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: 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: 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: 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: 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: 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: 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: 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: Breathing new life into early 80s recording by the legendary Danish composer and music educator Lotte Kaers?, with her band of young musicians, Graesr?dderne, the Tartelet label dive into the forgotten catalogues of obscure Scandanavian funk, boogie and folk. This special and feel good reissue consists of songs taken from Lotte Kaers?'s two first albums "Jeg Har Set Det Selv" (I've Seen It Myself) from 1979 and "Hjemme I Vores Gade" (On Our Street) from 1981. Elements of exotic samba, jazz funk, and dub-reggae sounds come together with a distinctly Danish cheerfulness in the songs' lyrics, bringing fresh attention to a selfless artist who's educational and community driven voyage returns once again to inspire a new generation.
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: 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: 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").
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