Tracklist:
A - Bato Chargé B1 - 50 Drops B2 - Marie Galante
Short info:
Reaching the milestone of its 100th single/EP release, Circus Company welcomes back Aquarius Heaven with a new EP of poignant, uplifting house music loaded with a meaningful message for these transient times. It’s nearly three years since Brian Brewster delivered the Parallela Mundi 12”, and in that time he has been on a relentless mission to spread his unique blend of house music, Caribbean roots and psychedelic magic across the globe in a whirlwind of live performances and collaborations. In a manifestation of his well-travelled soul, these new pieces call upon traditional influences in amongst the modern motifs that Aquarius Heaven has been built on, while lyrically dealing with the pressing issue of refugees escaping conflict, poverty and famine. The proud drum throwdown and carnival bleeps of “Bato Chargé” conceal the seriousness of its theme. In Brewster’s native tongue Creole, bato chargé translates as overloaded boat. With the Caribbean as equally rooted in the history of displaced humanity at the hands of sinister powers, the groove of “Bato Chargé” takes on a defiant, hopeful tone directly inspired by the traditional percussive music style Gow Ka. “50 Drops” by way of contrast takes on a noirish tone with its gritty, street-weary tale and nocturnal melodics played out through enchanting arpeggios and warbling leads. Cooling off the tempo and heading into a digi-dub skank that plays off Brewster’s roots in reggae and dancehall, “Marie Galante” takes those same warm synths and runs them through a low-but-heavy stepping landscape; the perfect backdrop to the vocalist’s dexterous ramblings on the mic. It’s not often you hear Creole New Release Information delivered in contemporary electronic music, with a rare exception being the legendary work of Tikiman et al with Rhythm & Sound in the 90s.
As with the previous releases we have presented from Aquarius Heaven, in every deft lyric and musical flourish Bato Chargé demonstrates just how much range this ever-evolving artist has in his globetrotting soul. More

Damian and Clement of dOP fame return to Circus Company with a new project of dubbed out late night madness featuring vocalist Brian Brewster. Far more sinister then dOP's recent output, 7 Days features 4 tracks which explore am acidic realm of dark ruminations and swamp dredged rhythms. “Introduction” Aquarius starts things off with a Basic Channel-esque wash of chords, noise and spoken word sure to appeal to fans of Berlin's longstanding dub techno tradition. “So Low” comes off like a chopped and screwed take on Italo heard only through the mixer's effect sends, where modulating analog sequences and a thundering motorik back beat desperately swim to the surface of a blackened ocean gasping for air. “Before U Go” lightens the proceedings ever so slightly, upping the tempo and allowing the undulating synths lines to sparkle in the periphery, while the incessant vocal encourages all self-respecting punters to stay on the floor until the last track has passed ! its final groove. Finally “Universe” comes off like a lost out take from Kool Keith's Dr Octagon project with it's classic jacking electro beat and sultry effected vocals.
Tracklisting:
A1 Introduction
A2 So Low
B1 Before U Go
B2 Universe
More

Genre: House

Tracklist:
A1. Losing Track
A2. Climbers Pit (Feat. Joli B & Danuel Tate)
B1. Losing Track (Dave Aju Remix)
B2. Youandthekitten

Short Info:
New music by The Mole. High Dreams contains four tracks, three originals and one remix from Circus Company favourite Dave Aju. The Mole savours dreaming and welcomes the mystical landscapes of
the mind with High Dreams, a collection of uptempo dance pieces inhabited by ghosts and welcoming creatures from the deeps. This unpretentious collection cuts straight with the rhythms, and carries long
with the arrangements. Dancefloor sizzle. Subsonic rumble. Ghosts! Your body moving requisites lie within this simple plate of wax. Turn up your amps and bathe in it.
The Mole is known for his “hits” (Baby You’re The One, Hippy Speedball, In My Song, Lockdown Party) and his “work” with many Top labels (Perlon, Kompakt, Wagon Repair, Maybe Tomorrow, Ostgut Ton)
is played by many Top DJs. Only his third release with Circus Company (Little Sunshine, The River Widens), this Ep is a reminder that the Mole is still at it, and a warning. There’s a new album upcoming.
And it sounds nothing like this…
With his 19th release with the label since 2003, Dave Aju is one of the pillars of modern Circus Company. Aju amplifies Losing Track, adding percussion and fresh, modern programming, giving the remix a whole
new purpose while maintaining the erie cries, calling out, desperate - don’t leave me hang ’n … of the original. A certain go to for the Deep Heads.

More

Genre: Alternative, Electronic, Piano Solo

Tracklist LP:
A1. Unless - A2. Piccolo - A3. Sway - A4. Almost There (Piano Version) - A5. Ventas Rumba - A6.
Pianovado - A7. La ligne (Modular Version) - B1. Opus 53 - B2. Eclair - B3. Flat Feet - B4. La valse
des singes - B5. Louanges - B6. Fly Finger - B7. Ferveur

Short Info:
With his new instrumental album Ventas Rumba, the French composer (and singer) returns to his signature instrument, the piano, blending it with warm synth tones. This album represents a "return to his roots ", allowing Ezéchiel Pailhès to reinvent himself in a seamless way while still exploring ballads and ritornellos, halfway between light-heartedness and melancholy. Ezéchiel Pailhès has been meaning to write a solo piano album for as long as he can remember. Hardly surprising, of course, for this academically-trained pianist, brought up on classical music and then studied jazz. Yet, since his 2001 debut with the electro-pop duo Nôze, and his subsequent four albums, the artist had constantly postponed this project that was so close to his heart. Then in 2022, just as he was getting ready to start producing an album of new songs, this long-standing aim finally materialized.
The melodies he wrote seemed to stand on their own naturally, spurring him on to compose this series of fourteen tracks, recorded in sessions split between France and Latvia.
A new piano: the Una Corda
Ezéchiel wanted this project dedicated to the piano to begin a new narrative, to explore new instrumental terrain and new tones, something far removed from the familiar piano he has been playing all his life. He opted for the Una Corda piano, designed by David Klavins, a groundbreaking instrument builder renowned for his distinctive pianos with vertical shapes and frames.

The Una Corda, created in 2014, is an upright piano with a single string per note (unlike three strings on traditional pianos). Enticed by the "crystalline and unique" tones of this instrument, which is hard to find in France, Ezéchiel travelled to Kuldiga, Latvia (where David Klavins set up his workshops and studios), to record the first part of the album. Although the title of the album may initially conjure up images of a distant, sensual dance, the reality is quite different. Ventas Rumba indeed refers to the waterfall and rapids (in Latvian: rumba) of the river Ventas, which runs near this small village in the western part of the country. Ezéchiel chose to blur the lines, as the sound and musicality of the title likely evoke both his short stay in the Baltic country, and also a form of distant exotic imagery perfectly in tune with his own mischievous wit. Tracks as short stories

Back in France, Ezéchiel enhanced the first tracks recorded in Kuldiga with subtle synth tone layers, and added other tracks composed and recorded at his Montreuil studio. The album reflects a deliberate and sensitive orchestration of piano, synth keyboards and digital effects, as he puts it: "playing to erase the differences between the tones of the various instruments", as if each instrument's texture echoed the others. According to Ezéchiel, you can listen to Ventas Rumba as you would leaf through "a collection of short stories", through compositions that rarely exceed three minutes and evoke figures of movement, lightness, curves or modulation, such as "La ligne", "La valse des singes" or "Fly Finger". Others more seriously relate to a kind of spirituality, which quietly infuses such different tracks as "Ferveur", "Éclair" and "Louanges". Ezéchiel adds: “I’m by no means religious, but I like what God has managed to get musicians to achieve (laughs)". "Louanges", for instance, despite its electronic edge, "refers to Olivier Messiaen, a very devout composer who I greatly admire". Other tracks are directly inspired by the classical music he listens to on a daily basis. For example, Chopin's “8th Nocturne” formed the backdrop of “Pianovado”. Likewise, the harmonic structure of Beethoven's “Waldstein Sonata No. 21” inspired “Opus 53”. Aside from these multiple references and inspirations, which quickly recede behind a style that is uniquely his, Ezéchiel Pailhès keeps exploring ideas already found on his first solo albums, this time in an instrumental format, undoubtedly purer, fostering an imaginary world that evokes the shapes and themes of ballads, ritornellos, light-heartedness, passing time, reverie or a universal subdued melancholy. More

