Review: Taking its name from the grey, concrete-filled grimy Nordvest area of Copenhagen where they reside, and fitting with the current wave of 303 revivalists doing interesting things with the tried and tested template (Recondite, Tin Man) 2400 Operator have already impressed with some deeper leaning releases for Jus Ed's esteemed Underground Quality imprint. On this three track EP for Tartelet they experiment more explicitly with the sounds of electro. "NV Electro" makes it patently clear what vibe they're going for with its track title and does so with considerable success; it's lean 808 breakbeat combines with a brittle arpeggio and searching pad melodies that is part classic Hague sound and part classic New York deepness. "Projects" is a more 4/4 affair but still uses a more cosmic sci-fi palette, complete with glittering synth arp and chunky low slung bassline to keep things grounded, while "Rushing For Fools" is like classic 80s house accented with 303 bass stabs that nevertheless has a clear and modern sensibility, delivering clever rhythms underneath its acid crescendo.
Review: Alex Seidel is an emerging young producer from Berlin who released a great EP on Glenn Astro and Max Graef's Money $ex earlier in the year. This one is for Copenhagen based Tartelet Records and it's pretty sweet. First track "Altitude 89" is a dusty deep house work out with sweet Rhodes and rusty rhythms reminiscent of his last EP, "Secret High" throws us a curveball on this pretty rad smack electro number while "Quinn" gets properly deep with this smooth and soulful number indebted to KDJ, no doubt. Finally "Phoenix" is a sombre beatless excursion that would work great as an intro.
Review: Glenn Astro drops his debut album on Denmark's Tartelet Records - home to the likes of Brandt Brauer Frick and Kenton Slash Demon - and it's a certified winner from start to finish, incorporating many different styles and influences. The opener "Goneville" features Max Graef and sounds like a J Dilla track being played by jazz instrumentalists, while "Shit Iz Real" reminds us more of the early 90's NY sound a-la KRS1. There's also more experimentally-edged numbers such as "You Can't Groove", tracks which allow this LP to not be categorised under one genre and sound very special.
Review: Copenhagen's Tartelet Records has a long history of showcasing local talents, so it's no surprise to see them championing fast-rising Danish producer B from E. The 27 year-old has serious hip-hop roots, but last year switched focus to deliver a stunning debut solo EP on Copenhagen Underground. There's much to enjoy on this follow-up, too, from the positive stabs, woozy chords and crunchy breakbeats of opener "Dark Energy", to the heavyweight bounce of closer "You Will See", where jammed-out electric piano parts and shimmering electronics rise above a weighty analogue bassline. Also worth checking is "The People (Dream Mix)", which is the kind of bustling, melodious-but-weighty cut that could easily have been produced in the early 1990s by a top-drawer New Jersey deep house producer.
Review: James Braun is the latest in a string of impressive Danish producers of late. "Symphonia" merges house music with the Dane's experimental tendencies to great effect. Claude Von Stroke delivers a highly danceable remix whereas label boss Tomas Barford digs much deeper with dirty drums, deep bass and spacey synths.
Review: Although Dirk 81 is a new name, the producer behind the project has previously released on Tartelet as Muff Deep. That was nearly seven years ago mind, so we should consider this a genuine artistic rebirth. He begins in confident fashion with "M.F.C", an intriguingly colourful concoction that combines elements of nu-disco, electrofunk, acid and deep house whilst also carving its own distinct niche. The "Main Mix" of title track "Pizza Trance" is a bustling and bouncy slice of peak-time dancefloor goodness piled high with tasty toppings, not least ridiculously weighty kickdrums, psychedelic acid lines and fizzing, jammed-out synths. The track's meandering, mind-altering TB-303 style motifs come to the fore on the accompanying "Kool Delivery Mix", which is undoubtedly the most effective floor-filler of the lot.
