Tartelet Vinyl, CD & Tape 33 Items

With his roots in Assam, northeast India, and his hustle now based in Brooklyn, the psychedelic soul-savant known as jitwam will officially drop his second album on the Copenhagen-based label Tartelet Records in May 2019. To mark its release, a music video to the album's opener "busstop" was shot in the exhilarating city of Mumbai across three days. HONEYCOMB hits the sweet spot between jitwam's work in dance music and efforts as a bandleader, connecting people instudio and on-stage. The record encapsulates his diverse upbringing in India and Australia, before living in monasteries in Thailand, orphanages in South Africa, and finally the US, where he currently resides. On jitwam's journey, he's worn several musical faces that all highlight soulful sounds within the world of psychedelic indie rock, the hip-hop realm, and underground house music These sounds and musical identities are apparent in his 12-track album of broken microphone blues, heartfelt vocals, and smooth assorted instrumentation. It follows jitwam's well-received EPs on his own imprint, The Jazz Diaries, which secured him a spot on Moodymann's DJ Kicks compilation.

The album is best described as jazzy ambient - very mellow and meditative stuff.. It will be released on a limited edition vinyl (150 copies) and will only be available in select shops.

Taking his cue from seminal mix albums of days gone by, Glenn Astro is back with a compilation of original productions from a cast of fictional artists on Nothing Is Real. Across 13 tracks, the Tartelet mainstay celebrates the thrill of discovery which came as standard listening to new entries in series’ like X-Mix and DJ Kicks, moving between head-nodding downtempo, ambient techno, broken beat and all manner of chill-out room delights. You might be left wishing artists such as DJ 1999, Mental Trance and Eye Soul8r had actual discographies to go and explore, but as Astro himself is keen to point out, “nothing is real.”

Astro has never been shy to embrace classic tropes and tones in his past albums for Tartelet, Apollo and Ninja Tune, but he’s drawing on a different set of influences for this album and embracing the flexibility afforded by using imagined aliases for varied production styles.

“I had the idea to do a mixtape, preferably with unknown dance tracks that also reflect that whole 90s/early 00s vibe,” Astro explains. “Instead of digging for some records that haven’t been sourced yet or trying to find those ‘forgotten’ treasures, I made the tracks myself. That way I had full control over BPMs, feel and the whole arrangement of tracks. I thought of a few alter egos and started producing the tracks in the order that I intended to play them in a mix. In the end a whole compilation of tracks emerged.”

While the concept might suggest you’re going to hear a lot of over- familiar sounds, don’t be fooled. Astro is inspired and inquisitive, channeling the experimental spirit of the 90s and early 00s when electronic music was still continually being redefined in all kinds of micro-scenes. In many cases, Astro’s productions slip into the cracks between genres rather than specifically mimicking a style.

Even if the reference points are detectable, the end result is a curious blend as indebted to ambiguity as the overall concept of the compilation. Like the spine-tingling sensation of hitting play and awaiting the waves of unknown sonics on one of those seminal mixes, you never know exactly what you’re going to get as you take the trip through Nothing Is Real.

5 exclusive remixes by Central, Jarren, Dirk 81, Nelson of the East and Space Ghost himself (yes he’s remixing his own track ;)

Introducing Abunai - multiinstrumentalist and singer from Oakland, California Dreamy, psychedelic, electronic soul featuring co-productions by Max Graef and Glenn Astro Early support from Gilles Peterson and Don Letts,

