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new distribution partnership with staalplaat

Here’s a little Shameless summer 2017 news flash for you: We’re thrilled to announce our distribution partnership with Staalplaat. You can now purchase all our releases at their store and our other distribution partners clear-spot and squidco, or as always directly from us at

In celebration of this news we’ve made a mixtape of our first 4 releases here.

Looking forward to sharing more news with you in the fall,


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new review out in latest freistil #72

Todd Carter (all keys), Brent Gutzeit (Samples, 20-String) and Michael Hartmann (drums, synths, drummachine) formed the experimental Chicago trio TV Pow in 1995. In passing and from the hip the present self-titled exhibit is unrivaled in how it merges Hip Hop, contemporary pop music, R’n’B, Electronica, Ambient and Club music (question mark, exclamation mark).
In addition, no one could have foreseen that, as a consequence of the four-dimensionality of our exsistence (attention, postulate of the author!) these three masters would so excellenty succeed in composing around a “sound-aesthetic timestamp” and seduce willing listeners into a timeless safespace of analog 180gr summer.
A striking group of selected musical co-collaborators (Tina M. Howell, Sharkula, Precise, Faregames, Ben Carter and Steven) further refine and round off the tearjearkering ode to the smoothness of reduction.
Expressive, urban verses on top of humanistic beats, timeless and direct – indeed! Incredibly entertaining, catchy, solid, highly entropic and easy-going easy – for the whole family!
Listening Tips: Cadillac B (it‘s just that easy!), Cadillac A.
dr. wu,

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Clark review on Chain D.L.K.

“This is a re-issue of a 6-track mini-album originally issued on Sijis in 2005, now remastered and reissued on Hauf’s own Shameless label. A jokey and tongue-in-cheek press release accompanies a seriously deep set of tracks that sound like minimal techno that’s been disassembled, then rebuilt in a slightly different order with half a dozen of the pieces missing. Many of the tracks are bookended, front back or both, by slightly industrial sonics and ambiences, but at the core of each track is a faint bassline and a drum pattern from which you could identify the original techno DNA long after it’s been charred, chopped and microwaved extensively.

A steady beat steps in on second track “Mind Tapes” that momentarily suggests we’re wandering into more mainstream house music territory, but don’t worry, everything is under control, carefully metered and always restrained. “Le Chien” is also on the sedate side, a chance to enjoy a softly resonant kick pattern for several minutes, and “Violet Moon” strips things back even further to mere tones and the suggestion of rhythm, before final track “Corona” returns to a kickdrum, now resembling a heartbeat, as the bed for white noises and glitches falling like digital rain, before a distantly apocalyptic finale of far-away explosions.

“Clark” is perhaps as far removed from techno as it’s possible to be whilst still being able to justify labelling it as techno, which I will, but this is an extremely deep, insular journey that benefits from focussed headphone listening. Releases like this have been appearing more frequently lately but for a 2005 release this was well ahead of the curve and its release is certainly justified.”

by Stuart Bruce, musician, editor, software developer and labelboss. check him out here

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great review for CLARK on SilenceAndSound

Artiste complet, musicien multi-instrumentiste et compositeur, fondateur du label Shameless Records, travaillant aussi bien pour la télé que pour le théâtre, la radio ou le cinéma, Boris Hauf est un touche à tout talentueux, poussé constamment par l’envie de repousser ses propres limites.

Avec Clark, sorti une première fois en édition très limitée sur le label Sijis, et réédité sur Shameless, Boris Hauf aborde la musique du futur, celle qui serait censée faire danser des humains dotés de coeurs de quartz et traversés de sang gazéifié.

Habillé dans leur plus simple apparat, chaque titre fait appel à des leitmotivs simplissimes qui s’inscrivent durablement dans notre cortex, mélodies d’un futur anticipé où les basses grondent sur des tapis roulants aux lames de carbone. Clark n’est pas sans évoquer un Alva Noto au bord de la rupture, délaissant l’abstraction intellectuelle pour exploser sur un dancefloor robotique aux bombardements névrotiques, où le bruitisme vient harceler les mélodies, pour les entrainer sur des pentes dangereuses sur lesquelles l’électro-acoustique aimerait venir se greffer et injecter ses pulsions de chaos ordonné.

Clark fait merveilleusement appel à l’intelligence et aux sensations, EP majestueux de concision et de pertinence, conjuguant les multiples facettes des musiques d’aujourd’hui pour les propulser vers un futur aux modulations excitantes. Vital.

Roland Torres