Excel and look at the graphic interface on the A-side label of the record to get an idea of the workflow back then. Nevertheless, the tracks did not loose any of its intensity. "Backstar" comes with a straight Gabba-like kick and sharp synths before it freaks out with tight drumming and powerful bass line action. "Tribal" is even darker and will work at every Techno dance floor and FreeTek-Party. On the Flipside you'll get "Robot ?s Life Cycle". Merciless synth-stabs, the stuttering bass drum and one of those early Jacob Korn-pads join forces for a textbook example of a k iller dance floor cut. At last, "Komputermukke" is as simple as it is effective. This one is for all the heads who love their Techno neat and bleepy. The illustration on the B-side is by Sebastian Huber while Carl Suspect aka Carl- Johannes Schulze is responsible for the graphical tribute to FastTracker on the A- side.



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Jacob Korn is back! After Uncanny Valley released his acclaimed debut album in 2012, he has been busy playing live, remixing, extending his studio and of course producing loads of new music. The first results arrive as EP1 just in time for summer followed up by EP2 later this year. Jacob has always had a knack for producing distinctive House tracks that cause a stir on the dance floor. With EP1 he proves that he hasn't lost any of his skills. On "Eisladen" he works a killer Highlife guitar sample and a synth-heavy break into a track that will put a lot of hands in the air this summer. "Arzt im Praktikum" starts with powerful cowbell-driven drumming and as soon as the devastating rave chords drop, the dance floor is turned upside down without a warning. On the flipside we start with the graceful "Fahrt durch Tal" featuring Phillip Oertel who contributes a funky bass guitar melody. With his Midas touch, Jacob unites Philipp's bass work with so ulful vocals and spaced out strings and comes up with a contemporary Space Disco track of a special kind. Finally, we'll get "Kokosnuss" which once again unveils Jacob's love for cheerful hooks. With the acidic synths and the stomping drums the track almost has an old school feel to it. The cover artwork comes courtesy of Anna Jaszpataki from Dresden.

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It might not be overstated to call 'You & Me', the debut album by Jacob Korn, long overdue. Ever since the Dresden resident decided to focus more on the House side of electronic music in 2007 he released music that is equally good as it is promising. With records out on labels like Running Back, Dolly and of course his home base Uncanny Valley he’s been fueling expectations for a long play record. Jacob has always been very much into producing together with his pals. So it was only natural that 'You & Me' turned out to be an album that summarizes a lot of the collaborations that happened over all the years. Whether it was with an artist who played in his hometown Dresden or with someone who showed him around the town he was performing his live set at, Jacob never missed the opportunity to get together inside a studio and just jam along. Those sessions not only resulted in a lot of friendships but also in a string of music that takes House music to all its edges. A track like the dark and dirty 'Heteronomous' with Uncanny Valley fellow Sneaker lines up alongside the bright and sunny anthem 'Punta Del Este' together with Belgium's San Soda. Artists like Christopher Rau or Mr Raoul K add their trademark sounds but there is always that specific approach of Jacob Korn that connects the tracks. But besides that conceptual background: 'You & Me' is an album, which is here to extend the listener's summer. The concept of collaboration is even expanded on the cover artwork. A team of seven graphic artists led by Johannes Timbernagel interpreted the same template of Jacob's face in their specific style. To bring them all together Johannes texturized a 3D-Model of Jacob's head with a collage of all the drawings.




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CD VErsion of Jacob Korn's debut album

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For his third full-length album, Jacques Renault explores his craft through the format of the classic late-night radio megamix. It's a tour de force that finds him blending his quick-cutting DJ sensibilities with his crate-digging, drum-chopping disco-chemist bonafides into one wham-bam party of pastiche. This is Renault as we know him—but at hyperspeed, tearing through twenty- three tracks in under half an hour. And while it's a head rush of his trademark funky drums, sassy horns, playful synths, it's arranged as an album, with songwriting and structure at the fore. Imagine it as a flip on the script for Renault's most loved club 12-inches of the past, which luxuriate in long-form, stretched-out grooves that burn for hours, fills that ride for days. Instead of on pulling a thread for six, seven minutes, he romps around in a bouncy ball pit, plucking out whatever captures his imagination for a moment, then diving back in to discover another buried nugget. It's Jacques Renault as we've always known him, but this time through a suite of bite-size vignettes instead of slow-burn grooves.