Kenton Slash Demon return to Tartelet Records with Zstring + remixes by Urulu and Kasper Marott + 12’ comes in vintage Tartelet sleeves circa 2009-2010. Limited Edition 400 copies. It’s been ten years since Kenton Slash Demon landed on Tartelet with their debut EP Khattabi followed by the much-celebrated The Schwarzschild Trilogy singles - Sun, Matter and Daemon all released 2009–2011.Ten years have passed since our first release on Tartelet and with this record it feels like we’ve gone full circle. It’s a beautiful thing.”
Zstring marks their return to Tartelet – but it’s also a precursor for things to come within the next year. With talks of a full-length album, the KSD project is now being given the attention it deserves.
Kenton Slash Demon have always had an affinity for uplifting melancholic tunes – and Zstring cements their ability to create just that. The track oozes with dance-floor euphoria, offering up a distorted arpeggio bassline, lush pads and layered melodies, all built around a tight and ever- changing groove. There are clear references to Italo disco, early techno and trance, but it’s hard to pin down the exact style – if that even matters.
On remix duties, man of the moment and label collaborator, Urulu, delivers a fresh take in his signature early 90s style, while local hero and close friend Kasper Marott of Monkeytown fame comes through with an obscure melodic techno workout of the finest sorts.
To further advance the concept of “full circle,” the 12’ comes in vintage Tartelet sleeves circa 2009-2010, salvaged from three different releases – which have been in storage since being produced.
Zstring will be available April 12 th 2019 on vinyl and April 26th on all digital platforms.

Copenhagen’s Tartelet is returning to their roots with a dancefloor-focused EP, Pizza Trance, from Dirk 81—a.k.a label head Emil M. Nyholm. Having previously dropped a slew of tracks as Muff Deep and CTEPEO ‘57 (with Max Graef), the DJ and producer is blessing the universe with three cuts of dancefloor heaven under a new moniker lifted from his days tagging concrete walls in the 90s. Influences draw everywhere from disco, to African hi-life, dub, Underworld, a few old trance records, and timeless house music.
Recorded over a year in Berlin and Copenhagen, the record kicks off with “M.F.C”, a disco-afro-house hybrid oozing with Roland Jupiter 6 keys and some funky drums processed on old equipment from the former USSR. The B-side spreads things deep and delicious with “Pizza Trance (Main Mix),” a euphoric serving of sounds that substitutes pepperonis and pineapples for glittering sequencers and a bangin’ bass drum.
The EP’s closer tastes like a bit of both, mixing up some more acid sounds into the recipe for a retro-sounding house track. It’s another tasty delight from the label that will fulfil any and all late-night cravings, especially if you fiend for Neapolitan pizza.. Leave room for seconds.

Danish producer Uffe Christensen returns to Tartelet Records with his second LP 'No!', a deeply personal LP to follow 2015's unanimously unfuckwithable debut 'Radio Days'. Every bit as abundant as his first, it's a record that scales polyrhythmic percussion, improvised jazz, & billowing ballads.

Kickflip Mike (Joschka Seibt) is back with 'Three Turtles' - a collaborative EP on Tartlet Records with Berlin bass maestro, Julius Conrad.
While Julius seems like a new addition to camp Tartelet, he's been in the extended family for years. The son of Jazz bass legend Jurgen Attig and childhood homies with Max & Kickflip, he's existed in the crew's inner circle since day dot.

What you get on Kickflip Mike and Julius Conrad's new record is a medley of gritty drum distortion, frenetic bass guitar-work and (as ever) a dumptruck of a groove.
As richly diverse as most on the Tartelet roster, it's a record that dabbles variously in analogue house, beat-led instrumentals & elements of breakbeat & garage - it's all here.

First out the traps is title track 'Three Turtles', a kick-heavy club jam overwritten with Julius' warm warbling basslines and wah-wah guitar.
After snaking through 'BBQ Skit', a wonky beat-erlude in the Madlib vein, the record winds into 'Some Joint', a wandering house workout with tons of virtuosity from Conrad's axe.
The EP closes on 'Voodoo Dude': a wonderfully deep finale snapped through with choppy breaks and fuzzy samples.

Taken from top to bottom, 'Three Turtles' is a record that shrugs off the limitations of 'club music' loose and playful enough to reflect Kickflip & Conrad's colourful lives outside the club, as well as inside.

Glenn Astro leans into the twilight months of 2024 with a new album from his Delta Rain Dance project. Divining fourth world sensibilities from his restlessly curious studio workflow, Astro weaves a mesmerising tapestry of sound on Music For Autumn which treads the line between horizontal meditation and head- nodding, backroom-ready groove.

Amongst his constellation of myriad aliases, Delta Rain Dance spells out the inspiration Astro takes from fourth world pioneer Jon Hassell. The project first surfaced with a string of tapes, LPs and digital releases around 2018, all carried on a label of the same name to keep Delta Rain Dance enclosed in its own space independent of Astro's many other musical endeavours.

