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Vinyl with a couple of light scuffs

In September 2012, Big Bait initiate the 2012/2013 Big-Bait-black-label-vinyl-series with a tremendous solo-ep from Scherbe, who recently got a lot of attention for his releases on Uncanny Valley and Reh Incarnation. His off-the-hook Slowhouse-beast “Me and my Mouse” is accompanied by twowide-ranging reinterpretations from “wonky wunderkind” Glenn Astro and label boss “shufflemaster” Peter Clamat himself, everything packed up in a completely redesigned, shimmering- handprinted cover artwork, designed by newest family member Marek Slipek!

Red vinyl.

It’s been a while since we last heard from Steve Summers, one of the many musical aliases of former Brooklyn and Berlin resident turned Chicago-based producer Jason Letkiewicz. When he last landed on proudly Chicagoan imprint Clear with the robust and unearthly “Artificial Light” EP, it was on the back of nine years spent building up Steve Summers as a purveyor of forthright club cuts that pushed at the limits of acceptability. That was 2017. In the three years since, Letkiewicz has prioritized projects that indulge different sides of his complex musical persona. There was the critically acclaimed, all-action Mutant Beat Dance “record album booklet” on Rush Hour – a collaboration with Melvin Oliphant III and Beau Wanzer – and then the EBM, electro and industrial-influenced grooves of Opposing Currents on Artificial Dance. 2018 also saw him release the sophomore set from his 1980s horror soundtrack-infused Death Commando project, while in 2019 Letkiewicz finally put out his first album under his given name – the picturesque new age and ambient movements of “The Reflecting Pool” on Into The Light. But that was then. Now Letkiewicz has finally donned the Steve Summers pseudonym again for a return to Clear that’s defiantly intense and otherworldly in tone, “Counter-Factuals” is powered primarily by the kind of psychedelic acid lines and thrusting machine drums that have long been a hallmark of Chicago house. This is no nostalgia-fest though, with Letkiewicz’s take on “acid” being more abstract and unorthodox than the music of his predecessors. Proof of this analysis arrives straight away, with EP opener “Counter- Factuals” ratcheting up the intensity through waves of hallucinatory acid lines, blunted electronics, druggy male vocal samples and clanking machine beats. Letkiewicz takes similar sonic approach on “People Watching”, whose full-throttle approach cuts a path through jacking acid house, surging EBM and the more dystopian aspects of 1980s industrial music. Over on side B, Letkiewicz combines all of these sounds and inspirations on a cut that pivots around the twin attractions of trance-inducing acid lines and hypnotic analogue beats. Clocking in at a fraction less than nine minutes, the track surges forward relentlessly on a tornado of off-key electronics, fizzing Tb-303 acid lines and barely audible speech snippets. It seems a fitting conclusion to one of Letkiewicz’s most impactful releases to date.

vinyl is Close to VG+

Cover is close to NM.

Vinyl closer to NM

very close to NM

Vinyl with a couple of light scuffs

Sōgi explores death and Japanese funerary rites from an anthropological point of view. This work reflects a contrast between modern and traditional ideas. It is comprised of four different acts: 1. Seppukku Routes the listener’s heart into the last minutes of the mind of a lost person, with no hope, sank in a sea of modern worries and low self-esteem. The piece is a tunnel of anxiety and desperation that ends in a traditional form of suicide. This act should be listened to from a first person perspective. 2. Sōgi Routes the listener’s mind into the funeral rite of the person who committed suicide. Minimal, contemplative and meditative tendencies. The prayers are full of shame and stupefaction after discovering the corpse. The other people cannot explain reasons of why he put an end to his life. This act should be listened to from a third person perspective. 3. Kasō Routes the listener’s body into the deceased’s soul during the cremation process. The sensation of being trapped inside the coffin, entering the furnace, full of culpability and rage about all those who feel shame, disappearing from the physical world. This act should be listened to from a first person perspective. 4. Onryō Routes the listener’s soul into another metaphysical plane. The purgatory itself as an entity, expels the vengeful soul of the deceased person, who blinded by grief, is coming back to a place between the physical and the astral plane. This act is influenced by the sounds and sensations that can be listened to, experienced and felt during an astral projection, when the person is traveling through different planes of reality.