Genre: Alternative, Electronic, Piano Solo

Tracklist CD:
01. Unless - 02. Piccolo - 03. Sway - 04. Almost There (Piano Version) - 05. Ventas Rumba - 06.
Pianovado - 07. La ligne (Modular Version) - 08. Opus 53 - 09. Eclair - 10. Flat Feet - 11. La valse
des singes - 12. Louanges - 13. Fly Finger - 14. Ferveur

Short Info:
With his new instrumental album Ventas Rumba, the French composer (and singer) returns to his signature instrument, the piano, blending it with warm synth tones. This album represents a "return to his roots ", allowing Ezéchiel Pailhès to reinvent himself in a seamless way while still exploring ballads and ritornellos, halfway between light-heartedness and melancholy. Ezéchiel Pailhès has been meaning to write a solo piano album for as long as he can remember. Hardly surprising, of course, for this academically-trained pianist, brought up on classical music and then studied jazz. Yet, since his 2001 debut with the electro-pop duo Nôze, and his subsequent four albums, the artist had constantly postponed this project that was so close to his heart. Then in 2022, just as he was getting ready to start producing an album of new songs, this long-standing aim finally materialized.
The melodies he wrote seemed to stand on their own naturally, spurring him on to compose this series of fourteen tracks, recorded in sessions split between France and Latvia.
A new piano: the Una Corda
Ezéchiel wanted this project dedicated to the piano to begin a new narrative, to explore new instrumental terrain and new tones, something far removed from the familiar piano he has been playing all his life. He opted for the Una Corda piano, designed by David Klavins, a groundbreaking instrument builder renowned for his distinctive pianos with vertical shapes and frames.

The Una Corda, created in 2014, is an upright piano with a single string per note (unlike three strings on traditional pianos). Enticed by the "crystalline and unique" tones of this instrument, which is hard to find in France, Ezéchiel travelled to Kuldiga, Latvia (where David Klavins set up his workshops and studios), to record the first part of the album. Although the title of the album may initially conjure up images of a distant, sensual dance, the reality is quite different. Ventas Rumba indeed refers to the waterfall and rapids (in Latvian: rumba) of the river Ventas, which runs near this small village in the western part of the country. Ezéchiel chose to blur the lines, as the sound and musicality of the title likely evoke both his short stay in the Baltic country, and also a form of distant exotic imagery perfectly in tune with his own mischievous wit. Tracks as short stories

Back in France, Ezéchiel enhanced the first tracks recorded in Kuldiga with subtle synth tone layers, and added other tracks composed and recorded at his Montreuil studio. The album reflects a deliberate and sensitive orchestration of piano, synth keyboards and digital effects, as he puts it: "playing to erase the differences between the tones of the various instruments", as if each instrument's texture echoed the others. According to Ezéchiel, you can listen to Ventas Rumba as you would leaf through "a collection of short stories", through compositions that rarely exceed three minutes and evoke figures of movement, lightness, curves or modulation, such as "La ligne", "La valse des singes" or "Fly Finger". Others more seriously relate to a kind of spirituality, which quietly infuses such different tracks as "Ferveur", "Éclair" and "Louanges". Ezéchiel adds: “I’m by no means religious, but I like what God has managed to get musicians to achieve (laughs)". "Louanges", for instance, despite its electronic edge, "refers to Olivier Messiaen, a very devout composer who I greatly admire". Other tracks are directly inspired by the classical music he listens to on a daily basis. For example, Chopin's “8th Nocturne” formed the backdrop of “Pianovado”. Likewise, the harmonic structure of Beethoven's “Waldstein Sonata No. 21” inspired “Opus 53”. Aside from these multiple references and inspirations, which quickly recede behind a style that is uniquely his, Ezéchiel Pailhès keeps exploring ideas already found on his first solo albums, this time in an instrumental format, undoubtedly purer, fostering an imaginary world that evokes the shapes and themes of ballads, ritornellos, light-heartedness, passing time, reverie or a universal subdued melancholy. More

Genre : Electronic - Downtempo

Tracklist :

A1. Jail Time with Mr. Murd (Feat. Yonatan Albalak) - A2. Graveyard Party - A3. Your Tissue SVP - A4. SNG PLSTN - A5. - I Think This Is Reasonable - A6. HRTSPC - B1. NOZPLZ - B2. Dada’s Bone - B3. OCNC XTR - B4. EZ PPL 4 TRTH - B5. Don’t Forget to Not Remember Who

Yuval Havkin, also known as Rejoicer, is one of the foremost exponents of downtempo music, inspired by the fusion of jazz and hip-hop. His new album thus draws on his early influences while exploring the world of calm, melodic electronic music that borders on ambient.

This Is Reasonable has a chill-out feel to it, a record filled with melodies and atmospheres that, throughout its eleven tracks, conveys a sense of calm and floating, akin to ambient music. Stripped of the clichés of the genre, the album is built around subtle melodies and rich harmonies from keyboards and synths, which borrow as much from the spirit of jazz as from the inventions of electronica, whilst being supported by a gentle groove. This equilibrium is perfectly captured by Rejoicer's moniker, a term that evokes both the idleness of artificial paradises and a soft, caring form of spirituality.

Musical path
Yuval Havkin was born in Israel in 1985, and grew up in England before returning to his homeland. He began studying classical piano as a child, but was put off by such conservative teaching and turned to hip-hop and beatmaking in his teens. Throughout the 2000s, he learned his skills "on the job", working with musicians he met in Tel Aviv, a local scene that nurtured a sense of community and emulation. Back then, he was particularly impressed by the grooves and electronic inventions of Detroit producer Dabrye, who had a revelatory effect on him, before he discovered legendary musicians Madlib and Jay Dee aka J Dilla, who led him down the path of beatmaking.

Yuval Havkin's music career got off to a more serious start in the late 2000s with the creation of his own label, Raw Tapes, both based in Tel Aviv. Blending jazz, funk and hip hop, whilst still embracing pop influences, the label's productions showcased the richness of the new Israeli scene combining cool, elegance, playfulness, and a degree of research and inventiveness, thanks to the talent of artists and bands such as Duo Brothers, Maya Dunietz, iogi, Nitai Hershkovits, the Buttering Trio and Rejoicer, the artist's most personal project.

In 2018, Rejoicer's warm and engaging sounds caught the attention of the prestigious Los Angeles label Stones Throw, renowned for having signed his idols Madlib and J Dilla, not to mention Aloe Blacc and Peanut Butter Wolf (its founder). Two albums followed, Energy Dreams (2018) and Spiritual Sleaze (2020), both of which demonstrate his instrumental mastery, jazz culture and lush orchestrations. Both albums are on a par with more renown sampling prodigies of the beat scene, and gave him his first international recognition.