Review: Riding high on the buzz he has generated in the last twelve months, Max Graef delivers this album to Tartelet as a man very much in demand. His style, fuelled on the foundations of sampling funk and soul to a brilliantly modern end, has more space to breathe on this LP, but still the fundamentals remain. "Itzehoe" struts on a lazy jazzed-out sizzle of drums and beautiful Rhodes notes while "Tamboule Fudgefunk" punches its way through woozy synth work and a righteous beat and "Drums Of Death" struts on a perfect disco groove replete with live instrumentation, but there's a wealth of other tempos and styles all shot through with the homespun jazz charm that Graef has made his own of late.
Review: With praise for his collaborative album alongside Yussef Dayes (the fantastic Black Focus) still ringing in his ears, Kamaal Williams dons the familiar Henry Wu guise and embarks on another joint enterprise. This time round, his co-pilot is label-hopping collaborator Tito Wun. As you might expect, 27 Karat Years is a largely deep, jazzy and smoky affair, with the duo exploring a range of rhythms and grooves. There's the soft touch, ultra-deep house of "Don Muller", the hazy ambient boogie of "Andre The Giant Vs Bob Sapp", and the J Dilla tribute vibes of "Cheese N Kraut". Throw in a load of tasty interludes (the space ambience of "Peruvian Gold Theme" being a highlight), and you've got another tasty release from Mr Wu and Mr Wun.
Review: IMYRMiND's music has largely been a collaborative affair alongside Glenn Astro, and the pair have released solid, quality deep house for the likes of Odd Socks and Outernational, among other labels. This time, however, the artist goes on a solo mission through Tartelet Records, and he certainly delivers the goods in the form of four dystopian house tunes. "Tong Po" itself is a real spectacle, a stumbling mass of drums charged by cinematic synths and a deep bassline, whereas "Wanja 9000" is deeper, a tad slower, and in the same school as Kyle Hall's early output. "Upturn" reminds us of material on Unirhythm, while "Number Seven" goes for the ambient-house look - an odd, sublime piece of dance music.
Panalama Party People (Wilma remix) - (7:43) 120 BPM
Review: Copenhagen producer James Braun has serious history with Tartelet Records, having first appeared on the label way back in 2008. This is his fourth offering on the Danish stable and contains all manner of dancefloor treats. Despite the title, lead cut "Tearjerker" is an undeniably positive affair, with Braun wrapping electrofunk-influenced synth lines and bubbly electronic bass around a bustling drum machine groove. He serves up two deeper, acid-flecked late night interpretations (of which the thrillingly trippy and bass-heavy "Galaxy Deeper Dub" is our pick), before lolloping through intergalactic deep house pastures on the rather attractive "Panala Party People". Elsewhere, he dons the alternative Bobby Braun alias to re-shape "HakkebAff" into an organ-rich, bassbin-bothering jack attack, while Wilma reworks "Panala Party People" into a distorted dream house shuffler.
Review: Multi-instrumentalist and producer Jitwam tickled our fancy earlier this year with "Honeycomb", a superb set that brilliantly joined the dots between seductive lo-fi soul, dusty instrumental hip-hop and slick future R&B. This EP sees three of that album's most potent tracks getting the remix treatment. Glenn Astro steps up first with a rework of "Temptations" that takes the seductive, spaced-out soul cut to the farthest reaches of the galaxy via starry synthesizer lines, supernova chords and life-affirming space-funk flourishes. Horatio Luna provides an even more impressive and out-there take on "Diamonds" - all swirling electronics, jazz-fired beats and Prince-esque vocals - while N.O.T.E's "Pastamix" of "Busstop" offers a near perfect fusion of jaunty jazz-funk synths, broken beat-influenced deep house drums and yearning machine soul.
Review: Copenhagen-based Kenton Slash Demon return to local imprint Tartelet Records with a new terrific outing. It's been ten years since the duo landed on the label with their debut EP Khattabi, followed by the much-celebrated The Schwarzschild Trilogy singles - Sun, Matter and Daemon all released 2009-2011. The shimmering and emotive nu-disco bliss of "Zstring" is said to be a precursor for things to come within the next year. Featuring remixes by Californian in Berlin Urulu and fellow Dane Kasper Marott - whose dreamy rework in particular had us truly hypnotised. With talks of a full-length album, the KSD project is now being given the attention it deserves.