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Our first adventure with Makèz concludes with Levitation, the sequel to Elevation, their first EP for LPH, which we released on Valentine's Day this year. With this five-tracker, the slinky funk is back, but now it has an added layer of sensual, late-night, richly-detailed disco that slowly heats up over the course of the flight. The A side is a more contemplative affair, the soundtrack to dancing alone, under moonlight in a cobblestone courtyard or a jumbo disco ball in a freshly-mopped club; it prompts you to close your eyes and dive deep within. The other side is the community side, the overcapacity-party side, the collective-consciousness side, one big-room, sprawling anthem with razzle-dazzle diva vocals in the middle, one beachy, tropical affair that's an all-smiles comedown for the high. TRACK LISTING: A1. Blue Island, A2. Red Island, A3. Levitation, B1. Kimosabe - If We Were Children Again (Makèz Rework), B2. More Visions

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What was it Dorothy said? A few months back, we released Westcoast Goddess' LPH debut, The Inner Snoopy, a classic house EP reincarnated as one of those giant rainbow-colored lollipops. And that really wasn't enough, so now we have a second four-tracker from the guy, a continuation of the technicolor adventure through nightclubs in the Kingdom of Caring. Pop it on and feel the sugar rush, feel your pupils dilate, feel your heart race and swell with joy. TRACK LISTING: A1. Strawberry Infiniti, A2. Fruity Loop, B1. Like a Benediction, B2. Stay on My Mind


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Before this illness was but a blip on the radar, before this epidemic became pandemic, we were looking forward to sharing this LP, Pacific Coliseum's How's Life, with you because, simply, it is a joy, but now it's taken on new, prescient dimensionality, and we're looking forward to it even more. Before, it was a salve, a relief from the monotony of daily life and the troubles that burden us, but now it is an antidote to the physical isolation we're experiencing. It's an inward-looking album, one that's gentle and tender, but it's not quiet. It's full of life, color, spirit; its purpose is to take the emotion on the inside and connect it with the bright, miraculous world on the outside. Full of jazzy melodies and funky riffs and easy drums that land with a measured poof rather than a aggressive pop, it is, we are certain, what you need right now. Comes packaged in a full-color sleeve, designed by Drew Heffron and Nik Mercer, featuring a photo by Ruvan Wijesooriya.



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“I Do It,” the A1, is a 90s R&B jam—imagine Aaliyah—recontextualized into an acid-flecked big-room chugger. “Do It,” which follows, starts on the same foot, but strips the vox and charges straight into business, upping the BPM a smidge along the way. Then, “B3,” a nimble, electric ditty that fits its percussion squarely at the front and center of the mix, making it into a subversively deadly drum track. Rounding out the record is Baltra's version of “B3,” which takes the essence of the original and wraps it tight in atmospheric wigginess. It's a head-spinner and gives the EP a slightly psychedelic conclusion. A1. I Do It, A2. Do It (If U Love Me), B1. B3, B2. B3 (Baltra Remix)


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A spiritual successor to our last Sleazy McQueen 12-inch, Daikaya is a slab of buttery, slow-burn disco that coats the dance floor in molasses, making the party move with a certain sensuality.
The four-track vinyl EP includes three originals, all by Sleazy McQueen and Terry Grant, and one remix, courtesy of Versatile chief, Gilb’R, who turns the title track inside out and gives it a creeping, alien presence while not letting go of its starry-eyed, luscious warmth. For the digital edition, a second version, stripped down and dubby, is tacked on as a bonus.


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As we descend into winter and the end of 2019, an EP that, like the shorter, overcast days, is chilly and stark, yet accented with rays of sun that crack through the clouds, glints of starlight, full-moon rises. These five tracks—six for the digital version—come from Eluize, a Berlin-based Australian gifted at simmering minimal yet acerbic house potions over low heat, patiently coaxing them to a slow boil. Mischievous, creeping concoctions that approach and build sneakily, as layer upon layer is looped, expanded, condensed, dropped out, and slid back in. Each is a beautifully musical piece, too, with as much evolving melody as hypnotizing groove. An LPH soundtrack for nights that stretch on forever, lit only by blinking lights that break apart seas of heavy fog and slice between silhouetted bodies.

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The St. David Jam trilogy is complete! Once again, the Italian producer plunges into the depths of his music mine, chisels out a few rough gems, and polishes them off until the glinting diamonds beneath are exposed. As advertised, this EP is disco through and through. “Sexy Funk '98” is a slinky shuffler that gets the engine running and “I Got the Music” is a schmaltzy twirler that settles the party squarely under the mirror ball. The reverse is both more feisty and laid back. It starts with “Where U Move,” a lighter number with a hint of tropical rhythms and beachy sunniness. With “The Connection,” the 12-inch comes to a joyous conclusion; the sampled crowd cheers and jeers sound like a dance floor begging for an encore at the end of a long night.

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Weirdo house from an idiosyncratic French producer. Were you expecting something normal with a title like this? Hooky and melodious, fidgety and urgent, these tracks will electrify any moment. Joyous and warm, a beam of sun on your neck, a warm breeze through your hair, they're bound to bring a toothy smile. The Black Loops remixes lend “Sense of Love” a more mischievous air, adding another layer of complexity to the EP and rounding out its character.

