Ok finally after months and months of broken promises, Full Beam! - For Gees Only volume 2 is upon us. Get ready for 8 absolute nuggets from the deepest caverns of boogiedom. Pharaoh B and his Pyramid Suite crew have overloaded the hydrofoil for this one. You know the rules: Vinyl only no digi ever and no repress ever. 300 for the universe so buy or cry. ONE PER GEE (discogs sharks i'm talking to you - don't even think about getting ya mam to order another copy on your behalf we will find you out). ALL HITTERS NO SHITTERS. Strictly not for choppers. This is serious gear peops - guaranteed to blow nappers clean off. No sound clips either - you're gonna have to trust us - your bravery will be rewarded. Mega rare tackle - get your orders in before it's too late.
disco . italo . cosmic . disco-not-disco . boogie
WEEK STARTING 13 Dec
Apiento returns to World Building for another soulful journey!
Hot on the heels of the smash "Things You Do For Love" seven inch.
"Down That Road" features the ultra smooth vocals of Los Angeles' Harriet Brown. An intimate London by L.A. via D.C. connection.
Brown's contemplative lyrics meet Apiento's rainforest synths & massive low-end pressure. Patient dancers are rewarded halfway with a dope sunrise acid bass. Serious smiley face biz! Multiple mixes with a trippy ambient dub & a cute padapella.
World Building ensure they're talk of the town as the year draws to close with this essential twelve from Apiento.
Hot on the heels of the smash "Things You Do For Love" seven inch.
"Down That Road" features the ultra smooth vocals of Los Angeles' Harriet Brown. An intimate London by L.A. via D.C. connection.
Brown's contemplative lyrics meet Apiento's rainforest synths & massive low-end pressure. Patient dancers are rewarded halfway with a dope sunrise acid bass. Serious smiley face biz! Multiple mixes with a trippy ambient dub & a cute padapella.
World Building ensure they're talk of the town as the year draws to close with this essential twelve from Apiento.
STAFF COMMENTS
Matt says: Apiento are fast becoming the hottest thing in the blogosphere right now; counting Ruf Dug, Tom Nobel, Neil Diablo and many more as avid fans. This 12" shouldn't let anyone down whose previously dug their arresting, skeletal deep electronic soul.
Regular Public Possession pal Bell Towers touches base again, treating all comers to a off-beat treat in the form of "Juicy Blend". As a DJ, digger and selector, Rohan's pop chops have been proven time and again, and here the producer serves us his slinkiest serenade yet, topped with his own vocal intonations. Stepping into the club wearing a synth pop shimmer, Balearic cardigan and some form of fetishwear, "Juicy Blend" is house in its loosest sense, sounding less like MAW and more like an '88 Frankie Knuckles mix of Flash & The Pan with Neil Tennant on vocals - and if that's not a juicy blend, I don't know what is. As well as the full vocal version, Bell T treats us to the mostly voxless Groove version on the B2, leaving more than enough run time for a pair of ace remixes. Leftfield stalwart Bullion brings the track to the peak time in the back room with electrohouse synthlines and a shuffling 4/4 for his more streamlined mix while alt-pop king Jaakko Eino Kalevi pairs percolating bass tones and snapping perx for a killer Streetsounds-style variant.
Bitter End continue to rip up the rule book with a genre defying output that's up there with some of the best dance music around at the moment. Release No.11 hits the ground running with a whiteboy disco-funk bomb on the A, a relentless gallop with soaring synth work and an unwavering commitment to uniting sweaty bodies. Coincidently aligning itself with the sound of rising Manchester upstarts - See Thru Hands. Are we due a prep-funk revolution?!
"Bu Bu Yam Yam" switched into deep house mode, a subtle Reese gliding away in the lower registers as frenetic perc, keys and drum kit all get bustling in the rhythm section.
"Bu Bu Yam Yam" switched into deep house mode, a subtle Reese gliding away in the lower registers as frenetic perc, keys and drum kit all get bustling in the rhythm section.
STAFF COMMENTS
Matt says: I honestly can't believe we're up to number eleven in this series. Well, you know how the old saying goes - time flies when you're having fun. And having fun we most certainly are when Bitter End are involved!
For its new release, the Parisian crew Discomatin picked a lesser known banger of the boogie era, Maudit DJ by Clara Capri. Produced in Belgium by Jay Alansky with lyrics written by his sidekick Jacques Duvall, this EP brings together an Italo discoesque bassline surrounded by shiny synths and irresistible guitar licks. On top of that, Clara Capri sings with a high-pitched voice. Maudit DJ is a real celebration of the nightlife.
Fortunately, it’s brought here with all 3 versions transferred from the original tape masters: the extended “Version Longue” with its great introduction sounding like strong early house, the shorter “Version 45 Tours” if you’re in a hurry and, last but not least, the instrumental version for those too shy to play the vocals. But let’s head back to the 80’s: Jay Alansky and Jacques Duvall are having a real success. They just produced famous Belgium female artist Lio’s first hits and have access to Dan Lacksman’s studio in Brussels - member of Telex with Marc Moulin. During this euphoric period, they met Clara Capri, a young Italian girl really crazy about Disco, swearing only by Giorgio Moroder or Chic. Her two buddies decide to concoct her a real hymn to the dancefloor. For them it sounds like the perfect time, considering the duo always dreamed of being like a shadow production team, just like Motown’s very own Holland-Dozier-Holland. With a great care to the production and the sound and with the best technologies from the era, they managed to create this French dance music attempt, at a moment when nobody was speaking about French Touch.
