Mandar’s brand new record label Hakki starts off with a serene and smashing hot record from the Mandar guys themselves.
‘Hanine’ opens the EP with a sexy groove and rumbling low bassline that just feels like it’s about to burst any moment. The restraint and suspense is kept in check by a beautiful dubby melody and subtle melodic riff’s popping up here and there. The tracks powerful suspense and energy building capacity makes it a perfect after hour tune.
‘Midan’ is a straight forward no bullshit 909 groove with a bassline that will make your granny shiver. A funky acid melody gets layered on top elevating the track quality to that of a song. If Hanine is the foreplay, then Midan is definitely the orgasm.


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More than a year after the release of their debut album Mandar is back with an absolute stellar EP! Two full sided loud cuts of pure club madness! 'String Theory' has summer vibes written all over it with strings reminiscent of Pepe Bradocks classic sunset anthem 'Deep Burnt'. The flipside 'Poisoned Words' is a sexy groover with a woman whispering poisonous words. Mandar is raising the bar with this EP and shows that it's all about quality over quantity. Must buy!

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For their debut album ,the French-Danish-Dutch trio are among house's best-loved producers :Mandar comprises 12 tracks and arrives as a five-disc vinyl package.


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Part one of a three part EP series leading up to a five 12" vinyl box mandar album!


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Second one of a three part EP series leading up to a five 12" vinyl box mandar album!



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Brace yourself! Mandar is back on LHR and this time with two brand new full sided cuts soaked in epicness !! You'll see that these records will have an unforgettable impact.


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Lazare Hoche Records push forward into 2014 with a brand new three-track EP from the collective known as Mandar. The three-man crew is made up of Lazare Hoche himself, along with his good friends Danish producer Samuel Andre Madsen and Dutchman Malin Genie. Those familiar with Lazare Hoche Records will recall that Mandar have already appeared on the label on I Don't Sync So Vol.II with 'Fouad' and 'St Eustache'. The 'Width' EP is the product of their continued working relationship; late-night studio sessions fueled by junk food, analogue gear and their combined passion for music that comes from the heart and soul. Across three tracks we witness the trio bear their souls on a collection of raw, uncomprimising music that refuses to subscribe to the latest trends. There is no bandwagon jumping here, just pure unadulterated club music. Take A-side 'Naughty Mandar' for instance, with its stripped down, barely there percussion and unrelenting bassline which trembles below softly swirling pads. In the background lurks the hushed whispers of a male vocal revealing his love for house music, it's dark and melancholy yet instilled with a feeling of hope. Title track 'Width' wastes no time in providing some bounce, kicking off with an energy which is maintained from start to finish. Sharp snares cut through celestial pads and jovial analogue stabs provide a bright juxtaposition to the morose bassline. Finally, '808 Ruffneck Business' lives up to its name aiming straight for the jugular with its minimalist composition - it's all about the beats

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Yoyaku’s sublabel Yoy presents a new collaboration between Thoma Bulwer and Claus Voigtmann. This double LP explores deep house, electro, breaks, and house, starting with deep, driving basslines and shimmering synths that evoke a nocturnal cityscape, and injecting kinetic energy through intricate breakbeats and soaring melodies.

The album blends gritty textures and pulsating rhythms with cosmic soundscapes, lush pads, and immersive atmospheres. Infectious grooves and classic house motifs bring the focus back to the dancefloor, culminating in an uplifting finale that combines all their signature sounds.

Bulwer and Voigtmann showcase their genre-blending skills, creating a cohesive and captivating sonic journey. Each track reflects their deep understanding of the music scene and dedication to pushing its boundaries.

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Istanbul-born, Berlin-based duo Bärtaub is queueing up next on the prestigious Paris imprint of Yoyaku.

Following successful releases on Butch’s Otherside label and legendary R&S records, Bärtaub brings a fresh sonic exploration to the Yoyaku imprint.

“Nominal Attraction” delves into the magnetic forces of music, where objects are drawn to each other within the same genre nominally, skilfully ensuring that each piece maintains a distinct identity, providing a set of unique spaces for each track.

The release presents a seamless blend of breaks and house music, united under the flag of Minimal Techno, evolving within a sharp sound organically to create an immersive and dangerously danceable experience that transcends traditional boundaries of the genres.

The A side showcases a powerful introduction as well as a deeper, breaded cut as the duo is joined by Brick.
The B side opens up on a more incisive interpretation of Deep Breaks with the title track of the EP, to finish off on an inevitable piece designed to warm even the coldest floors of the planet, under the name of Chord Shift Space.

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Pathagonia is a duo formed by Noha and Alex Tea.