Now based between Los Angeles and Savyon, near Tel Aviv, this hyperactive and instinctive artist simultaneously pursues a career as a composer, musician and label owner, member of numerous bands and collective projects (Apifera, PlayDead, collaborations with Jimi Prasad and Avishai Cohen) while also offering his studios and production skills to other artists. “Fela Kuti meets Aphex Twin”

This new Rejoicer album, which follows three earlier jazz-tinged records, marks a new and more personal musical direction for an artist who previously favored group work and collaborations. Yuval chose here to delve into a more electronic and sequenced style of music, playing Prophet 6 and 8 synths, a Juno 60, a Minimoog and his Fender Rhodes keyboard, in contrast with the more organic sounds of his previous albums. While a few tracks on this new album may sound like a laid-back version of some of the Warp label's early electronic classics by Aphex Twin or Boards of Canada, Yuval Havkin claims to have also been inspired by the great Fela Kuti, particularly in his search for harmonies between bass, keyboards and
percussion, and by his elder trumpet-playing friend Avishai Cohen, a musician he particularly admires.

Beyond these various influences, This Is Reasonable is an album of compelling and bewitching melodies. The moods, peacefulness and sheer beauty of This Is Reasonable are, indeed, quite paradoxical, in stark contrast to the country's tragedies (the title explicitly refers to recent political disputes in Israel) and the war currently raging less than a hundred miles from his studio. A paradox fully embraced by the artist, who views his music as a response to the violence of our times.
More

Double Vinyl LP (incl. printed inner sleeve)

Tracklist 2LP:
A1. The Pull of Time - A2. Parallax - B1. The Color of Static - B2. Begin Again - C1. I Need You -
C2. Beacon - D1. Are We Not Above It? (Feat. NiQ E & L_cio) - D2. The Mycorrhizal Network -
D3. Augmented Dreams

Short Info:
Alan Abrahams aka Portable returns to the label in fine form with his latest full-length LP, Augmented
Dreams. The title refers to the use of everyday technological advancements to achieve what were once
only dreams or visions of past generations, making this an explorative concept album that is equal parts
not-too-distant science fiction, and about as topical as it gets.
From the gorgeous opening string layers of “The Pull of Time” to the classy 4/4 grooves of “Begin Again”
or lead single “Guiding Me”, into the apropos and angular sci-fi broken beat feels of “Parallax” and “The
Color of Static”, fitting Detroit-influenced love taps like “Beacon” and “The Mycorrhizal Network”, the
politically-inspired “Are We Not Above It?” referencing the lingering effects of colonization featuring NiQ
E from South Africa on vocals and L_cio from Brazil on flute, through to the futurist pop elegance of the
dreamy duet recorded with Alexey Kochetkov “I Need You” and the conclusive titular track, it is clear
that both the in-depth concept and immaculately-crafted musical content in Portable’s inimitable style
are balanced in significance and expressive effect. This also functions as a timely statement in itself, as
today’s iceberg-tip evolution of AI technology is currently impending over the arts and many of our
existing realities.
This ten-song album serves as an imaginative yet hyperrealist narrative on how humanity’s fascination
with and reliance on ever-advancing technology defines the times we find ourselves in, while the skillful
sonic displays and present-era production techniques along with Abraham’s knack for timeless emotive
songwriting offer up this solid soundtrack for the ages. More

Genre: House, Minimal

Tracklist:

A1. Guiding Me (Original Mix) FR2T02300025
B1. Guiding Me (Lawrence remix) FR2T02300026
B2. Vigor FR2T02300027

Short Info:

The ever-prolific and established artist Alan Abrahams aka Portable makes a swift and very welcome return to Circus Company with the impressive lead single "Guiding Me", giving us an early taste of his forthcoming album Augmented Dreams to be released in the fall.

Conceptually the direction of this new project refers to the use of technology to alter our dreams, inadvertently or not, as so much tech advancement becomes available and ingrained in our daily lives. The timely lead single here inspired by Abraham's South African ancestors the Khoi San people and the guidance they provide, appropriately exuding both futurist formed sonics and dream-like tenderness in content, led by his dulcet-toned vocals and delivered with the super solid production we've come to expect. Wonderful multi-purpose electronic music which will find itself right at home on late-night discerning dance floors, or indeed guiding the listener through their respective travels, solo meditations or get-downs in headphones.

Along with the excellent "Guiding Me" original mix, we are graced with a masterful remix by Hamburg's Lawrence of Smallville and Dial fame, who takes the track into an even more floor-focussed realm with his patented rolling sub-bass lines which will guarantee plenty of summertime sound system finessing, as well as the EP-exclusive B2 track "Vigor" in which Portable goes even deeper in tone with classic styled vocal cut-ups and repurposed shards of tasty sound design added to keep the dancers endlessly entranced when and wherever they may be.

More

Genre: Ambient, Electronica, Experimental

Tracklist CD:
01. Venus - 02. Marché - 03. Foule - 04. Saloperie - 05. So Dad… - 06. Fluids - 07. Bonnes nouvelles des étoiles -
08. Flirty - 09. Audio Sexual Part 1 - 10. Science imbécile - 11. Maternaliste - 12. Gravos - 13. Wesh Finn Zerb -
14. Comput - 15. Aliens - 16. Fruit Cakes - 17. Vol plané


Short Info:
Deepening the comic tones using cosmic relief, and lively vibes, La Science des Imbéciles
(Ludicrous System), Brigitte Barbu’s sophomore sonic adventure, manifest a blurry creation
intersecting orbital audio paths and damaged smoking instruments. Could have easily been
called Birdless Science but it wouldn’t be funny…
Reverberating estranged arrangements, bizarre sounds, electronic fantasies, « hallucinationalism »,
and crypto poppy stratums all party together in Barbu's second explicit sensual album. Recorded and
digested during a gastro-reclusive residency in an Un-Orthodox Union Spacy Workstation, under the
benign diffraction of "Californian psychedelia» and medieval Cyrillic capharnaüm. Due to historic
geographical confusions and incorrect spellings, any specific detail will stay confidential. Using a
powerful branded calculator, digital converters, boutique preamps and various synthetic substitutions,
this extra album is blooming for spring cleaning. The guitar was accidentally ravaged, propelling
supervision into a strange but dope alt verse, still somewhere between an impromtu voyage through
scattered chronology and a poetic analytical research.
A cheerful memento escaping from pressure and weight like one of those fancy diets.
"I wanted to compose an intangible Pop LP" says Brigitte, « with guitar as an alibi, blending arrogant
synthesizers and humble plug-ins.… ». With a genuine thoughtful dimension, this record freaks as out
audiences with its neat mischievous mood. Jazzing the Mushing Rooms while testing the Acid Tweaks,
initially, the Artist had ambiguously vague rules for composing: but slowly, offending beardless
academics became the motto.
Ingrédients: orgasmic pads, sublime beaches, distorted nostalgia, frustrated markets, perfect
crowds, shady brews, body fluids, magnificent news, fried stars, hairy spouses, loud flirts, cosmicNew Release Information
crumbs, healed sons, dumb technology, rare games,underground motherships, Turkish tarot, fat bits
and heavy cream, fresh herbs, exotic invectives, a stuttering abacus, lamb’s bread, silent farts,
croissants chauds, extended outsiders, incongruous «patisseries», condescending muffs, violent
eardrums, hijacked bytes, macho bakers, epic fails, viennese bass, very large ears, hilarious gliding,
what else ?? More

Genre: Ambient, Electronica, Experimental

Tracklist LP:
A1. Venus - A2. Marché - A3. - Foule - A4. - Saloperie - A5. So Dad… - A6. Fluids - A7. Bonnes
nouvelles des étoiles - A8. - Flirty - A9. Audio Sexual Part 1 - A10. Science imbécile - B1.
Maternaliste - B2. Gravos - B3. Wesh Finn Zerb - B4. Comput - B5. Aliens - B6. Fruit Cakes - B7.
Vol plané

