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Jetaime, staying true to our name, drop yet another large helping of sensual beats, with Volume 2 of our 'Love Session' series.

After 4 years of putting out various hit releases via Thema, the mother ship, its first sub-label or satellite has come to be. We are proud to announce SPACIAL! It will consist of various remix projects, outtakes and B-sides from the parent and digital labels this new realm will function as a showcase for some of the more esoteric creations from our ever expanding roster of artists.

ekkohaus aka kostas tassopoulos is a greece born and now berlin based producer.
he has released from various label like a 20:20 vision, cargo edition, morris/audio and more.

Der Ausnahmeproduzent Flying Lotus legt nach seinem vielbeachteten Debutalbum "Los Angeles" den Nachfolger vor! Auf "Cosmogramma" weitet er das Spektrum der integrierten Stile in Richtung Space-Jazz aus und lädt ein zu einem kosmischen Trip voller unendlicher Liebe und Begeisterung für Musik in all ihren Variationen.

New Sampler#25 on Robsoul Limited with Joss Moog, PS Project & more Jackin !

In this release, the hamburg duo, shows perfectly how deep driving house should be done.

Enigmatic producer Ka§par delivers 6 tracks which vary from punchy electronics to breezy house

New Sampler on Robsoul Ltd with Jackin modern house. Kenny Fitz delivery new track with piano saple & classic voice used by Armandon on Radikal Fear. This sampler annonce new DJ Wild EP on Robsoul ..the catwash boy back with modern house for fans of Oslo, Moon Harbour & more. Oscar Miranda (Minority Music) give on this #Sampkler a Chicago modern influence !

2024 Repress

Hurray! PROFAN is back from the future to complicate things again. But let's have a look back in the past: in the mid-1990s, Wolfgang Voigt, under his innumerable aliases (M:I:5, Digital, Grungerman, Wasserman …), unsettled the minimal world and its straight grooves with his right-at-the-threshold-of-pain abstract techno. As a DJ, you sometimes even thought that the vinyl was scratched. "Distort the listening habits until they break up" has always been the leitmotiv of this exceptional artist from Cologne. In 2000 however, after having created another promising trademark: WASSERMANN - W.I.R. that - in spite of or because of its unconventional structure (abstract beat, German vocals) - ranked among the number one hits in any important club and DJ charts and which was even remixed by Sven Väth, Wolfgang Voigt decided to discontinue the label for a while. PROFAN produced two sublabels each devoted to the refinement of specific minimal variants: STUDIO 1 and FREILAND. FREILAND in particular was and still is one of Voigt's projects that manifests his artistic and deconstrucivist approach to the aesthetics of techno beats. FREILAND's concept is radical: the only reference to techno is the bass drum and a sound reduced to the utmost that is moving around it. No wonder that now, eight years after the last PROFAN release, Wolfgang Voigt is back under his alias FREILAND. With KLAVIERMUSIK (piano music), Voigt continues his way towards atonality and electronic art music. The straight bass drum still is the only pulsatile instrument and sometimes it is not even that. WOLFGANG VOIGT / FREILAND - KLAVIERMUSIK is radical, puristic, uncompromising, elegiac, difficult, defiant, true and absolutely necessary. The record, including artcover designed by Wolfgang Voigt is strictly limited.. Greed sucks.

Awesome hardcore to industrial hardcore sampler on WISHCRAFT RECORDS! Headliner of this phat 12" is the A1 track DIRTY DANCE WHORES by DJ PARTYRAISER & SCRAPEFACE which is already featured on the new THUNDERDOME 2006 compilation and gets hammered by loads of top djs like TIEUM, PARTYRAISER, DARKCONTROLLER, LENNY DEE and many more!

wieder bester pokerflat-yesxy-deephouse-style mit drei neuen finischen produzenten

2023 Repress

FKY back to creation with 4 tunes from september 2013, azll anologik, without computer. All 4 tunes choosed between various versions and all 4 tunes 160 BPM exactly. Cut and mastered by Shane The Cutter... Well... A-class sound baby !

PS : ça c'est du nom de morceau ^^

Returning with another debut release, Second Circle's eighth record to date comes this time from young Viennese musician Giuseppe Leonardi. Performed on an array of synthesizers and experimenting with spoken word and vocals from various local singers, Giuseppe's 'TBC' EP take us on a dance through the catacombs and out through the jungle floor with ritualistic rhythm and haunting song... Whilst at other moments Giuseppe's horizontal ambient pieces leave us gazing out on the shores of a distant half-remembered planet.

Three releases deep now, Shadow Play transports us back to the nineties with this extra special collection of music from UK wizard Scott Edward. The Bristolian producer dropped a killer series of tracks from 1993 onwards, using a variety of aliases to explore the realms of the techno universe. It's an honour for Shadow Play to be able to rerelease one of Scott's classics, 'Access Activist', alongside three previously unreleased cuts from the same era. We hope you enjoy these classic examples of British underground techno...On the A-side it's the Scott Edward alias that handles matters, going straight in with the title track 'Access Activist', a mesmerising journey into analogue hyperspace. His flair for composition and arrangement really comes through on this opening track, and leads us nicely into 'All Is Lost', a nifty slice of paranoid techno with a jittery rhythm and a pervasive air of mystery.On the flip Scott's Ultra-Modern Art moniker is at the controls and the change in style is immediately apparent. Gone is the cosmic atmosphere and in its place is a funky, jazzy retro sound. The old equipment gives every sound its authentic identity, which filters through to the final track 'Brave New World' - a jaunty number, which uses acid licks, an optimistic b-line and sweet percussion to provide a delightful end to the project.