To everyone’s delight, they are releasing a versatile album on Yoyaku’s main label.

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Chris Korda returns with her provocative EP, “Not My Problem, I’ll Be Dead,” a brilliant counterpart to her acclaimed 2020 release, “Apologize to the Future.” The EP delves into the mindset of present generations, shedding light on their self-centered pursuits through Korda’s unique artistic vision.
“Baby Batter Bingo” – A masterfully crafted track inspired by Thomas Piketty, featuring references to Ayn Rand, Marina Abramovic, and Leona Helmsley, encapsulating the essence of a new Gilded Age.
“We played hardball, and you lost” – A powerful homage to Rodney King, critiquing Donald Trump’s campaign promise and neoliberal slogans, exposing aristocratic arrogance with Korda’s razor-sharp wit.
“Not My Problem, I’ll Be Dead” – The title track, inspired by Korda’s father’s dismissal of climate change, showcases generational apathy through King Louis XV’s quote, “Après moi, le deluge,” presented with Korda’s signature flair.
“Have a Good One” – A brilliant satire on smugness, entitlement, and astrology, featuring the poignant phrase “The heart wants what it wants,” associated with Woody Allen and Emily Dickinson.
“Awesome on Mars” – A humorous and imaginative take on Elon Musk’s ambitious Mars colonization plans, complete with a miniature Eiffel Tower and a statue of Musk himself, brought to life by Korda’s creative genius.

This EP is a testament to Chris Korda’s remarkable talent, brimming with biting satire, insightful commentary, and dancefloor-friendly tracks. Complex polymeters and unique time signatures further enrich the experience, showcasing Korda’s exceptional skill.

Don’t miss your chance to own this bold, thought-provoking release from the incomparable Chris Korda, available now on Yoyaku’s label.

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The booming Parisian duo Miroloja makes their Yoyaku debut by serving up a selection of house cuts across “Mr Vibes”.

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Repress!

Yoyaku welcomes Harrison BDP on the main label. The Cardiff-based Producer delivers four beautiful tracks for an inspiring result.

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YOYAKU007 is the first collaboration between Janeret and DJOKO. The two artists’ encounter with each other’s productions marked the beginning of a strong musical connection.

Over the years, this musical connection was found humanly giving birth to mutualized sessions in studio. This synergy between Paris and Cologne pushed the two artists to collaborate on a bigger common project.

More than a simple featuring, the two composers wished to mix their musical identity, pushing this collaboration until the fusion of their artistic identity: JANEKO.

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Third release of the new limited vinyl series BS-LTD.

Welcome to Gabriel Chiriboga aka Partisano, born and raised producer from Quito, Ecuador. After studying music and working on many different projects and genres, he focused on his personal electronic music project. His productions are showcasing eclectic genres, always with dynamic and emotive touches, with old school vibes. Limited to 250 copies.

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2024 edition - 180 Gram, Tip On Sleeve . One of the rarer records of the mythical Strata East.

The recording of Earth Blossom, the John Betsch Society's one and only album, seems something of an enigma nowadays. For even though Nashville is clearly one of the towns in the US with the highest number of recording studios, who would have thought that the capital of country music would give birth to one of the forgotten masterpieces of 1970s spiritual jazz. The path leading to the album starts in 1963 when John Betsch, originally from Jacksonville in Florida, arrives in Nashville to study at Frisk University. He is a young drummer and joins Bob Holmes trio. Holmes is one of the towns major jazz organists and pianists; he becomes Betschs mentor and, over the space of two years, John will play alternately with him and with the trumpeter Louis Smiths group. However, in 1965, John leaves town to go to the prestigious Berkeley University in Boston and do a two-year course along with his fellow debutants with names like John Abercrombie, Ernie Watts and Alan Broadbent. Two years later, he is invited by a pianist friend, Billy Chilf, to join the legendary singer/songwriter Tim Hardins group. Just after Woodstock, John Betsch and Tim record a psychedelic album Columbia will never release together with the members of the future group Oregon: Colin Walcott, Glen Moore, Paul McCandles and his friend Billy Chilf. But he soon leaves this group to return to Nashville where he hooks up again with his friend Bob Holmes. Two years later, he is accepted on Archie Shepp and Max Roachs famous course at the University of Massachusetts Amherst (UMASS) and for the next four years he participates in this collective of intellectuals and musicians under the aegis of the two masters.

During this period he returns to Nashville to form his Society whose music is obviously influenced by the Afrocentric ideas of the UMASS student and political movement. However, the album, recorded in one day and in one take, also bears the hallmark of their generations psychedelic experiences, and in the themes and playing of the musicians we can hear a less violent form of music than the radical free jazz of New York or Chicago. Nature and environmental themes are the inspiration behind tracks touched by the spirit of Coltrane but also of Flower Power.

