2x VINYL VERSION!! Michal Ho is back, and this time it’s album time at Tuning Spork. But unlike other dance labels, we don’t release albums to give you 2 tracks you might play once, 3 collaborations with aging vocalists, and 5 ambient interludes. We don’t do that cos it sucks.You see, because Tuning Spork cares about you, we watch over you often, in many cases we’ve been monitoring you since you were born. But you can rest easy now (about the tracks), cos with this LP Michal Ho is bringing you 8 firecrackers which will ignite in every club, worldwide. Unfortunately, the global warming is something we can’t fix. We’ll see about your mom liking techno tho.Michal Jan Tomas Holy is one of the hottest young producers in European house music scene. Born in Switzerland and having lived in South Africa during his youth, in the last few years he has made a serious name for himself. As the Michal in Samim and Michal he is responsible for a ton of bigtime releases and remixes for Kindisch, Get Physical, Textone, and of course Tuning Spork,and a string of hot solo 12s.As a solo artist, he has released twice for Tuning Spork.This year Michal’s album matches the high standard he has set for himself to date. In fact, it raises the bar once again. We can’t remember which terrible pop-punk band called their record “all killer, no filler", but rest assured this album really is “all killer". Make no mistake, this is an album with a unique take on just about everything exciting in electronic music right now…

Philip Sherburne (Earplug/Pitc: “"A successful exercise in carving quirky sound design into still quirkier grooves... Whether listened to in one sitting or simply considered a batch of tracks, Ho's hit-to-miss ratio keeps the record squarely in the black."”

Pitchfork Media Com: “When is an electronic-music an album, and when is it just a collection of tracks? Michal Ho's short (only 51 minutes long), eight-track debut album moots the question. The record may not offer much in the way of concepts or sweeping themes, but its eight tracks, each one a successful exercise in carving quirky sound design into still quirkier grooves, add up to create an absorbing back-to-front listen nonetheless. For the most part, Coffeemaker is a desiccated landscape of gently treated beats, corkscrewy synth squeals and shadowy bass lines more felt than heard, but there's always something to grab the attention, even subconsciously-- a weirdly gleaming little riff in "Take Away," a Depeche Mode-inspired keyboard in "Saftwork," a spark-spitting livewire of an oscillator in "Ghost Floppy." Whether listened to in one sitting or simply considered a batch of tracks, Ho's hit-to-miss ratio keeps the record squarely in the black: No wonder that Ricardo Villalobos is quoted in the record's press materials as saying, " I've been playing the whole album for 1.5 hours in nearly every set." ”