Short Info:
Deepening the comic tones using cosmic relief, and lively vibes, La Science des Imbéciles
(Ludicrous System), Brigitte Barbu’s sophomore sonic adventure, manifest a blurry creation
intersecting orbital audio paths and damaged smoking instruments. Could have easily been
called Birdless Science but it wouldn’t be funny…
Reverberating estranged arrangements, bizarre sounds, electronic fantasies, « hallucinationalism »,
and crypto poppy stratums all party together in Barbu's second explicit sensual album. Recorded and
digested during a gastro-reclusive residency in an Un-Orthodox Union Spacy Workstation, under the
benign diffraction of "Californian psychedelia» and medieval Cyrillic capharnaüm. Due to historic
geographical confusions and incorrect spellings, any specific detail will stay confidential. Using a
powerful branded calculator, digital converters, boutique preamps and various synthetic substitutions,
this extra album is blooming for spring cleaning. The guitar was accidentally ravaged, propelling
supervision into a strange but dope alt verse, still somewhere between an impromtu voyage through
scattered chronology and a poetic analytical research.
A cheerful memento escaping from pressure and weight like one of those fancy diets.
"I wanted to compose an intangible Pop LP" says Brigitte, « with guitar as an alibi, blending arrogant
synthesizers and humble plug-ins.… ». With a genuine thoughtful dimension, this record freaks as out
audiences with its neat mischievous mood. Jazzing the Mushing Rooms while testing the Acid Tweaks,
initially, the Artist had ambiguously vague rules for composing: but slowly, offending beardless
academics became the motto.
Ingrédients: orgasmic pads, sublime beaches, distorted nostalgia, frustrated markets, perfect
crowds, shady brews, body fluids, magnificent news, fried stars, hairy spouses, loud flirts, cosmicNew Release Information
crumbs, healed sons, dumb technology, rare games,underground motherships, Turkish tarot, fat bits
and heavy cream, fresh herbs, exotic invectives, a stuttering abacus, lamb’s bread, silent farts,
croissants chauds, extended outsiders, incongruous «patisseries», condescending muffs, violent
eardrums, hijacked bytes, macho bakers, epic fails, viennese bass, very large ears, hilarious gliding,
what else ?? More

Genre: Electro, House

Tracklist:
A1. Firesound - B1. Lost Sonar - B2. Light Blooming

Short Info:
Following well-received collaborative outings for us as 1/2 of the SF dynamo duo Moniker whose classic
“Billy D” anthem and respective Patrice Scott remix graced the early catalog, followed by the galactic
flex Straylight EP with Cali brethren Dave Aju on velvet vocoder vox b/w a stellar Kai Alcé remix on the
Another offshoot imprint, and of course his indelible contributions to the arrangements/derangement of
the wondrous KAMM LP Cookie Policies, Kenneth Scott is essentially an extended family household
name for our camp and so we’re beyond proud to present his initial solo release for the Circus Company
label proper. Schooled as always in the deepest of electronic music roots and classiest of track
traditions, the three pieces that form the Light Blooming EP puzzle display all the prized synth wizardry
and production ingenuity we’ve come to expect from the Berlin-based veteran.
“Firesound” kicks us off in fine form, with a glistening array of pads and tight arpeggios that give way to
a soulful funk strut that any fan of Detroit-style electro flavors will enjoy to the fullest. We then move to
the stylized 4/4 pulse of the aptly-titled “Lost Sonar”, an extended live set for Lost Sonar Collective
skillfully condensed and finessed into a smooth-as-silk true deep house cut, where warm synth tones
set the sound bed while shards of sharper percussion and angular textures flash and fizz throughout,
creating an ultra-fresh contrasting feel while a rock-solid groove grinds us along faithfully. Scott then
finally closes out the set with the powerful and titular “Light Blooming” which begins with a similar rising
pad intro before unleashing fierce and raw overdriven drum programming, teasing us out to the two
minute mark when the mighty sub bass line and multi-layered arps drop in to devastating effect, bubbling
and building to a bold harmonic apex, before eventually bringing us down softly and somehow with ease
after such a glorious rise.
Filled with early-Warp feels and futurist sci-fi hopes in equal measure, the Light Blooming EP is three
tracks of pure funk precision and expressive musical class from the man Kenneth Scott More

Double LP (incl. download code)

Genre: Beats, Ambient, Electronica

Tracklist LP:
A1. X-pert Profat - A2. Break for Ma - A3. Drums 2002 - A4. Ducklings 2 - A5. #ew_horseplay -
A6. Jo Barker - A7. AR Day - B1. New Family - B2. Repepepater (feat. Joli B) - B3. Clean Father -
B4. Ambient Jams 3 - C1. July 11 Creepy (feat. Ted Pilsner) - C2. Brain Bed - C3. Roxy Dancer -
C4. Summer Storm - C5. They Work for Mr. O - C6. Tricky Dees Dumm Dumm -
C7. Ufos Over Egypt (feat. Cristobal) - D1. Weak Stranger - D2. XMods in the Living Room - D3. Being a Total Warm Up

Short Info:
One of our all-time favourite artists and extended Circus Company member The Mole returns to the
label for a proper presentation of his album The River Widens. Originally a limited, cassette-only
release via fellow Canadian Eddie C’s Red Motorbike, we are proud to offer this album in its full glory
for the first time on all formats.
Never one to shy away from synth deep dives, or raw sample flip collaging, this collection of 21 works
checks all the boxes. Ambient trippers to straight up neck-snapping instrumental beats. Not forgetting
tastes of the more uptempo, highly-assured and hypnotic dance floor feels the world has come to love
The Mole for. Moments of casual chillin are interspersed with effortless, emotive angles, some evoking
the charm of his Little Sunshine release for us in 2017.

X-pert Profat opens the set with sly statements that give way to relaxed and subtle keys over gentle,
midtempo rhythms. Things switch up nicely into easy, Northwest Coast boogie-meets-beatdown feels
inBreak For Ma, followed by a solid array of almost Jaylib-schooled boom bap twists, like the aptly-titled
Drums 2002 and Jo Barker. Ambient cuts like AR Dayand New Family offer a refreshing tap of the
brakes, setting the scene for the gorgeous, Jarre-esque Weak Stranger. We also get treated
to Repepepater’s nod to Detroit house, urban-mode Balearic feels on They Work For Mr. O, and sneak
attack lo-fi future funk in the form of UFOs Over Egypt, with Montreal co-pilot Cristobal on a wild
shisha-lit vox narrative, earlier versions of which have blessed many of our label comrades’ DJ sets,
from Dave Aju to Vincent Lemieux.
The River Widens expands beautifully on the breadth of unique musical directions The Mole is capable
of taking us in, now spread across fresh 2x12” vinyl and available digitally for the first time, along with
another limited edition cassette run - we hope you enjoy the ride as much as we do! More

cassette

Genre: Beats, Ambient, Electronica

Tracklist Cassette:
A1. X-pert Profat - A2. Break for Ma - A3. Drums 2002 - A4. Ducklings 2 - A5. #ew_horseplay -
A6. Jo Barker - A7. AR Day - A8. New Family - A9. Repepepater (feat. Joli B) - A10. Clean Father -
A11. Ambient Jams 3 - B1. July 11 Creepy (feat. Ted Pilsner) - B2. Brain Bed - B3. Roxy Dancer -
B4. Summer Storm - B5. They Work for Mr. O - B6. Tricky Dees Dumm Dumm -
B7. Ufos Over Egypt (feat. Cristobal) - B8. Weak Stranger - B9. XMods in the Living Room - B10. Being a Total Warm Up

Short Info:
One of our all-time favourite artists and extended Circus Company member The Mole returns to the
label for a proper presentation of his album The River Widens. Originally a limited, cassette-only
release via fellow Canadian Eddie C’s Red Motorbike, we are proud to offer this album in its full glory
for the first time on all formats.
Never one to shy away from synth deep dives, or raw sample flip collaging, this collection of 21 works
checks all the boxes. Ambient trippers to straight up neck-snapping instrumental beats. Not forgetting
tastes of the more uptempo, highly-assured and hypnotic dance floor feels the world has come to love
The Mole for. Moments of casual chillin are interspersed with effortless, emotive angles, some evoking
the charm of his Little Sunshine release for us in 2017.

