A whole generation of artists seems to be currently conspiring against the dogma of rhythmic precision in electronic music. Injecting the groove back into the music, most of these artists reject their easy categorisation under the 'wonky' label - a term coined by the music press to subsume the groove-infused electronic hip-hop that has lately been coming forward from many corners of the world - via L.A. and Amsterdam, Dublin or Vienna.

Eager to expand the geographical spectrum associated with this kind of music even more is Xavier Thomas a.k.a. Débruit: Congolese basement basement bars in suburban Paris have influenced his music just as much as has the multi-cultural London neighbourhood of Dalston, where the born Breton has relocated to in late 2009.

Débruit is currently recording for London's Civil Music and own his Musique Large label, and he's just released his 'Heart Beats For Haiti' EP to benefit the victims of the recent earthquake.

It all started in 2000 when Marc Teissier du Cros, Stephane Elfassi and Air teamed up for the release of 'The Virgin Suicides' soundtrack. Ever since then their romantic and cinematic vision of music has drawn a line through the label's releases and connects all artists, as diverse as they may be.

Record Makers does not confine itself to a single genre - what is more important is the feeling transmitted by the music. The Record Makers experience starts with the artwork and ends at the last bar of music, taking the listener on a trip through memories and emotions.

When electro scientist Arpanet consorts with French troubadour Sébastien Tellier or rave zombie Kavinsky it does not seem so surprising any more, and suddenly all these things seem to be connected. Like soundtracks for certain situations, each and every release represents a piece in a puzzle. Arpanet's first album 'Wireless Internet' stands among the finest productions of the genre as well as Kavinsky's '1986' EP, which according to rumours was recorded in the label's basement.