YUNG DUMB is pleased to welcome the return of Westcoast Goddess (Delusions Of Grandeur, Lets Play House) for the label's first release of 2022.

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A1 – Seabreeze
A2 - World Soul
B1 - Late In The Midnight Hour (We're Blissed)
B2 - Seabreeze (Roy of the Ravers Remix)

Bright Uplifting House Trax That Will Change Your Life Forever.

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You've reached the bedroom funk hotline! We have the mysterious Berlin-based Westcoast Goddess on speed dial, blessing Infinite Pleasure with four of his signature uplifting melody driven house cuts. The perfect soundtrack for a much needed night of dancing in your favourite club and a successful booty call after. U Up? Let your body do the talking.

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Westcoast Goddess first came to our attention at the end of 2018 following his debut release on Canadian label Heart To Heart, but his productions actually date right back to ’93 (under various different guises) when he first began making music with his trusty Roland DR550 and Kawai K1. With a fresh and distinctive sound, WG successfully fused soulful touches and late 80’s-era digital synths with raw, punchy grooves and a euphoric, ravey atmosphere. Since then, the Berlin-based producer has built a solid following amongst underground house heads with subsequent releases dropping on esteemed labels such as Omena, Slam City Jams and Let’s Play House. Opening up the EP we have Step Inline (The Narcotic Soul), which is a piano driven, uplifting slice of house heaven. A simple repeating 2 bar chord pattern lays down the foundation for soaring strings, cascading chimes and seductive echoing vocal hook. Next up we have The Devil In Mr Holmes (The Erotic Soul) which once again goes heavy on the piano stabs but this time developing the arrangement into something that feels more like an instrumental dub of a long lost Prelude release. Crystalline synth lines come and go, whilst electronic tom hits add pace and energy to the unrelenting house groove. Flipping over we have the epic I Might Be Ok (The Faithful Soul) coming in at over 9 minutes and being all the better for it. A dirty Moog bassline leads the charge with beautiful synth lines layering up on top, creating a blissed-out vibe which can’t fail to lift your spirits. TRACK LISTING: A1. Step Inline (The Narcotic Soul), A2. The Devil In Mr Holmes (The Erotic Soul), B. I Might Be Ok (The Faithful Soul)

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Imagine a Kerri Chandler track anthropomorphized, then jammed into a Japanese purikura photo booth for a series of bedazzled, glittered, and airbrushed headshots. Imagine that image set to music. What do you hear? Westcoast Goddess' The Inner Snoopy, a frenetic house workout that is puzzlingly contemporary, classic, and alien. The four-track EP kicks off with the title track, a cloud of cotton candy, supersaturated hot pink, threaded with twinkly bells and a bass shuffle that flips and flops around with cheerful abandon. “Limelight Golden Age” and “Murder at Passion Cove,” the two tunes that follow, assume a quietly sinister tone, introducing minor-key piano pounds and pinched synth riffs that stretch to the heavens to complicate the overwhelming joyousness of the instrumental palette and arrangement. A subtly ironic 12-inch that satirizes and lampoons the bubblegum, technicolor sounds from our hyperactive age while hearteningly finding beauty within it all. Bah—words, words, word! It's wildly fun party music imbued with idiosyncratic humor and life-affirming happiness. Play it loud, play if often.A1. The Inner Snoopy, A2. Limelight Golden Age, B1. Beach Noir (feat. Splitradix), B2. Murder at Passion Cove


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Fresh from a debut on 100% Silk, Berlin artist Westcoast Goddess continues to set forth a vision of a psycho spiritual house music with this debut release on Omena.Springtime Forever EP consists of 4 tracks dating from 1998 to the present, each representing a joyful season of the artist's heart. As always, Ivo Kiusalaas has provided the label art.

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The first EP from Sound Support on LPH, Méhari, will keep you warm and bouncy, wailing and flailing, all through the fall and winter. Sound Support is made up of Dam Swindle’s Lars Dales and Lorenz Rhode, known for his mastery of synths and talkbox videos. Big electro energy on this five-track EP. Funky, sassy synth melodies snaked around tight and punchy drums that instantly make you wiggle like a worm. It starts with the title track, a thumper with a herky-jerky swing, then slides into a slightly more melodious and noodly territory before completing with “Detox Your Feelings”, a high-speed Hi-NRG and Italo disco rocket ship off this planet into interstellar space.