X-pert Profat opens the set with sly statements that give way to relaxed and subtle keys over gentle,
midtempo rhythms. Things switch up nicely into easy, Northwest Coast boogie-meets-beatdown feels
inBreak For Ma, followed by a solid array of almost Jaylib-schooled boom bap twists, like the aptly-titled
Drums 2002 and Jo Barker. Ambient cuts like AR Dayand New Family offer a refreshing tap of the
brakes, setting the scene for the gorgeous, Jarre-esque Weak Stranger. We also get treated
to Repepepater’s nod to Detroit house, urban-mode Balearic feels on They Work For Mr. O, and sneak
attack lo-fi future funk in the form of UFOs Over Egypt, with Montreal co-pilot Cristobal on a wild
shisha-lit vox narrative, earlier versions of which have blessed many of our label comrades’ DJ sets,
from Dave Aju to Vincent Lemieux.
The River Widens expands beautifully on the breadth of unique musical directions The Mole is capable
of taking us in, now spread across fresh 2x12” vinyl and available digitally for the first time, along with
another limited edition cassette run - we hope you enjoy the ride as much as we do! More

Special remarks : LP Vinyl incl. printed inner sleeve

Tracklist LP:
A1. Dors-tu ? - A2. Regard en arrière - A3. Mélopée - A4. L’attente - A5. Elégie - B1. Prélude -
B2. La fille de la nuit - B3. Ni toi, ni moi - B4. Le beau jour - B5. Opaline - B6. Tant que mes yeux

Short Info:
On his fourth solo album, much as in Oh! (2020), the French composer, pianist and vocalist follows his
ongoing exploration of the crossroads between poetry and songs, piano and synth, old-time verses
and contemporary sounds. Inspired by the rhythms, effects and speech patterns of urban music, he
also delivers, with a warm and moving voice, the texts of three poetesses from the past.
Since 2013, Ezéchiel Pailhès has been crafting a unique French synth pop. On his first three albums,
he switched between songs inspired by poetry, instrumental ballads and electronica with hummed
choruses. This latest record is a collection of eleven new songs, two of which he wrote: "Opaline" and
"Ni toi, ni moi" (neither you nor me). The others are adaptations of poems written in the 16th, 18th and
19th centuries by French poetesses Louise Labé (1524-1566), Marceline Desbordes-Valmore (1786-
1859) and Renée Vivien (1877-1909).
Poetesses from the past...
From classical music to songs, poetry adaptation is an old French tradition. "My universe has always
embraced the musicality of this literary genre," the artist recalls. He actually started this project in 2017
with poems and sonnets by William Shakespeare, Pablo Neruda, Victor Hugo and above all Marceline
Desbordes-Valmore, who can be heard again on songs such as "Dors-tu?" (Are you sleeping?),
"Élégie" or "L'attente" (The wait). A figure of romanticism, the author left her mark on the early 19th
century through the quality of her texts and her formal inventions, particularly praised by Balzac, and
apparently a decisive influence on Verlaine and Baudelaire. "Marceline's poetry is very musical," says
Ezéchiel admiringly. "Her use of rhythm and repetition sounds great and takes on a new perspective
when set to music. In fact, she wrote some of her texts with singing in mind.”
“Ces longs secrets dont l'amour nous accuse,
Viens-tu les rompre en songe à mes genoux ?
Dors-tu, ma vie ! ou rêves-tu de moi ?”
“These long secrets for which love accuses us,
Do you come to my knees to break them in a dream?
Are you sleeping, my life! or do you dream of me”
(“Dors-tu ?”, after “Les pleurs” (the tears), 1833)
Besides her, we find the more famous, and rebellious, Renée Vivien, whose texts inspired three
songs, "Regard en arrière" (Looking backwards), "Mélopée" (Melopoeia) and "La fille de la nuit" (The
night girl). Sometimes nicknamed "Sapho 1900", this figure of lesbian culture and, more broadly, of
female genius, combined in her work the themes of desire, dreams, melancholy and the relationship
with nature.
“Ta forme est un éclair
Ton sourire est l’instant
Tu fuis, lorsque l’appel
T’implore, ô mon Désir !”
"Your shape is a spark of lightning
Your smile, the very moment
You flee, when the calling
Begs you, O my Desire!"
(After “Parle-moi, de ta voix pareille à l’eau courante” (Speak to me, with a voice like flowing waters)
and “Ta forme est un éclair” (Your shape is a spark of lightning), Renée Vivien, 1901)
Lastly, with "Tant que mes yeux" (As long as my eyes), Ezéchiel was inspired by a 1555 poem by
Renaissance poet Louise Labé, whose main topic explored female love, physical and spiritual desire,
and the torments and pains they generate.
" At the start of the project ", Ezéchiel continues, " I was interested in many poets, men and women,
past and present, before my selection was narrowed down to these three female authors. Their works,
often written in difficult or secret conditions, express a raging romanticism, a passionate soul, fuelled
by desperate and tormented love. I found it interesting, as a man coming from another world and time,
to face this otherness, to trade viewpoints. Obviously, I could loudly claim that the album was the
result of a concept, that it reflects today's world, and that it allows me to explore the notion of gender,
giving visibility to the work of a few women, while at the same time pairing these ancient texts with a
more modern and rhythmic music, and obviously, there is some truth in that. But more than anything, I
wanted to serve the text itself, to express the emotion and connection I felt with these works.”
Today's rhythms and prosody...
Ezéchiel Pailhès combines texts from French literature with electronic music, its effects and rhythms,
as well as a form of scansion that echoes rap, R&B or the current fusion between hip hop and pop,
which is part of our musical background and that of younger generations. "I wanted to cross-reference
texts from the beginning of the century with this type of music. I wanted to use today’s techniques to
tell the tale of different daily lives and experiences.
The album is thus marked by contemporary electronic orchestrations, in which he drops his favourite
instrument, the piano, and his digital collage technique to use more extensive synth melodies,
enhanced by drum machines, bringing a gentle and bright vibe to the romantic texts. Lastly, we can
hear slight digital tones of Auto-Tune, which Ezéchiel uses sparingly and inventively.

