“Instead of going for the same old “groovy beats, amazing bassline, buy-my-record” blurb we’ve all read too many times, I’d like to come back to the origins of these tracks. These past three years I’ve experimented more specifically in the field of mesmerizing, relentless dancefloor- oriented music. It kind of became an obsession. Some might say it’s nothing new nor special in the realm of techno and house, repetition being the base of it all.
It was probably just a way for me to take a trip back to the roots of these music styles while trying to catch up with what it was at the time it had no specific branding, a time I’m too young to have lived but too curious not to try to imagine and eventually recreate. I also wanted to be as naive as possible, having absolutely no will to join the flock of surface-scratching producers happily filling up our space with disposable, watered-down tracks. After a fair amount of trial-and-error, the first track out of this new found obsession was Legacy, followed a bit later by Confessions Of An English Opium-Eater, Face Control, Grindhouse and finally La Mort Au Large. This release has a special place in my discography in the sense it gathers what I consider as the rough expression, the genesis of this string of tracks, and the most achieved, savagely-crafted and potentially toxic piece I’ve ever written to date on the same record.
Track after track, I tried to push the concept a bit further by delaying as much as possible the time when a slight change kicks in, fitting it in at the very moment the listener starts to think that after all, there might be something wrong with the track. The goal was to be constantly on the edge of boredom but never going quite there. Making these changes very subtle makes it very difficult for the dancer to feel the tension building up all along the track, creating a feeling of disorientation; and before you knew it the outside world was gone astray. Once you’re stuck in, no matter how unnerving or frustrating it gets, you’re stuck in. It becomes mesmerizing to the point you want to know how it all ends up, if it ever comes to an end. A bit like being unable to keep your eyes off the dancing flames in a fireplace. A bit like reading this text.“

One of Fondation’s main goal is to discover new talents. Well that’s good, because Paul Loraine is probably UK’s best kept secret to date.
Paul may not have made a name for himself as a producer yet but is nevertheless a well-known DJ in the UK and in the music industry. DJing from a very young age, Paul’s dedication to cutting-edge techniques and experimental sounds has taken him across the full spectrum of dance music.
His genuine science of DJing caused him to play the biggest clubs and to be aired by the most famous radio shows of Great Britain. He is even praised by the press as “one of the best british dj’s on the scene” (Musik magazine)
When we discovered Paul’s “Pins & Needles” we were utterly gobsmacked.What an incredibly classy track made of a groove sticky as hell. Detroit-ish without falling in the trap of being reverential, it’s in our opinion the sound of now. Paul takes us for a ride through the sharp side of house music. Albeit slow and sweaty, this track is nevertheless a fantastic club weapon. A massive kick, surrounded by subtle eerie samples and a well-chosen punchy melody, all of this give an unique groove to the cut.
On the flip, Leftroom maestros Matt Tolfrey and Marc Ashken’s take the original to a very different place thanks to dramatically tweaked voices and frantic percussions, managing to give even more intensity and crazyness to the track. These two very skilled producers show once their command of the complex science of advanced dance music. Approved and tested in Fabric’s Room One at 6am where it literally went down a storm. Definitely one for the Djs out there liking their minimal with a twist of lemon.

“When I first listened to Jozif’s music, I got struck by two very clear thoughts: first, I realised I had never heard anything comparable before. Then, the second after, I felt the urge to release these tracks on Fondation. It suddently became all very clear why I had created the label. How do I know that? Whenever it happens – and it’s not that often at all, believe me – I instantly get a mental image of a Fondation vynil with the big “F” at the center spinning endlessly on a turntable. The image doesn’t leave me for a while. I love this feeling. All of Jozif’s creations have the ability to do this to me. I feel very lucky to have met him and to be able to release his music.” – Danton Eeprom, Fondation label mgr.
Our sixth release sees the Fondation family growing. We’re welcoming a brand new name aboard, Jozif.
A newcomer on the production scene, Jozif has always been around music from a very young age, thanks to world- famous drummer dad. He has deejayed in London for several years. His trademark mesmerizing house and quirky attitude quickly got him massive attention and support from British tastemakers such as Craig Richards, Andrew Weatherall or Leftroom’s Matt Tolfrey. 82988 / Digga Deepa is his debut EP.
In “82988″, bleeps and synths are running after a deviant bass, all of them taking turns in invading the dancefloor. An epic tune made of dissonant stems matching one each other precisely to create a very pulsating house / techno beat, not unlike Konrad Black or Maetrik.
On the flip, “Digga Deepa” takes the hypnotic way. A grower based on a vicious and highly addictive gimmick. Think of an haunted nine minutes apnea able to take any dancefloor to unsuspected heights.
Digital exclusive “Bit Dove”, uses the same principle as Digga Deepa but in a lighter, more stripped-to-the-bone style, making it a perfect tool, catchey-rhythmed and a bouncey-vibed.
In the artist words : “Digga Deepa is a track that actually started life out as something else
It was meant to be a dubby, weird tech like thing but I couldn’t get the bleeps to fit so I put them to one side
Then after the death of a close friend of ours I got the bits back together and started on an all together different piece of music. Something a whole lot harder, more dark and bit trippy – probably a refection of all our emotions at that time. After finishing it, I thought It only appropriate that I named it after our departed friend, Marie Philips, or as we new her Miss Digga.
Every so often when  writing records everything just sits in place, every part speaks to the other with out too much guidance/interference from the producer and the arrangement seems to set itself 98288 was one of those records – it simply just ‘happened’ Its not exactly the most complicated record in the world but, I suppose at 6.20 am in a dark room with 300 other people – who cares!”

