Oliver Lieb Presents Smoked ‎– Metropolis

Yoshitoshi Recordings ‎– YR048
Vinyl, 12", 33 ⅓ RPM, 45 RPM


This Side
A1 Metro
A2 Polis
Flip Side
B1 Metro (US Mix)

Companies, etc.



Sticker on the generic Yoshitoshi cover has the artist as "Oliver Leib", but the labels have the correct name.

Under exclusive license from Jerk Records.
Side A plays @ 33RPM.
Side B plays @ 45RPM.

Barcode and Other Identifiers

  • Barcode (Text): 7 04865 00481 3
  • Barcode (String): 704865004813
  • Matrix / Runout (Side A Runout, etched): YR 048 A MANDY THE EXCHANGE
  • Matrix / Runout (Side B Runout, etched): YR 048 B

Other Versions (5 of 16) View All

Cat# Artist Title (Format) Label Cat# Country Year
JERK-9805/18 Smoked Metro / Polis(12") Jerk Records JERK-9805/18 Germany 1998 Sell This Version
none Oliver Lieb Presents Smoked Oliver Lieb Presents Smoked - Metro / Polis(CD, Single, Promo) Duty Free Recordings none UK 2000 Sell This Version
DF 019 Oliver Lieb Presents Smoked Oliver Lieb Presents Smoked - Metropolis(2x12", Promo) Duty Free Recordings DF 019 UK 2000 Sell This Version
SOLD 036 Oliver Lieb Presents Smoked Oliver Lieb Presents Smoked - Metro/Polis(4xFile, MP3, Single, RM, VBR) Solieb Digital SOLD 036 Germany 2018
DFREE002 Oliver Lieb Presents Smoked Oliver Lieb Presents Smoked - Metropolis(12") Duty Free Recordings DFREE002 UK 2000 Sell This Version


Reviews Show All 2 Reviews

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July 9, 2014
That's really true what maxi_vinylnut is saying here. Lieb delivers superior quality music for many years, and he still does. His remix of Utah Saint's 'Lost Vagueness' is one of my favourites from that period.


April 29, 2013
edited about 1 year ago
It's amazing with all of the references to the great Oliver Lieb, there is not a single reference to this 12", i got this back in 2000 when it was first released, at the time i was looking for anything which had this particular style of sound i was searching for, i won't try to describe it, just listen for yourself.the track in question here is "polis" a 138 bpm track, dark and hard with a thick motoring synth that starts low and thick and gradually increases in pitch, he then introduces those trademark haunting synths that seemed to be a staple of liebs at the time. There are stages in the track though where the haunting synth and bells introduced later can dominate this track a little too much, almost drowning that rumbling almost acidic synth, but still Oliver pushes the sonic boundaries with a degree of skill and creativity that only a few artists have managed to emulate. This is the sort of track that needs to be played in a huge warehouse preferably on a 50k watt sound system and a few thousand ravers going absolutley batshit!!!