Beyond its sophistication, the term "melopoeia" means a "sung declamation", a "recitative song",
sometimes interpreted in a monotonous way. On this album, it could also refer to a sense of phrasing,
which does not come from rap, but rather from jazz, Ezéchiel's first love. " In the past, I tried to hide
my jazz culture, but it naturally came back on this new album, as can be heard, for instance, in Regard
en arrière.” With its verses anchored in our literary memory, the following track "Mélopée", perfectly
illustrates the album's vision. It manages to transcend eras, mixing past romanticism with a modern
prosody, fuelled by the nonchalance of hip hop and the warm chords of jazz.
“Qu’un hasard guide enfin mon désespoir tranquille
Vers l’eau d’une oasis ou les berges d’une île,
Où je puisse dormir, mon voyage accompli,
Dans la sécurité profonde de l’oubli”
"May chance guide my quiet sorrow, at last
To the water of an oasis, the shores of an island,
Where I may sleep, having traveled my way,
In the safe depths of oblivion".
(After “Sillages” (Trails), René Vivien, 1908) More

Special remarks : CD Digipack

Tracklist CD:
01. Dors-tu ? - 02. Regard en arrière - 03. Mélopée - 04. L’attente - 05. Elégie - 06. Prélude - 07.
La fille de la nuit - 08. Ni toi, ni moi - 09. Le beau jour - 10. Opaline - 11. Tant que mes yeux

Short Info:
On his fourth solo album, much as in Oh! (2020), the French composer, pianist and vocalist follows his
ongoing exploration of the crossroads between poetry and songs, piano and synth, old-time verses
and contemporary sounds. Inspired by the rhythms, effects and speech patterns of urban music, he
also delivers, with a warm and moving voice, the texts of three poetesses from the past.
Since 2013, Ezéchiel Pailhès has been crafting a unique French synth pop. On his first three albums,
he switched between songs inspired by poetry, instrumental ballads and electronica with hummed
choruses. This latest record is a collection of eleven new songs, two of which he wrote: "Opaline" and
"Ni toi, ni moi" (neither you nor me). The others are adaptations of poems written in the 16th, 18th and
19th centuries by French poetesses Louise Labé (1524-1566), Marceline Desbordes-Valmore (1786-
1859) and Renée Vivien (1877-1909).
Poetesses from the past...
From classical music to songs, poetry adaptation is an old French tradition. "My universe has always
embraced the musicality of this literary genre," the artist recalls. He actually started this project in 2017
with poems and sonnets by William Shakespeare, Pablo Neruda, Victor Hugo and above all Marceline
Desbordes-Valmore, who can be heard again on songs such as "Dors-tu?" (Are you sleeping?),
"Élégie" or "L'attente" (The wait). A figure of romanticism, the author left her mark on the early 19th
century through the quality of her texts and her formal inventions, particularly praised by Balzac, and
apparently a decisive influence on Verlaine and Baudelaire. "Marceline's poetry is very musical," says
Ezéchiel admiringly. "Her use of rhythm and repetition sounds great and takes on a new perspective
when set to music. In fact, she wrote some of her texts with singing in mind.”
“Ces longs secrets dont l'amour nous accuse,
Viens-tu les rompre en songe à mes genoux ?
Dors-tu, ma vie ! ou rêves-tu de moi ?”
“These long secrets for which love accuses us,
Do you come to my knees to break them in a dream?
Are you sleeping, my life! or do you dream of me”
(“Dors-tu ?”, after “Les pleurs” (the tears), 1833)
Besides her, we find the more famous, and rebellious, Renée Vivien, whose texts inspired three
songs, "Regard en arrière" (Looking backwards), "Mélopée" (Melopoeia) and "La fille de la nuit" (The
night girl). Sometimes nicknamed "Sapho 1900", this figure of lesbian culture and, more broadly, of
female genius, combined in her work the themes of desire, dreams, melancholy and the relationship
with nature.
“Ta forme est un éclair
Ton sourire est l’instant
Tu fuis, lorsque l’appel
T’implore, ô mon Désir !”
"Your shape is a spark of lightning
Your smile, the very moment
You flee, when the calling
Begs you, O my Desire!"
(After “Parle-moi, de ta voix pareille à l’eau courante” (Speak to me, with a voice like flowing waters)
and “Ta forme est un éclair” (Your shape is a spark of lightning), Renée Vivien, 1901)
Lastly, with "Tant que mes yeux" (As long as my eyes), Ezéchiel was inspired by a 1555 poem by
Renaissance poet Louise Labé, whose main topic explored female love, physical and spiritual desire,
and the torments and pains they generate.
" At the start of the project ", Ezéchiel continues, " I was interested in many poets, men and women,
past and present, before my selection was narrowed down to these three female authors. Their works,
often written in difficult or secret conditions, express a raging romanticism, a passionate soul, fuelled
by desperate and tormented love. I found it interesting, as a man coming from another world and time,
to face this otherness, to trade viewpoints. Obviously, I could loudly claim that the album was the
result of a concept, that it reflects today's world, and that it allows me to explore the notion of gender,
giving visibility to the work of a few women, while at the same time pairing these ancient texts with a
more modern and rhythmic music, and obviously, there is some truth in that. But more than anything, I
wanted to serve the text itself, to express the emotion and connection I felt with these works.”
Today's rhythms and prosody...
Ezéchiel Pailhès combines texts from French literature with electronic music, its effects and rhythms,
as well as a form of scansion that echoes rap, R&B or the current fusion between hip hop and pop,
which is part of our musical background and that of younger generations. "I wanted to cross-reference
texts from the beginning of the century with this type of music. I wanted to use today’s techniques to
tell the tale of different daily lives and experiences.
The album is thus marked by contemporary electronic orchestrations, in which he drops his favourite
instrument, the piano, and his digital collage technique to use more extensive synth melodies,
enhanced by drum machines, bringing a gentle and bright vibe to the romantic texts. Lastly, we can
hear slight digital tones of Auto-Tune, which Ezéchiel uses sparingly and inventively.

Beyond its sophistication, the term "melopoeia" means a "sung declamation", a "recitative song",
sometimes interpreted in a monotonous way. On this album, it could also refer to a sense of phrasing,
which does not come from rap, but rather from jazz, Ezéchiel's first love. " In the past, I tried to hide
my jazz culture, but it naturally came back on this new album, as can be heard, for instance, in Regard
en arrière.” With its verses anchored in our literary memory, the following track "Mélopée", perfectly
illustrates the album's vision. It manages to transcend eras, mixing past romanticism with a modern
prosody, fuelled by the nonchalance of hip hop and the warm chords of jazz.
“Qu’un hasard guide enfin mon désespoir tranquille
Vers l’eau d’une oasis ou les berges d’une île,
Où je puisse dormir, mon voyage accompli,
Dans la sécurité profonde de l’oubli”
"May chance guide my quiet sorrow, at last
To the water of an oasis, the shores of an island,
Where I may sleep, having traveled my way,
In the safe depths of oblivion".
(After “Sillages” (Trails), René Vivien, 1908) More

(colored eco vinyl)

Genre: House, Minimal, Electronica

Tracklist :
A1. The Spacetime Curvature (DJ Qu Remix) - A2. I Feel Stronger Now (Patrice Scott Remix) -
B1. Ripple Effect (Call Super Remix)

Short Info:
In the wake of Portable’s acclaimed album My Sentient Shadow comes a trio of remixes which expand
on his unique slant on techno and synth-pop. Finding three artists who reflect his own experimental
tendencies within dance music, Alan Abraham’s original productions head into unexpected new places
while retaining the physical, club-ready energy he manages to instill in his own creations.
A true auteur within techno, DJ Qu brings a sense of poise and drama to ‘The Spacetime Curvature’
as he patiently builds the track into a fierce peak time monster driven by snarling bass and his
signature sizzling, shuffled percussion.
Patrice Scott has a reliably smooth, immersive approach to deep Detroit house, and it lends itself
beautifully to Abraham’s melancholic vocal on ‘I Feel Stronger Now’.
Leaning in on the jazz dimension of his wide-ranging electronica, Call Super revels in the sweetness of
‘Ripple Effect’ and places delicate piano playing upfront before slipping into a relaxed, sentimental
kind of garage and eventually edging towards an uplifting, off-centre strain of house music.
Individual in their own right and yet naturally entwined with the emotional intention of the original
versions, this is a set of remixes which pay full credit to the source material while offering something
you won’t expect, like a great remix should do. More

Tracklist 12":

A1) The Party (Extended Version)
A2) The See Me (Extended Version)
B1) The Come On (Extended Version)
B2) The Slide


A new Toy Tonics EP! By label boss Kapote!