"I’m really into the world building aspect in science fiction and fantasy," says Astro. "This is my way of creating worlds and spaces that co-exist next to each other. Sometimes they collide but mostly they exist peacefully next to each other or pursue some form of cultural exchange by collaborating with each other."

There's a strong sense of balance and cohesion throughout Music For Autumn, as organic percussion and instrumentation wraps around delicate synthesis and patient drum machine pulses so naturally it's hard to spot the joins. The sound has plenty of room to stretch out, from the mantra-like chimes and rattles of the album opener 'Green Light Fade' to the luxury funk of 'Mmmh, Nice' (featuring fellow Tartelet alumni Nelson of the East). At times the electronic elements seem to entirely dissolve, not least behind the loping strings and tumbledown percussion of 'Second Sleep', while achingly beautiful closer 'Plucked' centres on the fluttering movement and expression Astro elicits from his modular setup.

True to the project's influences, a consistent ambiguous mood lingers in the air over Music For Autumn somewhere between far- flung mystery and comforting familiarity, reliably calm but equally contemplative. It's an odyssey of serenity with enough nuance to make you really think, perfect for the days getting shorter, leaves crunching underfoot and the last fading rays of warmth from the sun.

Max Graef, the trailblazing German producer is back, this time applying his sparkling flair and infectious appeal to the widescreen spectrum of psychedelic, starry-eyed jams of his third album, comfortably nestled into a bean bag in the backroom. Natural Element coincides with the 10th anniversary of his revered debut LP Rivers of the Red Planet, which remains a cherished high watermark for label and artist alike.

Tartelet Records is thrilled to present the debut album from Doc Sleep – 10 tracks of exquisitely rendered melodies and rhythms shaped with grit and beauty in equal measure. Birds (in my mind anyway) is a widescreen vision of electronica as a medium to express your personal situation and respond to your environment – a rave adjacent art form free from the perceived rules of the dancefloor. To date, Melissa Maristuen known as Doc Sleep has established herself in the context of the club – first engaging with the culture in San Francisco before moving to Berlin. She helps run the Room 4 Resistance party, DJs on Refuge Worldwide, co- owns the Jacktone label and has released on Detour, Dark Entries and her own label. But in making Birds (in my mind anyway) she set herself an ultimatum.

“At the time of recording this album, my life, all my routines and priorities had to change – music was no exception. I decided if I couldn't be happy making an album free of the dancefloor, I was finally going to be done with music. Instead, I found a musical voice free of tempo and textural restriction. Eventually, I had a sound, and once I had the sound, the album came pretty quickly. It was a very different process writing music for no one...except myself.”

If the impression given is one of a consistent style across the album, think again. Doc Sleep moves freely between tempos and themes, even if there are some recurring qualities binding the music together. She weaves fluttering arps with poise, lending them an almost choral quality which gives the album a very human touch. But they’re equally emotionally ambiguous or pockmarked with sonic interference – reflections of the collisions and conflicts that typify the human experience.

Every inch of the album is a personal touch – the title was pulled from Doc Sleep’s mother’s response to hearing the album, while her friend Kiernan Laveaux offered a beautiful text which appears on the back. Those closest to her all fed into the artwork process, which captures the curious dichotomy between urban brutalism and botanical finery often found in the parks of Berlin – a vital place of respite when she was making the album.

Zopelar arrives on Tartelet with Charme - an album of effervescent machine funk harking back to a golden era of Brazilian party music, releasing October 21st.

The era of interest for Sao Paulo’s Pedro Zopelar begins in the 1980s in Rio de Janeiro, when a particular phenomenon caught on at suburban parties which became known as Charme. “Charme was like a mix of slow boogie, RnB and new jack swing,” explains Zopelar. “DJ Corello started calling ‘charme’ the moment of the party when he played slow grooves and felt that the people started dancing differently, with sexier synchronized moves. Some years later, charme evolved from an awaited moment of a night to a whole movement of parties just playing that kind of music. On this record I tried to make something that brings this emotional feeling to my music in a modern way.”

