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TARTELET

Killer Nu Groove / 90's NYC House style tracks on Tartelet

B FROM E (Frej Garcia Levin) represents a new generation of talented young artists making waves in Copenhagen. Of Mexican-Danish descent, and born and raised in the notorious tower blocks of the south-western suburbs of Copenhagen, the 27-year old is on the up-and- up. In high demand as the founder of boom bap rap group NATKAT, producer of pop outfit Ny Sensei (New Sensei) and head of tape-only label Buddahood, the multi-talent seems to have a hand in everything at the moment. His 2017 debut ‘Porno TR-XXX’ (C.U.P) saw some of the hottest names in the game spinning B FROM E at last year’s Dekmantel festival, resulting in offers from several well-known record labels.

His new record on Tartelet Records comes as four cuts exploring different paths of the garage house sound. The opener ‘Dark Energy’ is fueled by filthy breaks and a nostalgic theme that would not be out of place in an early Atari computer game. ‘The People (Dream Mix)’ is a trippy tour through subtle layered melodies, carried by a stripped-back groove.

On the B-side you will find ‘Positive Sister (2605 Tool)’: a chunky cut with a serious bassline. Saving the best for last, ‘You Will See’, rounds off the record in style. A feel-good tune that is sure to get plenty of spins this summer. HOT TIP!

Tartelet Records rounds out 2018 with ‘Minor Forms’ by Urulu, a bumping EP that winds up the label’s roster of ambitious releases to celebrate its tenth year in business. The California producer and DJ has made his mark this year with a string of standout releases on Kalahari Oyster Cult, Voyage Recordings and his own Amadeus imprint, showcasing his affection for euphoric nostalgia and tight grooves. Urulu stretches out with signature key changes and an elegant hustling tempo across four tracks, reflecting the diversity of touches and influences he has become known for. On ‘Minor Forms, he teases the straight and the breakbeat with elements of jungle, electro, ambient and old school, delivering a satisfyingly moody resonance amidst the dancefloor functionality. On title track ‘Minor Forms’, the sounds of the past and the future exist in the present. Reeling melody lines with hints of acid, dreamy pads and drops ensure that it all makes sense on the dancefloor.

‘Destino Tikal’ is all about the sensuous and mysterious ‘Cuerpo Pulsante’ mix, which suggests shimmering sex toy flickers and takes a percussive route across its insistent 4/4 bop, adding chops, keys and Vox for a big atmospheric strut of a groove. ‘DRM’ wraps deep and dubby minimal bleeps, rolling breaks and a straight kick into a louche swing and funk gloop, while EP-closer ‘Quasimidi’ starts with a breakbeat before the thump adds the backbone and the hi-hats speed up. Pads whirl and dubby chords underpin a high speed exit from 2018 into the future. Urulu follows Max Graef, Glenn Astro, Space Ghost and others in Tartelet’s 10th year, celebrating the label’s commitment to work across genres.

Copenhagen’s Tartelet continues its 10 th anniversary with another an EP in their Limited Edition Series. This one finds Glenn Astro serving up five exclusive tracks on the 12". The EP takes inspiration from Keith Haring’s celebrated Crack is Wack mural in New York, which was a reaction to the drug epidemic of the time. Only 250 copies will be released worldwide.

In a short space of time, Glenn Astro has cooked up his own unique musical world. He has released full-lengths on Ninja Tune alongside Max Graef, and recently on Apollo Rec, sister label of R&S, in conjunction with Hodini.

The opener ‘Crack Is Wack’ is a loose and live sounding jam with warm synth chords, alternating 808 drumpatterns and breaks. It has a celebratory feel as expressive keys and walking basslines take turns to take the lead and move things forwards. The feel good ‘Der Langweiler’ is a much slower and loveably lazy joint, incorporating a cosmic 808 drum groove mixed with arpeggiated Wurlizer chords and a grooving e-bassline sinking you deep into the late night groove.

On the flip and switching up the vibe again is ‘Der Maschine’, which has frazzled electronic synths next to wooden hits and a playfully distorted drum machine to make for something that brims and bristles with dance floor energy in inventive new ways.

‘Boring Times On Beleuse Five’ is a tripped out sci-fi track with percolating drums and heavenly chords. It’s sparse and dynamic but with a compelling rhythm. ‘Discomania’ is an exclusive and vinyl-only cover version of Piero Umiliani’s eponymous electronic disco classic, is a gorgeously spaced out disco instrumental with expressive keys, drums and percussion all adding up to something impossibly infectious.

This is another remarkable EP of effortlessly fused sounds, showcasing Glenn’s new steps exploring cosmic and electronically driven aesthetics.