With an uncompromising focus on House and Techno, Eye Shadow is a label set up to showcase artists with a link to the North East of England. Run by The Cleer Consortium, the label aims to bring a spotlight over Newcastle Upon Tyne and the surrounding postcodes of Middlesbrough to Sunderland and beyond.
The Cleer Consortium met through the Cleer club nights, which inspired the collective to start a label and collaborate in the studio. Consisting of Suade, Clarke Sawkill, William Welt, and Binni, the four each bring something different to the table.

single sided

Dedication with autopgraph on cover. White labels

It has been almost a year since the release of Marco Faraone's first album "I WILL WAIT", which came out on Etruria Beat. It was presented in June 2013 at the Panorama Bar, Berlin and got supported by important national and international DJ's/producers , such as Laurent Garnier , who are considered as icons of the electronic music world. After this excellent result, we decided to release some remixes of the most requested and popular tracks of the album, but for such an experimental album, we chose very special remixers to surprise the audience.

It’s time for the label founders to take control over our spaceship. Clusterhead offers four slices of proper abstract techno for those who know. Release starts with Alteración del orden: a broken kick spiced with elastic synth washes and microdrones sets the pace while the rest of the percussive elements appear softly in the arrangement. The main sequence grows and mutates as minutes go by, reverb and stereo treatment goes heavier until repetition makes the desired effect on the virtual dancefloor. Second cut Resiliencia Incesante again relies on broken kicks and processed synth lines. The BPM rate is higher here and the percussive elements are snapper and tighter. Sounds twist and change over time as the frequency range grows. An industrial ode to obscurity. On the flip side, Automutilación creativa brings us again into oblivion, shuffled grooves obsessive sequences continuously moving and high pitched synthetic drums running through the stereo field. Closing the release we have Notzing on board, still recovering from his amazing experimental work on our label, we give him again the commands of our spaceship to translate his mental obsessions in this superb rework of Automutilación creativa. One more time we push the sound boundaries on behalf of timeless futuristic music in touchable format.

It’s not so easy to pigeonhole de:pot’s musical style: deep, groovy, smoky and pending somewhere between Akufen, Krause Duo and Cypress Hill. With his vinyl-debut For Sophisticated Helmsmen, the Analog-Studio-Punk from the provincial backcountry of eastern Germany now delivers a proper dope-house masterpiece, fairly dragging the anxious legs of any foggy dancefloor. bigbait012 – that’s five tracks, five statements, five unmistakably groovy and well-hung slices of contemporary house-music, giving the listener the opportunity to get a hint of what crazy and freaked-out experiments de:pot has figured out in his mind – highly contaminated dancefloor drugs for shuffle addicts!

Price tag.

Excellent fresh House mastery by Chicago's legend.

After the first appearance on our Elements 02, and some massive releases around the world, we are happy to present you Deep Dimension debut ep. Two powerful tracks inspired from 90s rave sound. To complete the pack we have 2 strong remixes from 2 artists who need no introduction, Rekids’s man Radio Slave and our label boss Luca Agnelli.

Etruria is ready to launch its new “Astral series", a new output of exploring the deeper shades of techno, new languages, new horizons. debuting the series is the young french “Blicz” who brings a fresh take of modern techno with a 3 tracks ep. “Terraforma” leads the EP with raw, ravy and percussive beats, reflecting Blicz vision of extreme techno, while “greet earthlings” break beating the flip of the ep with an hip hop influence rhythmic, with an old school rave synth taking back to basics. “New hope ” closing the ep in a softer sentimental way of deep and percussive touches on a heavy low ends.