Tracklisting:
A1 Pepe - Angels
B1 Pepe - Birdfeed



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Valencian producer Pepe's love of iridescent melodies, velvety pads and complex rhythms has seen him skilfully combine house, bass music and breakbeat in recent years. His music is globally reaching, having garnered attention from top artists including Ben UFO, Peggy Gou, Shanti Celeste, Moxie, Mount Kimbie and Disclosure. His heartfelt, mercurial and emotive sound is ever present on his new album for Lapsus, which also incorporates a lush sonic forest, resplendent in detail and jam packed with influences. The album 'Reclaim' opens the door to experimentation and sound design, while embracing the braindance and hyperpop sphere with surprising maturity. It is an amalgamation of electronic sounds and pulsating structures in which orchestral sounds, folk music, ambient textures and a strong vocal presence, both synthetic and authentic, sparkle. 'Reclaim' imagines a post-human future, where nature once again reclaims lost ground and is free to flourish and take root around manmade structures. Pepe exhibits his personal reverence for the work of Antonio Cortes Ferrando, the architect behind the Espai Verd building, which broke architectural and urban planning norms by using computation to create structures that promote the organic growth of foliage. It is a building designed for the future, where flora cultivates indefinitely. In Pepe's own words, "At a time when we have witnessed how nature strives to regain ground, once humans are removed from the streets, it is important to start thinking critically about new techniques in the creation of art and design, and imagining a future where posterity is embodied in the rejuvenation of a greener world".

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With a love for crystalline melodies, gentle pads, and elegant drum programming, Valencian producer Pépe has been handsomely traversing the realms of house, electro, and breakbeat for the last two years. Armed with a sound that is inherently sincere, moody, and emotive, he has fostered a strong reputation from fans and press alike, including being awarded 2018’s "Spanish Producer of the Year" in DJ Mag. After noticed releases on Lobster Theremin, Deep Sea Frequency and Renascence and remixes for RAMP Recordings, Anti Skate, Easytiiger and Midnight Themes, Pépe lands on Loose Fit, a young and exciting imprint with affiliations to Manchester and Tokyo and a current homebase of Berlin. Starting out with a party series in Manchester which brought the likes of Dark Sky, Brassica, Maxxi Soundsystem and more to the city, the Loose Fit label has set its sights on the meeting ground between italo, electro and dream house, with the label’s first two releases coming courtesy of Just Breathe and most recently, Jordan & Brassica, which reached the second spot on Beatport's indie dance releases in a matter of days. On his Loose Fit debut, Pépe shoots for scintillating rave euphoria across two striking originals. “Light (High As You Can)” is pure featherweight breaks with gleaming synths and a simple but polished vocal sample that glides through the mix. “Trouble Glider” aims for similar emotional heights, all in dopamine surge arps and piano house euphorics. Ever the master remixer, Lauer jumps in to close the EP subtly reshaping “Trouble Glider” into the main stage ready banger that it was destined to become.

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The second offering from Deep Sea Frequency comes from Valencia born Pépe, and is an all-encompassing space age electro trip to the cosmos and back.



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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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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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A zonked-out, spectacularly fun, and dynamic EP from the Australian producer whose previous efforts have appeared on Lobster Theremin's Distant Hawaii and Seb Wildblood's All My Thoughts. Lively, punchy drums throughout, splashes of tropicalia here and there, smatterings of dubby strangeness sprinkled across, and wash upon wash of pads everywhere. A jolly good time to be played in big and small rooms alike.

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