Here we are. After the great success of our fourth release (Danton Eeprom’s Face Control), we wanted to find
something very special for your ears. First of all, we need to tell you about the story of this record. A few months ago, in the London-based “Bancal Bancal” recording studio, Ivan Smagghe and Danton Eeprom have chosen the moniker of “La Horse” to produce tracks together. After their acclaimed remix on KilltheDj, this is their first proper Ep, out on Fondation.
“Cyanide and happiness” is a baroque tune, somewhere between mutant house and psychedelic rock.
Strange voices, tortured guitars, pumpin’ bass, and silly organs are some of the creatures that you’ll meet during this spaced-out trip. It’s rough, hot and mental, reflecting Smagghe and Eeprom way of seeing music, free from codes and beyond genres. To make a long story short, be sure it’s gonna divide the critics and the audience, so take it or leave it : “Cyanide and happinness” is uncompromisingly unique.
On the flip, Danton Eeprom delivers a monster remix, based on his trademark vicious beats. In an obsessive
atmosphere, dark bells, echoes and haunted sounds are waiting for a fat bass coming straight from hell to take over.
Don’t hesitate, dive into Danton’s ivy world, a real poison dealer.

It wouldn’t be exaggerating to say this record is a monster.
After several acclaimed releases, Danton Eeprom is now an established name on the international dance scene. His “Confessions Of An English Opium-Eater” on the Infiné imprint turned dance-floors upside down worldwide ; and his Freak ‘n Chic appearance with the obsessing “All I Can Say” has impressed the whole dj milieu. Now he’s back, on his own label, Fondation Records, with two new tracks.
“Face Control” promises to be one of the hit of this winter. The specific Danton touch, a mixture of deepness and dark psychedelism is taken to a new high. This track is a pure dance-floor killer. A continual and hypnotic melodic rise waiting for an amazing discoid bass line, climax of this epic tune. Definitely the biggest track of the label.
On the flipside, “Missing” is a more introspective and mysterious track. A gloomy vocal leitmotiv invites us to a clammy and mental trip. Imagine Louderbach flirting with Audion in a weird club of underground London. Hot. This record fits perfectly the vision of electronic music that Fondation Records sets out to deliver to the world. Maverick.
Supported by Ivan Smagghe, Laurent Garnier, Andrew Weatherall, Chloé, Agoria, Tim Paris, Jef K, Dyed Soundorom, Pete Herbert, Johnny Rock, Dave Congreve.

Probably the strongest release on Fondation so far, by young british producer Tim Green, already known for his works and remixes on Four:twenty Recordings and Infant Records to name but a few.
TG is gaining more and more respect from top djs and producers thanks to his very fresh and original approach to composing dance music, just because he’s eclectic and smart enough to be interested in all kinds of music. Laurent Garnier, Loco Dice, Luciano, Konrad Black, Funk da void, Carl Cox, Steve Lawler, Paul Woolford.. are all over his productions.
This release fits the Fondation sound perfectly, and already gained support from Ewan Pearson, Chloé, Jennifer Cardini and Agoria. A classy release which is probably a foretaste of the future of house music, with hints of minimal and deep techno.

Following Fondation’s first release, cheerfully welcomed by DJs, radios and press across Europe, is the first EP of Brwn Shoes, first artist discovered by Fondation.
This newcomer to the electronic scene played for long the role of observer, in the sweaty basements of London and Valencia, before getting to DJing and music production with panache, brio and attitude.
Brwn Shoes’ sound is based on dirty, insistent monosyllabic basslines and superpositions of subtle notes and minimalistic gimmicks, providing moody, stripped-down pieces meant to drive the crowd and its DJ corpus mentus.
Zeugma and Tigers Don’t Sleep are two perfect examples of this new breed of sound he’s developing.
Crude, raw and sexy. That’s how we like it.

‘These Eyes’ is a dark, bassy acid house track with a twisted dialogue on top, openly sexy but in a classy, not-too obvious way. Picture yourself in one of the red-lit sweaty basements of East London and the kind of thoughts that enter your head when you come across a special stranger’s eyes. Think about a new old school booty shaker.Repeat.

‘Strictly Erotics’ blends playful, Chicago-inspired percussion with a thumping, unavoidable jackin groove that melts within a 303 bass line. The climax comes with an overwhelming percussive rhythm that gives the track an unpredictable and yet engaging flavour.
The slick beats and crisps sounds of Fondation 001 are waiting for you.