Much like the original genre-not-genre he drew inspiration from, Zopelar’s approach across his latest LP spans different moods and tempos. There’s blissful, sultry mystery lingering around ‘Clara’ and ‘Do You Feel?’ while Osagie lends some chops to the exquisite, Rompler-powered synth funk of ‘Chain Net’. The lead singles ‘Shibuya’, ‘Charme’ and ‘Passado’ all tap into varying shades of deep house, from slinky City Pop-tinted loungers to peak-time dance pop and Larry Heard-influenced flavours, with the constant being Zopelar’s immaculate production and the unbridled warmth of his compositions.

Continuing the Latin-rooted theme of the album, the artworkconception of Charme was realized by multidisciplinary artist and curator Ode, showcasing a popular style of street paintings made by anonymous artists throughout Latin America. It’s not about graffiti-culture but a popular solution utilized by small restaurants, bars and other establishments to use their own walls for commercial purposes, hiring artists to paint food and drink menus or other information about their products.

With an emotional sincerity stemming from his move to reconnect with the Brazilian dimension of his creative background, Charme arrives as Zopelar’s heartfelt celebration of life and music, of sentimental moments shared and good times enjoyed.

Tapping into the seductive unease of the unexplained, Modula lands on Tartelet Archives with Paranormal Phenomena – The Icelandic Expedition, a nine-track album that evokes alien synth-electro and New Age soundscapes. During a trip to Iceland in February 2020, Naples native Filippo Colonna Romano (Modula) experienced the raw power of the island’s otherworldly natural forces. Inspired by his field recordings and a rekindled interest in sci-fi, Paranormal Phenomena – The Icelandic Expedition was born. Steeped in haunting LA synthesis and cinematic tension, the album is an imagined soundtrack to a supernatural thriller, cast in the icy tones of the Roland Jd-800. “When I went to Iceland I was so excited about the ambience and sounds,” says Modula. “I felt everything was stronger than normal; the wind was brutal, the waves fast and noisy. I came to the conclusion that what I had captured all sounded strangely eerie and otherworldly. I decided to compose music that had the same vibe as the field recordings – cold and strange, mysterious and alien.” The album includes nine tracks each representing a scene in the “movie” ranging from alien synth-electro to New Age ambient moods and soundscapes, inviting the listener on a journey through cold landscapes and into the caves where unknown creatures lurk in the shadows. Paranormal Phenomena leads logically on from Modula’s previous work for Bordello A Parigi and Firecracker, not to mention his Alba – Tempesta – Notturno EP on Tartelet Records which drew on field recordings from the jungles of South America. Merging extreme environments with a rich palette of classic outboard gear, Modula’s music transports listeners through space and time. Given the heavy motion-picture theme present in Paranormal Phenomena – The Icelandic Expedition, the album is a fitting release to inaugurate Tartelet Archives, a new sub-label to Tartelet Records focusing on electronic obscurities and sounds from the past. The first single ‘Diamond Beach’ will be out February 16th on all digital platforms. Paranormal Phenomena – The Icelandic Expedition will be out on vinyl and digital March 18th.

Five years after his critically acclaimed debut album Throwback, Glenn Astro returns with his deeply personal album Homespun. Marking a change in course from his first release on Tartelet Records, Glenn Astro is set to showcase his sophomore album Homespun, a testament to a visionary artist who has come into his own. Made up of ten tracks spanning 45 minutes, the record twists and turns between electronic meditations, soulful vocals by Ajnascnet, and futuristic electro, carving out a world of spacey eclecticism that is as nostalgic as it is experimental. “This album is in all facets different from the first one, which was a deliberate decision. No vintage sounds and references, no sampling, combined with futuristic sound design and song structures.I tried to keep it as current and intuitive as possible,” he says. Known for his chunky beats and fuzzy textures, Glenn Astro has released on labels such as Ninja Tune and Apollo, leaving a distinctive signature on everything he touches. But Glenn Astro has quietly been crafting a new sound for himself. Sometimes taking detours – morphing into his dark alter ego and experimenting with artist collaborations. The sound of Homespun is a culmination of several years of reflection and artistic development – however, the album itself was produced in less than three months. “I set myself an ultimatum to finish the album within three months. If I didn’t make it, I’d have to rethink my career path and keep music as a hobby, he says. On the introspective first single and album title track “Homespun,” Ajnascent’s vocals lend a sincerity to the melancholic production. “It’s about the regret of not taking chances and giving in too much, but also about taking responsibility and being honest with yourself. Homespun is a nod to nostalgia and a desire for simplicity and prudence, being equally the culprit and the cure,” elaborates Ajnascent. On “The Yancey,” an homage to J Dilla, Glenn Astro paints his vision of contemporary dance music with shimmering melodies, deep ambient soundscapes, and advanced drum programming. “Moreira” and “Look at You” feel like spaced-out electronic funk hybrids, while “Taking Care of Business” goes back to the future with Glenn Astro’s take on jungle. Other tracks such as “Mezzanine,” “Slow Poke Flange,” and “Viktor’s Meditation” provide the finest dubby electronics.

