Modern Love very rarely reaches out to artists outside of its immediate surroundings; it’s happened just a couple of times in the last 14 years. But there’s something about Philippe Hallais that compelled the label to ask him if he wanted to do something together. Philippe has released music on a bunch of cool labels (L.I.E.S., The Trilogy Tapes, Delsin, In Paradisum), but hearing the first tracks recorded for Lighthouse Stories, it was obvious Philippe was hitting on something new: a kinda weird slow/fast dance music that sounded like a Footwork variant sewn up with an exotic production style that was impossible to pin down. These tracks eventually splintered off into different directions, held together by a strong sense of narrative and motion harking back to a teenage obsession with Turntablism, Detroit electro and Ghetto house, and eventually Juke and Grime. Although he’s spent the last few years focusing on more industrial dancefloor variants, for Lighthouse Stories Philippe turned to these foundational influences, as well as his love of mixtapes and sound collages full of unfinished ideas, skits and experiments; all things that inform the flow of this new album.
Lighthouse Stories captures a sense of nostalgia well, but is also a futuristic vision full of that exploratory, vibrant spirit that’s so hard to find in electronic music these days. Frames of reference are hard, but in places it reminds us of the dusted swagger of Anthony Shake Shakir, the acquatic Drexciyan movements of Ultradyne, a loose-limbed take on Shangaan, and of Actress at his most submerged.
But ultimately, it’s an album made by a producer looking to his personal history while forging new ground, pushing ahead with little regard to convention and ultimately ending up with something completely unique: a kind of intimate journal rendered in bright colours and odd shapes.
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With hand silk-screened inner sleeve.
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Originally composed for a live performance commissioned by the Quai Branly Museum in Paris, French producer Low Jack was given access to the museum's vast music library and used it as a basis for this project. His research focused on the Garifuna people of Honduras, composing a live set by sampling selected pieces from the library's music collection. Despite no initial intention to release this performance, the live recording was later brought to the attention of L.I.E.S. Records, resulting in Low Jack returning to the studio to re-create his set, thus culminating in this LP. Rhythmic, tense, and hypnotic electronic music that lives in the grey area many are unwilling to step into. Mastered and cut by Matt Colton at Alchemy. More

GTCM016 introduces D.K., a new artist to emerge from Paris' electronic underground. With an impressively accomplished sound for a debut release, this EP contains four original tracks and it's all killer, no filler house in the vein of Ron Trent, Moon B, PPU and Future Times. More

After making quite an impression with his work on Items & Things, Kill The DJ, Snork Entreprises, Respoal Schallware and Correspondant in the last two years, Tomas More steps up to release his debut EP on GTCM. This two-part EP provides a unique glimpse into Tomas’ world and the contrasting results his talent produces. Part I focuses on the more atmospheric side of Tomas’ sound. Heartfelt, genuine, perhaps surprising for some, this release is nonetheless essential as it contains gorgeous original tracks and boundary- pushing remixes from italian new yorker Madteo. This guy has simply been last year’s hero with groundbreaking music released on world’s finest imprints such as Hinge Finger, Wania, Trilogy Tapes, Morphine and a monumental P on legendarySakho recordings. More

Get The Curse Music 013 features Oliver Ho aka Raudive, one half of duo The Eyes In The Heat. Widely acclaimed for his vicious minimal techno grooves, Raudive's been on an machine funk bend and crafted two tracks which are as robust as they are potent. True to the GTCM philosophy, distinctions between vintage and modern, old school and new school, mind melting and bodily stimulation are brilliantly blurred. Neither house, techno, EBM or synth punk, these tracks move in their own circles. The same can be said for the XENOGEARS remix, miles away from the tired templates used and abused by most producers. Fuck genres, let's dance. OBSESSION >This here's an exercise in stripped down funk looping and Raudive nails it remarkably. Slapped bass, gated snares, vintage percussion, the odd guitar chord, short vocal samples, oozing synth leads and a rickety bassline make for a cunningly groovy track. This no frills, throbbing track will get dancefloors in a frenzy from bar one. Free your ass and your mind will follow, as George Clinton so eloquently put it. ROMANTIC ROBOTIC >In this track the rhythm section is structured by a groovy bassline and straightforward drum programming including a vintage cowbell and hypnotic shakers. These let the catchy syncopated vowels and droning vintage leads reach mesmerizing heights through twisted melodies. True to its name, this number combines a clinical, mechanical groove with an emotional vibe/ROMANTIC ROBOTIC XENOGEARS a.k.a. THE ANALOGUE COPS REMIXFans of Geeeman's remix on our latest EP will be pleased, because we're bringing you another stripped down, jackin' as hell, nervous as fuck remix that is reminiscent of classic beatdowns from the 90's. Xenogears, of The Analogue Cops fame focuses on a short loop of the mind boggling kind, robust drum programming and analogue synth melodies. This reduced palette nonetheless provokes brilliant results. Neither hard house or acid techno this powder keg of a track is more than ready to make dancefloors explode. More