After Amherst, John Betsch joins Marion Browns group in 1976, leaves Tennessee for good and makes his home in New York over the next ten years or so. He plays and records with Dollar Brand, Kalaparusha Maurice McIntyre and many others, before heading off to France. He has lived in Paris for the last twenty years and played in Steve Lacy, Mal Waldron and Archie Shepp bands, as well as forming groups of his own. He now lives in Paris and plays with many musicians/bands.

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DJ Support: DJ Support by Spiller, Alex from Tokyo, Coyote, Fango, Pete Gooding, Ally Tropical, Steve Cobby, Gold Suite, Luca Averna, Will Nicol, Danilo Braca, La Guardia De La Luz

Federico Costantini aka Luminodisco is back on Hell Yeah having long since assured his legacy with the label. Over the years, the Italian has dropped many cult and still widely played cuts here from across the disco-sphere ('Ragazzini,' 'Diavolo di un Disco,' 'Oh Mary' and more all still bang) and now he is back with a newly moved sound. A compulsion to produce something with "a more adult approach" is what defines this latest era, and a fine one it is too. Opener 'Solero' will surely become as revered as those classics above with its irresistible grooves guaranteed to bring ultimate dance floor satisfaction. The punchy drums are peppered with percussion and drum fills while gloriously sugary chords add the heat and wispy pads take things into cosmic realms. 'Jazzclub' is an unhinged rhythmic interlude that chops up vocal stabs, screwy synths and whirring machines into stomping brilliance then 'Bigfoot' slows things to a dubbed out crawl that has you gazing at the twinkling star-like synths. Things then get wonderfully wild on closer 'Soko', a jumble of percussion and tribal vocals over swaggering drum loops. Playful leads bring the sun as the dumpy bass plods on, pixel thin pads squirm all around and a celestial carnival in the sky plays out with irresistible charm.

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The inspiration for ‘Skin Breaker’ comes from my early years of watching sci-fi films. Howard has always been fascinated by them . As a huge fan of 80s beat tracks and 80s sci-fi, Howard aimed to blend those influences into this project. This project is a tribute to the sounds and styles that have inspired him.

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Yoyaku’s sublabel Yoy presents a new collaboration between Thoma Bulwer and Claus Voigtmann. This double LP explores deep house, electro, breaks, and house, starting with deep, driving basslines and shimmering synths that evoke a nocturnal cityscape, and injecting kinetic energy through intricate breakbeats and soaring melodies.

The album blends gritty textures and pulsating rhythms with cosmic soundscapes, lush pads, and immersive atmospheres. Infectious grooves and classic house motifs bring the focus back to the dancefloor, culminating in an uplifting finale that combines all their signature sounds.

Bulwer and Voigtmann showcase their genre-blending skills, creating a cohesive and captivating sonic journey. Each track reflects their deep understanding of the music scene and dedication to pushing its boundaries.

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Tom Noble, digger extraordinaire, owner of Superior Elevation Records, and general Brooklyn/LA legend, dons his House Of Sprits moniker for the first single from a forthcoming LP on Razor-N-Tape.

'Times Are Changing' sets the tone for this album project that collects the work of nearly 15 years, a gritty vision of modern-retro soul that throws a reverent nod to its Mizell Brothers and Patrick Adams influences as it brings the sound into the future. Recorded with all live instrumentation and mixed tough for the dance floor, this limited 12 Inch boasts an extended original and instrumental on the A side, and a huge remix from Aussie synth wizard Harvey Sutherland on the flip that highlights the rich instrumentation and extremely catchy vocal hook. A surefire summer jam, this is timeless music that is only the tip of the iceberg from a future classic album.

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Repress!

Apart from the obvious love for his musical talents, both as a producer and as a DJ, one of the reasons why we love Theo Parrish so damn much is his repressing policy. Unlike some of his peers, the man has no problem in repressing in-demand Sound Signatures from the past, and this time it's number 32 that receives a much-welcomed resurrection. The EP features singer Dummine Depores, first on the utterly hummable and soulful "Chemistry" track, and then on "Untitled One", a classically off-kilter Parrish number filled to the brim with sampling goodness and even a distant set of guitar riffs! Killers.

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Tape!

The inspiration for ‘Skin Breaker’ comes from my early years of watching sci-fi films. Howard has always been fascinated by them . As a huge fan of 80s beat tracks and 80s sci-fi, Howard aimed to blend those influences into this project. This project is a tribute to the sounds and styles that have inspired him.

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