Tracklisting
A1 DJ Misjah & Groovehead - Trippin' Out
B1 DJ Misjah & DJ Tim - ETA 825
B2 DJ Misjah & DJ Tim - Overload

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Tracklisting
A1 DJ Misjah & Groovehead - Trippin' Out
B1 DJ Misjah & DJ Tim - ETA 825
B2 DJ Misjah & DJ Tim - Overload

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Tracklisting:

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

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Tracklisting
A1 Gentian - Social Obligation
A2 Gentian - Daydream
B1 Gentian - The Way It Was
B2 Gentian - Linocut Portrait
B3 Gentian - Something Kills Us All

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Tracklisting
A1 Muzmin - Phase and Warp
A2 Muzmin - Biting Reality
B1 Muzmin - Bakaa
B2 Muzmin - Soft Squares
B3 Muzmin - Yai

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Tracklisting
A1 Lenny San - Orca
A2 Lenny San - Hadal
B1 Lenny San - Kalmar
B2 Lenny San - Abyssal
B3 Lenny San - Hydros

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Repress

Tracklisting
A1 Toni Alvarez - The Renegade
B1 Toni Alvarez - The Jam

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Tracklisting
A1 Xqte - Tribal Decoder
A10 Xqte - Midnight Circuit (Loop 1)
A11 Xqte - Midnight Circuit (Loop 2)
A2 Xqte - Tribal Decoder (Loop 1)
A3 Xqte - Tribal Decoder (Loop 2)
A4 Xqte - Dub Pressure One
A5 Xqte - Dub Pressure One (Loop 1)
A6 Xqte - Torque Ritual
A7 Xqte - Torque Ritual (Loop 1)
A8 Xqte - Torque Ritual (Loop 2)
A9 Xqte - Midnight Circuit
B1 Xqte - Warehouse Transmission
B10 Xqte - Concrete Shuffle (Loop 1)
B11 Xqte - Concrete Shuffle (Loop 2)
B2 Xqte - Warehouse Transmission (Loop 1)
B3 Xqte - Warehouse Transmission (Loop 2)
B4 Xqte - Friction State
B5 Xqte - Friction State (Loop 1)
B6 Xqte - Groove Override
B7 Xqte - Groove Override (Loop 1)
B8 Xqte - Groove Override (Loop 2)
B9 Xqte - Concrete Shuffle

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2025 Repress

Tracklisting
A1 Gunjack - Detroit Tango
A2 Gunjack - Rocket Surgery
A3 Gunjack - Pachinko 24h
B1 Gunjack - The Drumz
B2 Gunjack - The Walker
B3 Gunjack - Atomic Aerobics

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Tracklisting
A1 Gockel - Vibrant Journey
A2 Gockel - Ardent
A3 Gockel - Cobalt Drive
B1 Gockel - Lucky Bounce
B2 Gockel - Atlas
B3 Gockel - Cargo

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Tracklisting
A1 SND & RTN - Vortex
A2 SND & RTN - 505
A3 SND & RTN - Shadow Realm
B1 SND & RTN - Waves
B2 SND & RTN - Quadrant
B3 SND & RTN - Redemption

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Tracklisting
A1 Unknown Artist - Samba Samba
A2 Unknown Artist - Lo Que Esta Pasando
B1 Unknown Artist - Cafe Y Ron
B2 Unknown Artist - Get Funky

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Tracklisting
A1 Ramon Tapia - Resonate
A2 Ramon Tapia - Connector
B1 Ramon Tapia - Shuriken
B2 Ramon Tapia - Dystrophy

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2025 Repress

Tracklisting
A1 Cave - Skolopender
A2 Cave - Speleon (Ben Sims remix)
B1 Cave - Street Carnival 2022
B2 Cave - Tambores (Carl Falk remix)

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Tracklisting
A1 Vilchezz - North
A2 Vilchezz - I Promise I Won't Bite
B1 Vilchezz - Fergo's Pizza
B2 Vilchezz - Cama

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2025 Repress

Tracklisting
A1 Shabaam & Aladarus - Colossal
A2 Lenny San - Orbital
B1 OFF / GRID - Inner City Blues
B2 Rove Ranger - Onakum

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Tracklisting
A1 YNNY - Subduct
A2 YNNY - Carrier
A3 YNNY - Gradient
B1 YNNY - Serac
B2 YNNY - Driftal
B3 YNNY - Onda

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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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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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Brand new addition to the ever growing Transatlantyk catalogue. After an excursion into the hot, equatorial waters of Transafryka, the fleet went back up north to visit Europe's busiest port and meet with Freux. He comes from the same creative crew from Poznan that brought you such talents as Selvy and Newborn Jr. Nowadays this young graphic designer spends his days in Rotterdam's district of Delfshaven, after which this EP is named. A mix of 90's deep House influences, strong sense of humour and unusual musical sensibility guarantees a sure shot winner. The strong groove of 'Bernie' is build on a scatting vocal loop, soon joined by ethereal synths and funky slap bass. Borderline cheesy sax line completes the picture, which is like an ocean in the sunny, windy afternoon - soothing but never sleepy. Coming up next is 'GHT', inspired equally by 1990's New York and 2016's Vancouver sounds. Ambient soundscapes and chilly melodies are set off to pumping drums and looped basslines.
The club mix of 'Step' offers a similar sound palette, enriched by mallet percussion. A fantastic soundtrack to any leisure activities. The ambient mix takes the original idea into one of Rotterdam's coffeeshops, the one where they show a surf movie in slow-mo on a constant loop.
Jump and wave.

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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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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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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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Tracklisting
A1 DJ Misjah & Groovehead - Trippin' Out
B1 DJ Misjah & DJ Tim - ETA 825
B2 DJ Misjah & DJ Tim - Overload

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