Review: We last heard from Kickflip Mike back in January 2016, when he delivered a killer EP on the hyped Money $ex Records imprint. Here he joins forces with Acoustic Funk member Julius Conrad for a four-track stroll through their numerous shared influences. So while opener "Three Turtles" offers a hurried, techno-tempo take on warm, rubbery, organic deep house (think warm disco bass, flowery instrumentation and wah-wah guitars), "BBQ Skit" is a freshly baked, hip-hop head-nodder influenced by the peerless J Dilla. "Some Joint" continues their flexible, jazz-funk meets deep house fusion, while closer "Voodoo Dude" fixes two-step beats to rich and sugary deep house instrumentation.
Review: After a dalliance with Ninja Tune, Berlin's Max Graef returns to his spiritual stomping ground on Tartlet with a brand new 20 track excursion. A teensy bit more floor focused than his first album on the label (2014's Rivers Of A Red Planet) but still happily lounging far on the left, highlights include the sleazy jazz of "Arcadia", the sprightly eight bit dust of "Y", the bit crushed jungle oddities of "Lozt" and the intergalactic electro pacer "Master Quest" to name but a very few. Entirely in a league of his own.
Burning Palm (Fantastic Man Awakening dub) - (5:21) 82 BPM
Review: Tartelet's latest must-check EP comes courtesy of N.O.T.E (short for Nelson of the East), a publicity-shy Italian producer who first featured on the Danish label last year. Those who like their house music loose, percussive and laden with spacey, Nu Guinea style synthesizer motifs should head straight for "Burning Palm (Voodoo Version)", whose subtle jazz-funk influences, melodic bounce and layered drums are as charming as they are sun-kissed and intoxicating. Guest remixer Fantastic Man provides his own take on that track, too, wisely tooling up the percussion further on a spaced-out "Awakening Dub" that also boasts alien synthesizer lines, weighty sub-bass and a little Afro-tech style shuffle. Arguably best of all is the 1985 style Italo-disco/freestyle mash-up "Phase Alternating Lines", a rubbery and bouncy, analogue-rich affair.
Review: N.O.T.E is short for "Nelson of the East", a new alias of "an established producer who may be of Swiss or Italian origin, depending on who is asking". Whoever it is at the controls, there's much to set the pulse racing on this expansive debut EP. Highlights include the carnival-ready cowbells, spacey chords and jazz-funk-goes-deep-house flex of 2000 Black style title track "Night Frames", the humid new age melodies and bubbly, low-slung rhythm of "Obaleyako" and the alien synths, densely layered drums and life-affirming deep house warmth of "En Route". Also worth checking is Glenn Astro's superb remix of "Night Frames", which re-imagines the track as a sub-bass-heavy chunk of psychedelic dancefloor minimalism.
Review: This is a special EP because it marks the first results of the recent collaboration between Parisian Afro-beat label, Comet, and Danish deep house imprint, Tartelet. The music reflects this unique fusion by pairing the remarkable vocals of Nigerian-born songwriter Wayne Snow to soulful house. It's a sublime release with the Metro Area-esque soulful punk-funk-disco house of "Red Runner" leading the charge. Remixes come courtesy of Glenn Astro & INMYRMIND (raw, off kilter house) and Session Victim (trance-ish prog euphoria). "Under The Moon", however, is a deep and eerie skewed-funk grind.
Review: Wayne Snow comes through with his softmore release for Copenhagen's Tartelet Records, a label which has featured the talents of Brodinski, Brandt Brauer Frick and Wareika, among many others. The EP kicks things into motion with the starry broken beats of "Interlude", a strangely funky and bluesy affair, while "Rosie" itself is a gorgeous hip-hop kinda groove with Snow's own r&b vocals riding high in the background. "Drunk" ups the tempo and enters broken albeit housier terrains in true Detroit spirit (it reminds us of Kyle Hall's early output). "Rosie" is also remixed by Nu Guinea Paradise and Hurbert Daviz, the former into a house-ridden beast and the latter into a heavy-bottomed dub-hop tool. Tuned up and ready for the killing.