Embarking on a journey from Italy to Anatolia and from Africa to the Americas, Nelson of the East soars over imagined landscapes in his debut, motion picture- inspired album, Kybele. Plug in your headphones, drown out the world, and set
out on a mystic voyage of Earth through the lens of Kybele, the Anatolian goddess of wild nature.
With the world in flux and isolation taking its toll, musical escapism has become a much needed pastime for today’s armchair adventurers. Treating recorded sound as a vehicle of time travel, Milanese artist Nelson of the East (N.O.T.E) takes listeners on a journey through kaleidoscopic soundscapes with his debut album Kybele released on Tartelet Records.
Skillfully weaving the sounds of East and West, the nine-track LP fuses Turkish and cosmic influences with a strong electronic backbone into an otherworldly soundtrack of our time.
“The feeling that passes through the record isn’t straight. It changes, it turns, it is never predictable. Never being able to predict which landscape you arrive at next or where the music is taking you is key to enjoying the sound journey,” says Nelson. “
Named Kybele after the Anatolian goddess of nature, fertility, mountains, and wild animals, the record is a continuous saga that takes from the Berlin-based artist’s own adventurous spirit. Following his previous EP releases Night Frames and Phase Alternating Lines, Nelson explores new territories on Kybele.
The album opener, “Explorer,” is an exhilarating build up to what could be a 80s sci-fi movie, showcasing Nelson’s knack for cinematic moods. “Draw Me,” speaks to the artist’s intention of making a “snare album,” with an irregular, dominating beat untethering it from time or boundaries. “What I realize while I was writing the rhythm part is that the more you keep a beat simple the more difficult it becomes to make it interesting. So I just put down some rules to follow. For example, using swing as smoothly as possible, or using lot of syncopated sequence over the straight 2-4 groove,” says Nicolas.
Another thing Nelson achieves in this album is ambience, or the “motion picture touch” as he calls it. Tracks like the wild and obscure Culto, with its Anatolian nuances and middle eastern-sounding scales are made by layering synths to achieve an orchestral effect.
Other tracks capture the musician’s penchant for African and Brazilian grooves, like the Saudade mix of Burning Palm. On the B side, the Italo-flavored Phase Lines comes through with shimmering synth and electronic drums complete with hazy vocals delivered by DJ Rayne and Nelson himself. Yahuda dives into dark, melancholic electro with a Detroit feel not far from the sounds of the great Drexciya.
The album closes with ZETA, a track that could easily double as an obscure cinematic composition. The nine-track LP is strictly limited to 300 copies, pressed on 180g vinyl with artwork by The Emperor of Antarctica. No repress.

Glenn Astro conquers new territories with Naturals, fusing elements of Balearic and leftfield house with tribal and acid sounds on Tartelet Records.

