Eclectic label based in Copenhagen, Denmark, and set up by Emil Margetli Nyholm and Frederik Bille Brahe in 2007. The label focuses generally on more downtempo/leftfield sounds, ranging from out-and-out ambience to Balearic, nu jazz, hip-hop, deep house, trip-hop and soul flavas. With an A&R ethos that favours unearthing new talent over signing tracks from sure-fire big hitters, arguably the best-known artists to have appeared on the label are German trio Brandt Brauer Frick, but other label regulars include Max Graef, Glenn Astro, Uffe, Jitwam and Space Ghost
Review: Berliner Glenn Astro presents a compilation of original productions titled 'Nothing Is Real'. The album celebrates the joy of discovering new music and draws inspiration from iconic mix albums like X-Mix and DJ Kicks. Featuring 13 tracks, the album moves between downtempo, ambient techno, broken beat and other chill-out room genres. Astro uses fictional artist names like DJ 1999, Mental Trance and Eye Soul8r to experiment with varied production styles. The album's four singles ("The Growl"/"Autumn Subs"/"Steppers Worldwide Unite"/"Jaque") explore classic breakbeat, trip hop, dubstep and beatless Detroit-influenced machine funk. The album pays homage to the experimental spirit of the 90s and early 00s while blending ambiguity and fresh sounds.
Review: There's plenty to set the pulse racing on Dance Planet, Sudi Wachspress's third album as Space Ghost. In keeping with the Oakland native's career to date, much of the material showcases a colourful, retro-futurist sound that variously doffs a cap to Alton Miller, Larry Heard and Blaze. He begins in confident mood with 'Emotional Healer', a sun-soaked, piano-sporting treat, before giddily skipping between street soul influenced grooves (the gorgeous 'Deep (Vibes Mix)'), pitched-down ambient house ('UFO' and the beatless wonder that is 'After Glow'), heady downtempo numbers ('Dream Weaver') and Burrell Brothers style dancefloor lusciousness ('Back To The Source', Soul Shower'). Throughout, the album is atmospheric, warming and melodically rich. In other words, it's a triumph.
Review: Keeping its head above water in 2020 with releases by Space Ghost, Glenn Astro, Nelson Of The East and the reformation of late-70s Danish group Graesrodderne, Tartelet pull together a new compilation to welcome in 2021. Featuring the aforementioned in parts, Medusozoa is described as a compilation for introspective, downtempo and ambient leaning tracks for quieter moments. Be that the sound of rain in Space Ghost's playful night drive synth tune "Tropical Pavilion" to the soft percussion, finger clacks and Wayne Snow vocals of Max Graef's "Jane". Henry Wu & Tito Wun chip in with the ambient vocal and percussion-led number "Andre The Giant Vs Bob Sapp" to some slow renegade funk in Uffe's "Fridge Magnet Radio Theme 1" and the wozzy rhode tones and R&B shutters of Abunai's "Peace Sign".
Review: When he made his debut on Tartelet two years ago, Nelson Of The East was described as an experienced Italian artist working under a new alias. As his debut album arrives, we're no nearer to discovering his true identity, though we do know he's a producer based in Milan. Regardless of identity, "Kybele" is an exotic, intoxicating and expansive affair, with the Milanese artist offering up melodic and otherworldly tracks shot through with a myriad of past and present influences from all four corners of the globe. Highlights include the new age-influenced Balearic deep house warmth of "Draw Me", the blissful, Afro-Cosmic-tinged broken beat bliss of "Burning Palm (Saudade Mix)", the loose-limbed electrofunk/NYC freestyle flex of "Phase Lines", and the slow and trippy drowsiness of "ZETA".
Review: Three years ago Tartelet offered up a tasty compilation of previously unheard cuts, with all sales revenue going to charity. "The Second Best Time Is Now" follows the same formula, with sales income going to the Natural Resource Defence Council. Musically there's much to admire throughout, from the hazy reggae/blues/trip-hop fusion flex of Wayne Snow and Digitaluc's "Worrying State", to the deep intergalactic electronica of Glenn Astro's "Taking Care of Business", via the dreamy, synth-heavy jazz-funk of Space Ghost's "Groovin" and the Orb circa 1991 goodness of Dirk 81 and N.O.T.E's brilliant "Cosmic Plastic". Great music for a good cause: what more excuse do you need to stick it in your cart?
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: 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: 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: 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.
Nothing Wrong (Ge-ology In Reverse Reflip) - (10:00) 118 BPM
Nothing Wrong (James Braun Club mix) - (6:50) 118 BPM
Nothing Wrong (Ge-ology In Reverse Reflip Semi instrumental - Digital Exclusive) - (9:58) 118 BPM
Review: A low slung funk jam gets a fresh lick for the summer. Berlin-based vocalist Wayne Snow brings you a new remix EP on Tartelet Records. Taken from Snow's superb album Freedom TV released earlier this year. The original version of "Nothing Wrong"' was produced by Neapolitan duo Nu Guinea and has been stripped back and reversed by GE-OLOGY for the first extended mix. Next Byron The Aquarius goes slow for a new "Live Mix" adding a rubbery bassline, live drums, Rhodes and synths that nod to a certain Kool & The Gang 1974 hit. The EP is rounded out by Tartelet affiliate James Braun, who takes the original straight back into the club with an upfront dancefloor mix.
Review: Since first pitching up on Tartelet Records back in 2014, Wayne Snow has proved adept at joining the dots between dusty, left-of-centre deep house and silky modern soul. Freedom TV is the Berlin-based artist's debut album, and sees him further explore the loose, languid and effortlessly soulful style he's been developing over the last three years. While the album does contain some 4/4, floor-ready explorations, these tend towards the eccentric, MPC-driven style successfully explored by the likes of Seven Davis Jr. For the most part, Freedom TV is heady and intoxicating, with Snow's slick and emotion-rich vocals riding scratchy, sample-heavy backing tracks that meld deep house style electronics with future funk, R&B and neo-soul style grooves. The results are uniformly excellent.
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").
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.
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: 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: Tartelet have called upon a serious spread of heads for this sprawling selection of funk-infused, loose and lively house jams. Glenn Astro & Imyrmind are wonderfully dusty and downplayed on "Bochum", while Uffe brings plentiful amounts of Rhodes and other such joyous keys to a thoroughly funky conclusion. Max Graef has an equally shuffling, hand-played time of it, while Damiano Von Erckert gets a tighter groove out to get his own party started. Whichever track you plump for the sounds come on organic and soulful in the extreme, while the arrangements will have bodies popping all over the joint.
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: 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.
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