Max Graef

Lo Siento Mucho Pero No Hablo Tu Idioma

Four years after his breakthrough, Max Graef returns to Tartelet Records with his second solo album. A dungeon dub symphony in four parts, "Lo Siento Mucho Pero No Hablo Tu Idioma" is an album's album. Brimming with new and old guests, interludes and bonus skits, it's a consummate sketchbook of Graef’s most unique music to date. 'Every bit of music or work represents the mood and skills of a certain period,' he says.

Where Graef's critically acclaimed debut LP "Rivers of the Red Planet" began an adventure away from the dancefloor, "No Hablo" wormholes into totally lateral territory. Not interested in repeating old tricks, No Hablo sees Graef on a playful joyride through a whole new crate of influences. Echoes of Japanese video game music bubble through the Zelda-channeling “Master Quest” and dreamy bonus level “Midi Break 1.” “Midi Lisa” and “Intershop” roll out mutant digi-reggae, while “Rush” and “Level Zero” dig deeper into bass and juke. The album also premieres music with Chrissley Benz, a Kazakhstani singer.

As Graef explains: 'No Hablo is a lot more intuitive with a lot less editing, raw arrangements, filled with experiments of strange instrumentation and rooms. I worked on it in a very unmusical way.' But the record isn't a universe apart from his previous output. Throwbacks to the tape-deck world of g-funk and 80s boogie are still present, as well as a few psychedelic jazz cuts. The record also sees the return of Graef's father and guitarist, Gerry Franke, plus long-time collaborators Funkycan and Ludwig.

A record of 20 tracks, it covers many bases. It's your favourite PPU cassette via Ocarina of Time and out through a progressive garage jam, all stitched together in the BBC Radiophonic Workshop. Somehow it all makes perfect sense and reaffirms Graef's natural-born ear for killer hooks and unique melodies. The album's title – "Lo Siento Mucho Pero No Hablo Tu Idioma" – is an elegant and simultaneously ironic way of apologising for not speaking one's language in Spanish. It's a fitting metaphor that speaks to Max's ability to skip effortlessly between musical dialects with style and grace. This album proves it more than ever.


Scorchio! Tartelet continue their hot streak with a frog-licking five tracker from Nu Guinea that's sure to lure you out of your gourd. The bizarre tribal rituals start immediately with the island-hopping afro cosmic swirl of "Bourgainvilles Live", a heady brew of clattering percussion, loose acid lines and wonky funk keys. As we canter into the first of two mixes of "Nu World" whatever mystic brew we've been supping kicks in big style and we find ourselves cartwheeling freely to a funk filled peaktime stomper. A brainfizzing fusion of the astral jazz-funk of Mandre, the sweltering house of Don Carlos and the nu-funk stylings of the Box Aus Holz crew, this vocal beauty should lift the dancefloor to cruising altitude. The flute mix scales things back a touch, stripping the groove down a little, ditching the vocals and pushing the organic tones of marimba and flute straight to the fore in a manner reminiscent of the Far East Recordings ouvre. The B2 boasts a delicious peculiarity which will undoubtedly please the boogie and disco brigade. "Exotica Dance Club" wobbles out the speakers like a lost collaboration between Herbie Hancock and Sakamoto, played and recorded by Sly and Robbie at Compass Point with Morgan Geist at the controls. Oh, and it has a very similar bassline to Syclops' "Where's Jason's K?" - pretty, pretty good. "Outro" cleanses the palate with an array of queasy synthlines and overpowering distortion, hinting at the ayahuaska hangover you're about to endure. Is it me or are these releases getting better?

B From E (Frej Garcia Levin) represents a new generation of talented young artists making waves in Copenhagen. Of Mexican-Danish descent, and born and raised in the notorious tower blocks of the south-western suburbs of Copenhagen, the 27-year old is on the rise and in high demand as the founder of boom bap rap group NATKAT, producer of pop outfit Ny Sensei (New Sensei) and head of tape-only label Buddahood. The multi-talent seems to have a hand in everything at the moment. His 2017 debut "Porno TR-XXX"(C.U.P) saw some of the hottest names in the game spinning B From E at last year’s Dekmantel festival, resulting in offers from several well-known record labels.

His new record on Tartelet Records comes as four cuts exploring different paths of the garage house sound. The opener "Dark Energy" is fueled by filthy breaks and a nostalgic theme that would not be out of place in an early Atari computer game. "The People (Dream Mix)" is a trippy tour through subtle layered melodies, carried by a stripped-back groove.

On the B-side you will find "Positive Sister (2605 Tool)": a chunky cut with a serious bassline. Saving a beast for last, "You Will See", rounds off the record in style with phat AF compression really kicking this one out the stacks. A feel good party starter with plenty of umph that is sure to get plenty of spins this summer. TIP! 



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