Returning with another debut release, Second Circle's eighth record to date comes this time from young Viennese musician Giuseppe Leonardi. Performed on an array of synthesizers and experimenting with spoken word and vocals from various local singers; Giuseppe's 'TBC' EP take us on a dance through the catacombs and out through the jungle floor with ritualistic rhythm and haunting song... Whilst at other moments Giuseppe's horizontal ambient pieces leave us gazing out on the shores of a distant half-remembered planet.

Hui Terra. The dreamlike shape of the half-heard word, abstracts with faint impressions of bucolic landscape, or handfuls of translucent and brightly-colored gemstones that hold odd, elusive, asymmetrical form. This enchanting, gently surreal debut album from Alex Cobb's Etelin project explores the power and playfulness of impulsive action diffused through electro-acoustic and ambient sound.

This music was created with digital synthesizers and a sampler in the four months immediately following the birth of his first child, a hazy period marked by a lack of regular sleep and a diet of INA-GRM, Nuno Canavarro's "Plux Quba", and Microstoria's "Init Ding" - records that appeared to produce both stimulating and soothing effects on a newborn's nascent consciousness. Recorded and arranged at all hours, this is an album that reflects on moments of tumult and fragility. Cobb sews small sharpnesses and surprises into its movements to uncover different aspects of each sound source, doubling as hypnic starts cast to advance and variate the narrative in subtle and unexpected ways. Sound and atmosphere manifest in eccentric, alchemical fashion, as though forming in processes of sublimation - solids dissipating into vapor - and deposition - clouds resolving and dropping to the ground in piles - to an obscure and domestic rhythm. There's the purveying sense of moving within the boundaries of small, hermetic ecosystem. This is underscored and doused by a slow, blooming sense of warmth; growing joy without bombast. Even the more startling textures conceal this same truth and emphasis, such as the alien, sour salt-butter electronic babble in "Little Rig", largely sampled from Cobb's son's voice at just a week old. It is emotional music - devoted, affectionate, and playful.

Kaspi & Stride is a new project from Justin Tripp, best known as one half of the Georgia equation. Leanings has its origins in rigorous yet laid back studio sessions, dual personal practice sensibilities that seem to get at Tripp’s creative ethos as well as any descriptors might. The material here was born out of collaborative studio sessions with multi-instrumentalist Jimy Seitang (Conga Square/Stygian Stride) - the “Stride” of K&S. The music from these sessions has been reworked and recontextualized by Tripp to form the eight tracks found on the record. These compositions are heady and diverse, anchored by infectious drum patterns and intricate electronics, capably occupying a somewhat hard to define space between “club ready” and “home listening.”

“Vishing” throbs with a wide-eyed intensity, infused with the type of deceptively rudimentary synth stabs and bass swells that wouldn’t be out of place on an early Hype Williams record. With contributions from Mary Lattimore and Jon Leland, “Kaptoxa” charts a more ethereal, if no less dizzying, course. Indeed, this is an album that navigates dense, tactile passages and airy, celestial planes with aplomb, making a case for Tripp’s prowess as both composer and arranger with equal priority. The most important thing is to keep moving.

With Contemplative Figuration we see Broshuda pushing his amorphous, impossible-to-pin-down music in exciting new directions. Stitched together in various European cities over the last few years, it is the artist’s most dynamic and ambitious release thus far, drawing equally from musique concrete, beat research, ambient, tape collage, and spoken word. Episodic in nature, the collection functions well as a sort of impressionistic travelogue, with romantic, hazy atmospheres coaxed from borrowed equipment, serendipitous recording sessions with old friends, and even a drum sequence programmed with Mario Paint, among other curios and sleights of hand. Broshuda deftly wrings bonafide cohesion and balance from these disparate source materials, tools, and locations, as on opener “Kakigori,” which allows a snaking harmonic drone the space to evolve before exploding it into a sort of seething, dubbed out pointillism. Later, “Lied Für Hase” concocts a potent, humid atmosphere of beautifully evolving acoustic piano loops and elegant narration. Taken as a whole, Contemplative Figuration is a weightless, transportive record, one that is bursting at the seams with ideas, mischief, and a restless spirit.

Mastered by Helmut Erler at D&M, Artwork by Alex McCullough and Niall Wynne Lewis.

Soda Gong presents “Support Surfaces,” the new record by Alexi Baris, a musician hailing from Vancouver, British Columbia. Baris’ methods are patient and deceptively rigorous, trading in sonics that are at once organized and organic. Synthetic and acoustic elements are presented in sonorous states of perpetual flux, carefully amalgamated into structures of fertile ambiguity. His is a diligent and painterly approach to sound design and arrangement, in which tiny events are magnified and brought up close, and expansive gestures are repurposed and shifted in scale. There is an abiding quality to these compositions, sounds that have been hung in the air with remarkable restraint and left to float there, defined by texture, tone, and their own entrancing spatiality.

All music by Alexi Baris.
Mastered by Kassian Troyer at D&M.
Artwork and Design by Alex McCullough.

Iggy goes West! Soda Gong welcomes back Kansas City-based musician Iggy Romeu with his latest collection as Mister Water Wet. "Cold Clay from the Middle West" is a (characteristically) sharp left turn from his last two records, with Romeu offering up a surprising and addictive melange of crackpot Americana and smoky noir beat science. “Cold Clay Suite” opens the record, a five-part ride into the sunset that features Cooder-esque guitars, cat-gut fiddle, horse-hoof percussion, stadium organs, penny whistle, and bleary-eyed polysynth ruminations, among sundry other ephemera. Multi-instrumentalist Will Yates, known to most as Memotone, shows up three times on the album, lending clarinet, keys, guitars, banjo, sarangi, and vibraphone to these kaleidoscopic productions. It’s a wild ride of a record akin to following a dotted bridleway on a crumpled old map, marvelously variegated and stitched together as only MWW knows how. Get along, now.