The illusive Nelson of the East reappears with his forthcoming EP Phase Alternating Lines – a first class two-tracker.
The Swiss-born, Milanese artist released his first EP Night Frames just last year, making a strong entrance on Tartelet Records. This time around, N.O.T.E explores 80s electro boogie with ‘Phase Alternating Lines’ on the A side, and delivers his very own take on obscure tribal house with “Burning Palm” on the B side.
N.O.T.E is young, thirsty, and dead serious about his music. His admirable work ethic shows off not only in his own releases but also in his collaborations with other artists. In the past year alone, he has produced for Wayne Snow and several others that are keeping their work under wraps – while simultaneously creating music as N.O.T.E and under his Verner moniker. All the hard work seems to be paying off on this new 12’, where he comes through with two outstanding dance-floor bombshells.
If you’re into the 80s, Beverly Hills Cop, or just sad that you missed out on Studio 54, you’re going to love EP opener, “Phase Alternating Lines”. It’s got it all: hot drum programming, an electric boogie bassline and a cheeky melody that sticks. “Burning Palm” takes us into obscure tribal-meets-afro-house territory, utilizing percussion, synth marimba and hypnotic melodies – all held together in a tight, driving groove. This track is exotic at its root and perfect for any late night outdoor activity. Both tracks come as extended edits for the vinyl release.
This is a limited-edition release of 400 copies, written and produced by N.O.T.E, arranged by N.O.T.E in close collaboration with Tartelet Records’ label head Dirk 81 and mixed at Panalama Studios in Copenhagen on the Neve 5088 Shelford console for good measure.

Test pressing. Record has a few scuffs and hairlines, close to VG+. Comes in Test-pressing inner sleeves.

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.

After a five-year hiatus, Tartelet mainstay James Braun returns with the EP Tearjerker, announcing his debut album for 2018.

JB (James Braun) has been part of the label since its conception in 2007 and has contributed immensely to its development. Over the years, his sound has continuously morphed – from cheeky tech house, to emotional Detroit-inspired house escapades – always reflecting his originality and worthy musicianship.

The Tearjerker EP is a testament to JB’s musical journey. Rooted in classic U.S. house and techno, the EP delivers elaborate melodies not found in earlier productions. The tracks were all produced at the newly opened Panalama Studio in Copenhagen, which JB runs alongside Lasse Walentin.

Uffe delivers a 5 track EP including two remixes that set the standard for a promising career. His debut EP on Pets Recordings (Catz n Dogs) earlier this year created quite a bit of hype and the track “When The Sun Rose” appeared in various high profile DJ charts and Podcasts. On a global dance music scene where genre tags seem increasingly irrelevant and everyone seems occupied with evading them by chasing ‘eclectisism’, the sound of Amsterdam-based up-and coming producer Uffe Christensen AKA Uffe is that rare thing; a listening experience, which it would only be fair to call a breath of fresh air.

Test pressing

Cover with bumped corner. Vinyl with scuffs and hairlines

Handstamped white label and cover.

In a flurry of madcap sampling pitched towards the heat of the night, Pedro Zopelar builds on the premise of his 2022 electro- funk love letter Charme, shifting his approach towards a particular

90s flair and a method with a specific end result. Ritmo Freak took root in studio experiments for a momentous — and rare — live set at São Paulo festival Não Existe in 2023, where Zopelar was caught up in one of those right-place, right- time moments we carry with us through life. As he explains himself: “This album is dedicated to freaky club culture. While I was playing at the festival there was a crazy tropical storm outside and the room was packed with the freakiest crowd. I’ve tried hard to immortalize that feeling on this record.” With the intended energy in mind, Zopelar focused on a particular mode of production centred around 12-bit sampling from his ample record collection. Considering his background as a trained pianist, here his musical instincts are forced to work within the limitations of short, snappy cuts from dusty 12”s. The lo-fi sound sources and the resourceful ways Zopelar works them gives the record an unmistakable old-skool flavour which he applies to forthright house, techno and electro funk rhythms, always taking care to draw out the soul of the music.

The stylistic touchstones flow past thick and fast on Ritmo Freak. From the amped up fierceness of the title track with its gaudy, cut n’ paste, vintage techno flavour to the effervescent electro funk of ‘Gabriellinha’s Boogie’ on to the surreal Balearic inversion of ‘Distraction’, this is a high-velocity, endlessly charming record bursting with the musicality Zopelar has made his name on. As the driving force behind many warehouse parties in São Paulo,

Zopelar has been immersed in club culture for a long time, and his distinctive catalogue of jazz, funk, acid and techno has graced highly respected labels like Apron, Selva Discos and Mother Tongue. Throughout, he’s displayed an affinity for the tangled roots of the groove with an open-eared, big-hearted sound. That’s what comes through on Ritmo Freak