4 tracks for the dancefloor inspired by Italo Disco, New Wave Funk and NYC 90ies House. A perfect sound for the new Y2K vibes on 2024 dancefloors.

A new Kapote release is a rare thing. Although he is a musician and producer in the first place he rarely releases music. Why? Because the last years he was busy djing every weekend around the world (as a regular at clubs like Berlin’s Panorama Bar and London’s Phonox but also Festivals like Melt or Kala) and creating the Toy Tonics madness with his label friends. The Berlin based label that is the home base for 15 international artists (Cody Currie, Coeo, Gee Lane, Athlete Whippet, Baby‘s Berserk, Stump Valley…) became THE brand for a colorful and diverse, innovative and ‘organic’ funk oriented post - digital dance music.
Kapote and his friends release music that connects analogue and band vibes with digital production in a very fresh and unique way. Influenced by European underground disco and American house as well as afro beats, new wave and soulful Electronica.
But he and his label also have achieved a great reputation for working with some of the hottest names in Berlin graphic design and art to release the limited edition Toy Tonics Shirts, the label own TT Pocket Poster Magazine, posters and organizing exhibitions and visual shows.
Kapote aka Mathias Modica was and his 3 members TT krew were busy building all this.
Including also the Toy Tonics Jams. The label parties that started in an illegal venue in Berlin 2020 and exploded in 2023. With more than 120 TT events all over Europe. Where the label represents his very own vison of sound, vibe and style. Kapote organized all this with his krew. And it looks like 2024 will be even busier. With Toy Tonics Events at clubs but also museums (Palais de Tokio/ Paris, Milano Design Festjval) or Kapote & Toy Tonics Crew playing with Kaytranada and Peggy Gou at Sonar Festival.

In case you missed the last production works of Kapote check out his album ‘What it is’. Originally relased 2019. Re-released with new songs 2023. Or some of the 5 EPs he did on Toy Tonics in the last 8 years.
In case you don’t know his work under the name of Munk on his former label Gomma records (RIP) check it out. Kapote aka Munk co- produced the first 2 albums of Danish band WhoMadeWho, NYC art freak The Rammellzee, disco albums for Peaches and Nancy Whang of LCD Soundsystem, singles with DJ Chloe and many others.

(Words by Clara de Vernies)











More

Tracklist 12":

A1) Monkeys
A2) Neon Beach
A3) The Fourth
B1) Monkeys (musclecars Remix feat. Kamaal)
B2) Neon Beach (Demi Riquísimo Remix)


A new Toy Tonics EP. It’s the second by Venezuelan house DJ and producer Gee Lane. Including amazing remixes by NYC mainstay musclecars!

Gee Lane’s debut EP Metamorphosis (with remixes by Demi Riquísimo and Divorce From New York Remix & PIEK ) came out last October.
But as Virginie (her real name) is a steady name of tue Toy Tonics crew now and plays almost every weekend at one of the worldwide Toy Tonics Jams it makes sense to put out a follow up fast.

Gee Lane originally from Caracas now in Barcelona is a passionate DJ and vinyl digger with an extraordinary positive energy and attitude. A DJ diva in a positive way. A unique personality with a very strong style (in music but also as a person) and very elaborated ability to read and play with the dancers. Like the first EP also this one was recorded in Barcelona and Berlin with a little help by Robin Braum from Athlete Whippet. The music reflects well her roots and passion for everything what came out from New York’s dance culture. You can hear influences from the 80‘ promo disco scenes as well as the 1990 Body & Soul/ Francois Kervorkian / Joe Claussell universe. In fact Gee Lane after being raised in Caracas and musically educated by her father from a very early age, (a composer and musician) she moved to New York at a very young age in the late 90's where she fell in love with the HOUSE scene. And especially everything that happened at the famous and influential ’Body & Soul’ club.

This culture increased her curiosity to become a DJ (and vinyl digger herself) who is not just interested in house music but wants to explore other genres such as funk, Hip-Hop, jazz and Latin sounds and include these vibes into her DJ sets. A vinyl collector (and long time record shop employee) since then, she is known for her musical eclecticism that leads her to mix everything what she wants ...

Gee Lane now is a steady member of the Toy Tonics Krew and is already playing the Toy Tonics Jams all around Europe.












More

Tracklist:
a1. Delphi - Blue Tuesday
aa. Marco & Val - Indiana Tones
aa2. arco & Val - Indiana Tones (Bonus Beat)

Short info:
Already doing the rounds and the damage for a while, Unleashed Tapes Vol. 1 is finally officially available. A special treat from the Tiger's lair with a different and darker twist, that seeks out the darker and more dodgy discotheques on the side streets and in the backyards, where the trough has no flush and the mirror balls have never been cleaned. Automatic rhythms and electronic dancing sound made years after the future. Make up your own mind!
More

Tracklist 12":
A1) Orlando Magic, A2) Cabrio Mango
B1) 1981, B2) She Keeps It Good

The Toy Tonics crew is known for being addicted to two things: vintage music machines and old vinyl. 100% music aficionados. On the Tonic Edit series the crew shares some of their favorite old tracks - in a reworked version.

This time COEO get back in time. They destroyed a couple of 1970ies disco jams. Recut & repasted them. And gave them their special COEO touch. Of course it's irresistible!
This release comes on vinyl only first. Later maybe could be out on selected Digital sellers.. not sure yet.
More

12" / Vinyl made with 100% CO2 Reduced / 100% recycable / ISCC PLUS-certified "BioVinyl" by Optimal Media and Wordandsound

GENRE/S:
House, Minimal House, Deep House

TRACKLIST:
A1 Rework - You're So Just Just (Rework Just Edit)
A2 Rework - You're So Just Just (Troxler x Crosson Remix)
B Rework - You're So Just Just (Cinthie Remix)

SHORT INFO:

Rework's classic 2002 cut 'You're So Just Just' gets fresh remixes from Troxler X Crosson and Cinthie alongside an updated version from the act themselves.

Underground mainstays Rework released this standout track on the legendary Playhouse label and it is one that established them as pioneers right from the off. It was followed by several vital albums and releases on the same label, as well as the likes of Visionquest and exlove records.

Here, they revisit their original, which features vocals from Laetitia, and update its cold minimal grooves with fresh energy. The bass rolls deep, and the drums are snappy and upright as the edgy chords keep things full of suspense. Laetitia's soulful stylings are cut up and smeared through the mix to make for a brilliantly driving and emotive track.

Visionquest co-founders and long-time techno talents Seth Troxler and Ryan Crosson also pair off for a remix. Their version is full of trippy sound designs and wiggling hooks. It's a tightly interwoven minimal groove with an afterparty feel, and the original vocals bring their own seductive vibe.

The second remix comes from much-loved Berlin native Cinthie, who runs the Elevate store and 803 Crystal Grooves label. She recently served up a fantastic mix for the legendary DJ Kicks series and brings her timeless sound to this remix. It is raw, dusty and perfect for sweaty basements, as its hypnotic loops and punchy kick patterns are draped in old-school chord vamps.

This is a great update to a dance music classic from a fine selection of scene favourites.
More

Tracklist

A1. Fake U
A2. Do It Do Me
B1. Silly Little Games feat. ‘Em
B2. Wild Stream

When it rains, it pours! Which is a good thing, if the soil is dry. The second return of Tiger & Woods in almost no time falls on fertile ground. After DJs on Film has been eagerly embraced, they keep the ingredients, but change the dishes. Consummate and catchy, sweeping and simple DJ music with a penchant for hooks and hits.

