Let’s Play House (LPH) is an event production and promotion company, as well as a record label. Formed in late 2009 and based out of Brooklyn, New York, the company is helmed by DJ/producer Jacques Renault and Anthem magazine senior editor Nik Mercer. LPH aspires to bring unknown and known, local and international DJ/producer acts and live bands to its biweekly roving parties. There is no specific demographic that LPH aims to reach out to; instead, the events are intended to be carefree dance parties for anyone and everyone interested in some of the best house, disco, techno, and electronic music the world has to offer. Whether highlighting older, more established acts or showcasing young talent, LPH focuses on curating energetic, comfortable, and warm environments, in which attendees can loosen up and forget their worries. The latenight ragers change location not in an attempt to maintain inconsistency, but in an effort to cater to the talent (different artists require different venues) and accommodate the anticipated audience (lesser known acts require less space; bigger names necessitate more)―as well as to keep things fresh and new.
LPH’s endeavors don’t end with parties, though: In September, 2011, it began releasing its own vinyl and digital 12”s and EPs, with production and distribution being handled by Cologne, Germany’s legendary Kompakt Records. (Presently, LPH Records maintains a one-per-month release schedule.) LPH has also produced a limited-edition run of T-shirts with the Japanese fashion label Graniph, collaborated on numerous events with Scion, eskuché, and others, and hosted parties at a number of NYC venues from the Ace Hotel to underground warehouses in Williamsburg, the Standard’s Le Bain to little karaoke bars in Chinatown. Next up is a move to bring the nights to other parts of the world, namely Europe and Central/South America, as well as pursue daytime initiatives.
All graphical and design elements of LPH are overseen and created by Drew Heffron, so each and every part of the brand is harmonious with the rest. Drew has developed and fostered an identity that is both on-trend/progressive as well as “old-school” in its sensibilities: the script logo, for example, is a nod to house brands of the 1980s.
Finally, James Friedman―who manages the Rapture’s Throne of Blood imprint―acts as the third partner in LPH Records. He assists with the organization and creative direction of the label in addition to helping with A&R.
LPH in the Press-