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Last year, we released LPH cofounder Jacques Renault’s sophomore album, BK Club Beats, Breaks & Versions, a back-to-basics effort that found the producer eschewing big-budget studio sessions and once again using samples as the clay with which he sculpts his music. Considering the snappy, cut-up nature of the tracks, we thought it’d be fun to invite a few of our friends to take the parts and reshape them into versions of their own design. Here, we present you with the four we gathered. DJ Boring’s is a restive spellbinder stuck in a trancey lock groove; M.I.A.L.’s a molasses-thick slow-mo chugger oozing all over your eardrums; Spencer Parker’s a sunny disco strutter spinning across the dancefloor; and Tee Mango’s a wiggy soul inversion that suavely seduces.


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Late-summer joy from two long-time Glaswegian party-makers, James “Harri” Harrigan, a resident at the legendary Sub Club for over thirty years, once again crossing the aisle from DJ to producer after a ten-year hiatus, and Max Raskin, together known as Manakinz. The four tracks (five on the digital version) contained are saucy, sassy late-night bangers meant to keep you locked into a permanent groove hovering right around that 124-BPM sweet spot. Sharp, punchy house oiled with groovy disco grease.

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Our first long-player for 2019, Daze Island, by French producer Malouane, is a seasonally-appropriate departure for Let's Play House that's more summertime meditation than dance-floor ammo. Across these ten tracks, Malouane takes us on new age-indebted journeys down cobblestone paths banked with flowering cherry blossom, to clear-sky tropical beach sunsets, on hang glider flights across endless fields of golden wheat. As the LP progresses, the tempo picks up and the ambient washes and puffs of pads pull back to make way for dancier rhythms, but even in these moments, Daze Island is a tranquil affair, pressed first and foremost with a desire to independently explore the mysterious worlds within.

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For this Record Store Day, we're doing something a little different and compiling a smattering of previously digital-only Jacques Renault tracks onto a 12-inch slab of wax! Three remixes contained here, two of which LPH released in 2017 and 2019, one of which our friends at XXX Records in Holland put out last year, and one original, a Juno advent giveaway from last December. All engineered with that sublime balance of precise arranging and loose, swinging drum programming Renault is renowned for. A must-have for your bag.

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fireball to accelerate our post-winter thawing. Spanish producer Pe´pe's first foray on LPH. It starts off unassumingly, with a bright, airy beach boogie that's all gentle drums and trebly synth figurations, but it quickly turns its eye to the strobe-lit nightclub, first with “Delusions of Grandeur,” an angular hypnosis of syncopated rhythms, then with “Aerial,” a 130 BPM blitz with an epic build and an equally dramatic breakdown. Capping it off is “50 AM,” which, as the name indicates, is a woozy shuffle that'll help you land the plane nice and easy.


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After more than seven years of mostly sticking to the script are predominantly releasing house music, we're trying something different out and giving you an ambient album.
Zenzizenz's debut LP, Where We Will Be, is icy and intense yet full of heart, a. delicately, carefully crafted journey that slowly soothes you into its bottomless depths. The first two songs have a shadow of a pulse, but by the third, the beat has vanished and we're left with only waves and crashes and heaves of nebulous sound that breathes with a controlled calmness.

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A second helping of dance floor ammo from the Italian deep house classicist St. David. Almost exactly a year ago, we released his LPH debut, Fools Jam, and now we're back with a new trio of tunes that finds our friend once again embracing his enthusiasm for and celebrating old-school New York house pioneers like Todd Terry, Kenny “Dope,” and all other devotees of the MPC.
Need we say more?

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Following Jacques Renault’s sophomore album,? BKClubBeats, Breaks & Versions?,which we dropped in July, is a sort of addendum, epilogue, encore. As you’ll recall,we released a cassette edition of the LP that was all ten tracks laced together,eighties/nineties mixtape-style, and topped off with five bonus tunes. What we present you with here is that extra material etched into vinyl for easier club use and personal playback.

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Three years ago, a long-overdue and much-anticipated debut album from Let's Play House co-head Jacques Renault finally hit shelves, and now, the follow-up effort, the sophomore swing, arrives. If Zentrum was a sprawling and aspirant full-length, BK Club Beats, Breaks & Versions is an exacting and focused rejoinder, a powerful, punchy, and succinct exposition of Renault's skills and fortes. It's a deep-dive into the movements that sucked him into club music and a celebration of the inspirations that fueled his ascendance to DJ and producer in his own right. What we give you here is an album of originals that have been conceived, orchestrated, and stitched together to function as a classic Renault peak-hour set—classic house sounds sandwiched between hip-hop breaks and disco licks, all glued into place with his trademark full-bodied, colorful, swinging drums. The A-side has a daytime glimmer and glisten to it, a sunniness that imparts it with a distinct top-down-crisscross-through-the-city flavor. The flip is just as pumped and uptempo, but it has a rounder bottom and feels murkier, steamier, and, by extension, more late-night.

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