Silly Little Games (also featuring long-time collaborator ’Em) evokes the rescue of an unreleased Editainment reel with a hidden new beat feel. Wild Stream is the sort of shattered mirror ball that came out of Shake Shakiest studio and Claude Young would have needed two copies off, while Fake U and Do It to Me are eternal classics Again: No samples were harmed during the filming of this record!


More

Format: LP
Format Notes: 2024 repress, 180g vinyl

EAN: 4251648412519

Track List:
A1 : Oh, Love
A2 : Rollalong Songs
A3 : Feel My Love
B1 : Party On The Corner
B2 : You Can Do It

Release Notes:
If ever an album could transport you to the hazy sunshine and imagined halcyon paradise of Southern California in the mid-1980s, could capture the early evening warmth of hanging at an inclusive boogie jam as it approaches “magic hour” in Santa Ana or Anaheim, then it’s Vaughan Mason and Butch Dayo’s Feel My Love. A brilliantly produced deep slung, low rider funk classic originally released on Salsoul in 1983. It’s a masterpiece of “funk love music”.

Yes, this is indeed a perfectly formed five track “mini LP” of unparalleled heat, but there’s one song here that, above the rest, represents Orange County boogie-funk. A straight killer beloved by all that have had the pleasure of moving to it. A track that can fill up a dance floor within seconds of its starting. That song is the eternal title track, “Feel My Love”.

This is a work of art that made people fall in love with the funk. It transcends the limitations of genre. “Feel My Love”’s deceptive simplicity makes it perfect to drop during a house set, a classic funk party or at a west coast rap jam. It’s sexy, deeply emotional, melancholic, hopeful, passionate and just radiates so, so much raw energy. This is music.

The rest of the record is hardly filler though. Opener “Oh, Love” is a dizzying, emotional slow jam. With heaven-sent vocals riding gorgeous, sweeping keys that alternate between sweet twinkling lines and funk-fuelled stabbing. It’s sensational. A rollerskating jam named “Rollalong Songs” is an ultra-swish piece of dance floor dynamite. Its slick drums, staccato piano and neck snapping claps underscore Dayo’s buoyant vocals. It’s essentially “Bounce, Rock, Skate, Roll Part II”.

The flip begins with “Party On The Corner”. Smoother than silk vocals, day-glo synths, a bubbling bassline and guitar licks that surely received the Prince seal of approval. It’s another example of how Vaughan Mason and Butch Dayo flirt with perfection so routinely. The most majestic closer, the kaleidoscopic, cow-bell-assisted synth-funk heater “You Can Do It” is a proto-rap groover that truly smokes.

This prized LP is a stone cold jam and finding original copies on vinyl at affordable prices has been tough for years. Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, this fresh Be With reissue ensures this legendary LP now sounds, looks and feels as sensational as it should.



More

TRACKLIST
A1: Labor Of Love (Kenny Dickenson Remix) More

Format: (180 gr., Limited Full Cover)

Track list:

A1 - Dam Swindle - Good woman
A2 - Gaoulé Mizik - A ka titine (Dam Swindle remix)
B1 - Dam Swindle - High Life feat. Lorenz Rhode (Ash Lauryn remix)
B2 - Dam Swindle - Yes, no, maybe feat. Tom Misch & Lorenz Rhode (Arp Frique remix)
B3 - Dam Swindle - Call of the wild feat. Jungle by night

Release Info:

After the chart-topping Keep on Swindling part 1, that included summer anthem ‘All I want’ and the live jazz rework of ‘The break up’ by Emma-Jean Thackray, Dam Swindle are now back with part 2 of their 10-year anniversary series. If you thought the first edition had the goods, you’re in for a treat with this one. Keep on Swindling part 2 includes a new afro-tinged DS original, alongside a never-released remix of an obscure Guadeloupean record and remixes by rising star of the Detroit music scene Ash Lauryn and Rush Hour favorite Arp Frique. To top things off, the boys release their afro-brass dancefloor burner ‘Call of the Wild’ feat. Jungle by Night for the first time on a single.

The EP kicks off with a new original production by DS: ‘Good woman.’ This track has Dam Swindle on their best dancefloor behavior: Powerful live drums with an electronic edge and a big smudge of soul through smart sampling. The track has the feel of a soulful drum workout, taking its warmth from the lovely organ hits played by the talented Tim Jules and lush vocals. It also has plenty of low end with its offbeat sub and heavy kick, which give this track all the beef it needs to make any dancefloor -big or small- move in ecstasy.

The next track is somewhat of a special project. Tipped in 2019 by close friend Vincent ‘Venz’ Reinders who now runs one of Amsterdam’s finest venues Radioradio, Lars and Maarten started working on a rework of the song ‘ A ka titine’ by Guadeloupean band ‘Gaoulé Mizik’. The original release was only distributed from private press in small amounts, and therefore did not reach that many people. Versions of this record are rare on Discogs and unfortunately change hands for large sums of money, which keeps the music in obscurity.

The Dam Swindle rework was first put out as a free download, but was taken offline quite soon after, when we started our path to locate the original rightsholders and get their approval. Fast forward 3 years and we’re here with an official remix of this amazing piece of music where the guys add an electronic twist to the original to bring that classic Gwo Ka music towards today’s clubs.

On the flip, we’ve got the amazing Ash Lauryn remixing the title track of Dam Swindle’s 2018 album: ‘High life’ co-written by Lorenz Rhode. Ash Lauryn has been moving from strength to strength and is proudly representing the city of Detroit and all its musical heritage with her DJ sets, productions, and the content she makes. We recently got the opportunity to meet in person and this woman is about as real as it gets. Her aura simply vibrates when she plays, and she oozes class behind the decks. This remix – co-produced with Stefan Ringer- takes a deep and grooving approach to the original, with new heady percussion to add that original Detroit flavor.

The next track is a remix by of our favorite and colorful Dutch artists: Arp Frique. Arp Frique is known for his multicultural take on music, combining Caribbean and Cabo Verdean styles with classic disco and funk. He decided to write a whole new song around the vocals of the Swindle, Rhode & Tom Misch hit ‘Yes, no, maybe.’ He takes a loose-limbed, tropical disco direction where the live, analog recording lays a perfect foundation for this breezy track. The vinyl release contains the vocal mix, while we also have the instrumental available for download.

The Ep closes with a Dam Swindle original for the 2018 album High Life that really needs no introduction: ‘Call of the wild feat. Jungle by Night.’ It’s a track that seems to keep the dancers happy wherever we play it and hasn’t lost any of its appeal in the past four years. Originally only released in album format, this track now makes its way on a single 12” to round off an exciting new release by the Swindles. Enjoy the music, play it loud and remember…

Keep on Swindling!

Yours sincerely,
Maarten & Lars
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Territory: World excluding F+ UK

180g heavyweight 12" black vinyl in gatefold sleeve. Printed inner-sleeve. Download code included.

Tracklist:

A1. Kinky Afro / A2. God's Cop / A3. Donovan / A4. Grandbag's Funeral / A5. Loose Fit
B1. Dennis And Lois / B2. Bob's Yer Uncle / B3. Step On / B4. Holiday / B5. Harmony

Short info:

Pills 'n' Thrills and Bellyaches was Happy Mondays commercial peak, both a No.4 victory and a benchmark album in history. That year the Mondays made a generation feel like the freaks were winning again, the dreamers and schemers hurtling in from the shadows to park themselves, like grin-faced goblins, in the daylight glare of the mainstream.
Artwork lovingly replicated by original Manchester designers Central Station Design. Featured the singles "Step On", "Kinky Afro" and "Loose Fit"



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