Review: Oakland-based Tartelet regular Space Ghost is a hard man to pin down, musically at least. As this fine album proves, his trademark sound has many notable reference points - the slipped synth-boogie of Dam Funk, the dusty synthesizer ambient and sticky rainforest samples of the 1980s new age movement, the starry futurism of Detroit techno and the kaleidoscopic synth-bass fusion of Lone, for starters - but also occupies a sonic space all of its own. Naturally, the album is impeccably produced, draws on all manner of beats and basslines, and is the kind of set you'll never tire of hearing. Melodious, picturesque and atmospheric from start to finish, Endless Light is an unassuming triumph.
Review: Hailing from California's Bay Area, Sudi Wachspress AKA Space Ghost should need little introduction to lovers of downtempo beats by now: this is his seventh long-player. More importantly, though, it's an album that's worth checking even if you're NOT normally a big fan of the style, because there's a much stronger dancefloor sensibility in evidence than on previous output. Opener 'Sea Snake Island', for instance, could easily slot into an early-doors deep house set, as could the vaguely melancholic 'Lavender Oil', while the title track has something of jazz fusion air about it. It all adds up to 50 minutes of really very pleasant listening indeed...
Review: Uffe Christensen doesn't dawdle. Less than 18 months has passed since the release of his widely acclaimed debut album, Radio Days, and he's already laid down a follow-up. Like its' predecessor, No! is a varied affair, with Christensen using the opportunity to showcase not only his skill at fusing a wide range of influences, but also the way he can work with a variety of acoustic and electronic instruments. After opening with the ESG-inspired disco-punk-meets deep-house madness of "No", he variously serves up spaced-out afro-jazz ("I Care For You"), skewed blue-eyed soul ("Keep Smiles On The Side"), mutant jazz-house ("Black Hole"), dreamy broken beat ("Solo, So Loud"), and atmospheric downtempo pop (the superb "You Seem Happy").
Next To You (Adams No Trust remix) - (9:33) 122 BPM
Jump Into (Paxton Fettel remix) - (6:29) 123 BPM
Review: Some 12 months after Uffe's sophomore album No! wowed critics and consumers, Tartelet have decided to offer up a freshly re-worked version. Having assembled a crack team of remixers, it's little surprise to find that the resultant five-tracker is really rather good. For club plays, we'd recommend the sensual, organic sounding deep house hypnotism of the Adams No Trust remix of "Next To You" and Max Graef and Glenn Astro's impeccable rework of "The Fact", which recasts the track as a bass-heavy chunk of deep-space jazz-funk. Elsewhere, Falty DL goes deep, woozy and intergalactic on his sublime, hard-to pigeonhole mix of of "You Seem Happy" and Paxton Kettel joins the dots between '80s electrofunk, swinging jazz and lolloping deep house on his standout take on "Jump Into".
Review: Having spent the last few years delivering occasional singles on Pets Recordings, Danish producer Uffe Christensen returns to Tartelet, who put out his jazz-flecked debut EP, Straess, back in 2012. Radio Days is Christensen's full-length debut, and offers a range of tracks that mix sample-heavy cuts with elements of analogue-only sessions recorded at a friend's studio in Copenhagen. It's an enjoyable listen, with dusty and woozy dancefloor cuts (check the fuzzy, Rhodes-heavy deep house of "Lemon Nights" and disco-referencing "Space Loop") being joined by some sublime downtempo moments (see, in particular, the piano-laden bliss of "Your Reality" and head-nodding warmth of "Saw Your Laughing"). Interestingly, Christensen offers weary vocals on a number of tracks, which actually enhance the listening experience.
Review: An EP here from Germany's Tartelet that'll suit those who like their house finely crafted and unafraid of taking risks. 'Minor Forms' itself is an Afro-house cut that stands out from the pack via its use of some familiar James Brown-via-rave samples and a surprisingly meaty bassline, 'Destino Tikal (Cuerpo Pulsante Remix) blends African, Latin and jazz influences and would work a treat on summer terrraces, 'D.R.M' applies standard deep house production values but at a pacey 132bpm, while finally 'Quasimidi (Explored)' is another Afro/tribal affair with an intense, dark feel that's almost redolent of very early jungle/D&B.