Paper has been pushing all things deep house and disco from the furthest reaches of the world via the good old North of England since the early Nineties.

The label has already featured a new series of EP's showcasing the best new dance music and future funk, house and disco from the world's finest producers.

We kicked off in 1994, leading the upsurge in popularity of UK house music within an underground scene previously dominated by a soundtrack from US cities like Chicago, Detroit and New York. Enhanced by a strong visual identity, as well as impeccable musical quality control PAPER was, and is one of the world’s most treasured record companies.

It continues to be funk-fuelled and bottom heavy!

for all booking contact:
scrnobrnja@gmail.com


In Flagranti (Sasa Crnobrnja & Alex Gloor)

The duo has always made a great case demonstrating how “inspiration” from the creative works of others can truly be made into something new and totally distinct from the source material.  But whether you know the source material bears major influence on what their interpretation is going to even sound like to you.  In other words, you could be hearing the same song as another listener is, but if you’re familiar with the source material, you’re going to also be hearing that, while someone who isn’t familiar with it won’t.  Most of their listeners have no idea this is even going on, or could even be allowed.
I figure I follow In Flagranti quite closely, but I only make a connection here, or a connection there.  Sometimes this happens immediately, other times it’s taken years to notice.  Most connections I will never even be aware of, and I don’t listen for them, they just stand out to me or they don’t.  Sometimes I only discover the source material long after I’ve been familar with In Flagranti’s take on it, which you’d think would detract from the latter, but for me, it only adds to it.  In Flagranti’s musical interpretations show a certain ethic and a philosophy that parallels their approach to visual content.  It’s so “meta” that I’m at a loss to describe it, except to say what I often do:  Warhol would be In Flagranti’s biggest fan if he was around to witness them. – truckerdisco.wordpress.com

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.”

Jim Jarmusch’s Golden Rule #5

Debut solo album announced LETTER TO YU out now on @deewee 
Buy LP/CD: https://bolispupul.lnk.to/letter-to-yu

It’s no coincidence that Bolis Pupul’s music sounds the way it does. Born in Belgium to a Chinese mother and Belgian father and raised in the super-cool creative city of Ghent, Bolis’ music is a joyous cross-cultural assemblage. Mixing widescreen electronica – think early Mr Fingers-like techno and Yellow Magic Orchestra’s exuberant man-machine minimalism – with the warm-hearted and wonky naivete of Belgian New Beat.

Booking:
EU / UK / ASIA : meri@futura-artists.com
AMERICA: rebecca@heavy-trip.com
Management: karey@westorg.com

City Of Clowns: mariedavidson.lnk.to/cityofclowns
Fun Times: mariedavidson.lnk.to/funtimes
Demolition: mariedavidson.lnk.to/demolition
Sexy Clown: mariedavidson.lnk.to/sexyclown
Contrarian: mariedavidson.lnk.to/contrarian

Y.A.A.M: mariedavidson.lnk.to/yaam
plus @soulwaxofficial version: mariedavidson.lnk.to/yaam-sw

Musician / Producer / DJ / Record collector / Tigersushi / Crowdspacer
Bookings 
- World : alberto@orchid-am.com 
- France : pascal@julietippex.com
- N/S America : clarisse@recgrief.com

contact : management (@) feedelity (dot)com

Booking: Havard-brekke (dot) haugland (at) aegpresents (dot) no

Booking North-America: bowen (@) teamwass (dot) com

Management
Management: annie@andartistmanagement.com
Bookings: simon@thefinaagency.com 
Press: rob@rotatepublicity.com 
Bookings
Crazy P DJ / Crazy P Soundsystem / Crazy P Live
Simon Morell: simon@thefinaagency.com

Remix Requests  please contact lipstudio2@gmail.com

EMPEROR MACHINE  Biography
Over 30 years since acid house’s summer of love and there are few of 1988’s cast of actors still left standing. Still fewer are those whose music is still resolutely pointing towards the future rather than endlessly looking to the past. In fact, there’s arguably only one candidate left in the UK. While his peers are content with revival parties and classical house nights at the Albert Hall, Andy Meecham is out on his own as one of the few whose gleaming analogue machines are still pointing towards an imagined future rather than an endlessly relived history.
As the Emperor Machine, Meecham’s solo project since 2003, he has been wrenching monumental basslines, strange keyboard figures and luminescent rhythms from his beloved synthesisers, inspired by everything from sci-fi movies and KPM library albums. In some ways, his mission has scarcely altered in the 35 years since he first heard ‘Planet Rock’ in the early 1980s. “That’s the thing that got me hooked,” recalls Meecham. “The fact that it was futuristic sounding.  Anything that was sci-fi: UFO programmes, Dr Who, Star Trek. Stuff that suggested the future.”
While he’s happy to plough towards the future, we still has some serious history to contemplate. Meecham is one of the clique of acts in Staffordshire inspired by house music that included Candyflip, Altern-8, Sure Is Pure and Nexus 21. Meecham’s band with long-time conspirator Dean Meredith, Bizarre Inc, was one of the most successful of their generation and 1991’s ‘Playing With Knives’ was a staple in all self-respecting DJs bag that year. Major label deals, led to swift dissatisfaction; Meredith and Meecham went back to the mixing board to rethink their future. 
As Chicken Lips, they re-emerged alongside peers like the Idjut Boys and Faze Action, to offer their delayed and dislocated rhythms to an audience hungry for relief from the monotony of the four-to-the-floor house rhythm, with joyously dubbed out originals and fiendishly clever remixes for luminaries like Ennio Morricone and Groove Armada to Wolfmother, transforming Love Train from a metallic romp into a disco-dub delight with a bottom-end bigger than a Kardashian. Then there are Andrew’s other aliases (he’s had more than Carlos The Jackal), notably Sir Drew, Future Four, Gino Fontaine, BIG 2000, Randee Jean and Zeefungk.
The Emperor Machine was born out of an online slating of one of his favourite synths, the Roland SH 3A. Indignant at this appalling slight, Meecham set to work on a track only using said Roland. James Dyer at DC Recordings loved it so much, he asked him for another and gave the project its name. Emperor Machine it was.


 As with most of the Emperor Machine music, the methodology goes against the grain of how most electronic musicians approach producing. Rather than reducing it to mathematical blocks of music on a computer screen, Emperor Machine is about long passes, played live and then edited down by a crack team of highly-trained Potteries-based orang-utans, lorded over by merciless taskmaster Meecham.
The key to success is not dancefloor domination, but a far simpler rule, says Meecham. “The music has to make me shudder. So I work on something until I get that tingling feeling. So it’s almost more of a drug thing really. I have to get that out of the music and I can’t get that from full-on 909 four-to-the-floor dance music.”
A shudder and a tingle. And maybe a monster bassline. Emperor Machine redux. 
Bill Brewster

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