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Like any good party, there's an after-party. What, you didn't think we'd keep it going? C'mon. We began this one with Jacques Renault's Sky Islands, a full-length album that sought to achieve euphoric disco delight within a wonky conceptual framework; it's his late-night live DJ sets in spirit, organized like a 70s or 80s vinyl megamix or public-access radio program, but comprised solely of a couple dozen originals he crafted in the studio, most of them being wrapped up during the summer and fall of last year. Of course, we realized delivering such an experience, where no “song” is more than about 90 seconds, would do nothing for the working DJ, unless the working DJ is looking to nod off for thirty or take an extended bathroom break. Thus, Coast to Coast, a 12-inch that collects seven of the songs from the LP—in full- length, special-disco-mix, club-ready form. This EP will be followed by more long-form cuts, as well as additional goodies. There will be an after-party for the after-party.

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Ray Mang has been a spiritual brother to and lodestar for LPH since it's founding, but it was only when we began releasing these Saidêra tracks, defined by their suspension between laid-back Balearic electronica and poppy sun-bleached samba, that we knew we'd finally be able to naturally bring him into the fold. Mr. Mang has kept the bright aesthetic and uninhibited ebullience of the original intact while simultaneously beefing up the presence of the rhythm section, revealing male-female vocal harmonies that were somewhat hidden before, and expanding upon the ornamentations that imparted to it a light-as-a-feather airiness and expansiveness. In classic disco 12-inch style, the record includes a main mix and three spin- offs, each exploring a different facet. The radio mix is shorter and tighter, the “sambadrone beats” puts the percussion at the fore, and the instrumental lets the bed Mang has made take center stage.

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Our second record from Sweden's Sune is a proper full-length. Ten tracks, forty- five minutes—classic LP! And it's arranged as such, too; it tells a story through tightly-arranged chapters. Early on in the journey, they're bouncy and whimsically animated, pillowy white clouds slowly drifting across an azure sky. As we get more invested, the tempo rises and the warm, squishy house beats feel as though they can't always quite keep up. A delight. To conclude the A-side, Sune brings a twinkly ballad, a late- night Joe Jackson piano serenade with instrumental hip-hop drums keeping everything in place. The other side only wants to party; it begins with a wiggly bass lick that's got a wicked charm to it, and continues to explore the unusual jazz-club-meets- sweaty-warehouse space that Sune's compositions are so often possessed with. The B concludes as the A did, with a lilting, hopeful, and heartfelt send-off. Everything is fine? Everything is fine. Everything is fine.

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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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A big move in a new direction to start a big, new-direction year, 2021! The debut single from Saidera, a trio comprised of Alex Pasternak, formerly of Lemonade; Mike Cheever, a.k.a. Le Chev, previously of Avan Lava; and Brazilian samba school leader, Osvaldo "Vadinho" Luiz Freire de Araújo, on vocals and songwriting duties. The two tracks here meet somewhere in the middle of where the three members come from: they're laden with electronics and tuned for the club, but they're also distinctly Latin, crackling with joyful Carnaval energy, and everything's sung in Portuguese. Following this is a string of instrumentals and remixes, and, eventually, a second record we're keeping the lid on for now.

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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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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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Imagine a Kerri Chandler track anthropomorphized, then jammed into a Japanese purikura photo booth for a series of bedazzled, glittered, and airbrushed headshots. Imagine that image set to music. What do you hear? Westcoast Goddess' The Inner Snoopy, a frenetic house workout that is puzzlingly contemporary, classic, and alien. The four-track EP kicks off with the title track, a cloud of cotton candy, supersaturated hot pink, threaded with twinkly bells and a bass shuffle that flips and flops around with cheerful abandon. “Limelight Golden Age” and “Murder at Passion Cove,” the two tunes that follow, assume a quietly sinister tone, introducing minor-key piano pounds and pinched synth riffs that stretch to the heavens to complicate the overwhelming joyousness of the instrumental palette and arrangement. A subtly ironic 12-inch that satirizes and lampoons the bubblegum, technicolor sounds from our hyperactive age while hearteningly finding beauty within it all. Bah—words, words, word! It's wildly fun party music imbued with idiosyncratic humor and life-affirming happiness. Play it loud, play if often.A1. The Inner Snoopy, A2. Limelight Golden Age, B1. Beach Noir (feat. Splitradix), B2. Murder at Passion Cove


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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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Emil Sunesson, a producer from Malmö, makes his debut on LPH with a buoyant six-track album that's got the fluffy, airy body of cotton candy and the electric crackle of neon lights. Funky house and disco toe-tappers built around jazzy drums, jangly African guitars, goopy keyboard vamps. They zip along at a brisk pace yet feel cozy and warm, a morning jog through a forested park just before the leaves turn, the low golden rays of sun stretching your shadow out like chewing gum. Kind, loving music that's been thoughtfully layered up and arranged for your listening—and dancing—pleasure.

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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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