Thanks to Discomatin, it’s now available to the real connoisseurs with an exclusive insert which contains lyrics, again with fantastic illustrations from french artist Camille de Cussac.
Fortunately, it’s brought here with all 3 versions transferred from the original tape masters: the extended “Version Longue” with its great introduction sounding like strong early house, the shorter “Version 45 Tours” if you’re in a hurry and, last but not least, the instrumental version for those too shy to play the vocals. But let’s head back to the 80’s: Jay Alansky and Jacques Duvall are having a real success. They just produced famous Belgium female artist Lio’s first hits and have access to Dan Lacksman’s studio in Brussels - member of Telex with Marc Moulin. During this euphoric period, they met Clara Capri, a young Italian girl really crazy about Disco, swearing only by Giorgio Moroder or Chic. Her two buddies decide to concoct her a real hymn to the dancefloor. For them it sounds like the perfect time, considering the duo always dreamed of being like a shadow production team, just like Motown’s very own Holland-Dozier-Holland. With a great care to the production and the sound and with the best technologies from the era, they managed to create this French dance music attempt, at a moment when nobody was speaking about French Touch.
Thanks to Discomatin, it’s now available to the real connoisseurs with an exclusive insert which contains lyrics, again with fantastic illustrations from french artist Camille de Cussac.
STAFF COMMENTS
Patrick says: You know I can't resist this kind of tackle. Francophone boogie with superb bass sequences, sweet female vocals and Chic guitars - you can virtually taste the beachfront shandy...While "Bobby" was the track that sparked the idea for Caserta to start BridgeBoots, "Diana" was always in the back of his mind.
"Diana" started off as a release on the long since defunct LegitMix platform. Now it gets new life remixed and mastered by Caserta @TheBridge StudioLA, with a more concise 7-inch edit as well as a brand new 'Sing A Long Dub' on the flip; it's sure to be a main stay in the crates for years to come.
"Diana" started off as a release on the long since defunct LegitMix platform. Now it gets new life remixed and mastered by Caserta @TheBridge StudioLA, with a more concise 7-inch edit as well as a brand new 'Sing A Long Dub' on the flip; it's sure to be a main stay in the crates for years to come.
STAFF COMMENTS
Sil says: Right on time to be dropped in one of those awful xmas office parties but hold your horses... why drop the original when you can drop this mega edit instead? Buy on sight!
A multi-genre-busting release that has transcended most dance scenes from modern soul, rare groove and boogie to become perhaps the most in-demand '80s records on the current collectors scene. Finally released on 7-inch.
The popularity of "Don't Send Me Away" was recently confirmed when a YouTube clip of Garfield himself, performing "Don't Send Me Away" at a Paris record stall in late 2018, went viral with over 2,000,000 views to date.
"You Got Dat Right" is equally arresting, a bumpy soul-disco cut with big chorus, rambunctious keys and heavy slap bass.
Pressed on dinked, heavyweight 7" this is a soul & disco collector's dream!
The popularity of "Don't Send Me Away" was recently confirmed when a YouTube clip of Garfield himself, performing "Don't Send Me Away" at a Paris record stall in late 2018, went viral with over 2,000,000 views to date.
"You Got Dat Right" is equally arresting, a bumpy soul-disco cut with big chorus, rambunctious keys and heavy slap bass.
Pressed on dinked, heavyweight 7" this is a soul & disco collector's dream!
Groovin Italy reissue this Fantastic underground soul-boogie track from 1984 and add two DJ Spinna remixes to boot - bonza!
Extensive EP featuring both original vocal and instrumental version plus two different DJ Spinna mixes. One of the most anthemic boogie tunes to be released in 1984, it's soaring chorus and typically squelchy lead bass synth combine for a dizzying slice of late night energy.
Spinna's 'Keyapella' is especially worthy of note - a beatless excursion into echo-drenched vocal heaven that seems to go on for a joyous eternity. This is primed for extended plays at the big, end-of-year parties where emotions and sentiment are running high. Recommended!
Extensive EP featuring both original vocal and instrumental version plus two different DJ Spinna mixes. One of the most anthemic boogie tunes to be released in 1984, it's soaring chorus and typically squelchy lead bass synth combine for a dizzying slice of late night energy.
Spinna's 'Keyapella' is especially worthy of note - a beatless excursion into echo-drenched vocal heaven that seems to go on for a joyous eternity. This is primed for extended plays at the big, end-of-year parties where emotions and sentiment are running high. Recommended!
Brand new release on Brothers From Different Mothers, after the first LP of J-zbel, Judaah's label deliver the first solo EP of Jonquera, half of The Pilotwings.
It's a scuzzy take on sinister electro and more experimental electronix as our guides takes us through five very different sonic environments.
"Umamami" is sludgy and lysergic, full of gated drums and swirling sfx; like if Adrian Sherwood decamped to the Red Planet. "Hell Reggaeton" also milks the 80s gated drum set, with a crossover freestyle beat and mangled to oblivion vox; it's galloping delays and discordant guitar chops only add to the sense of urgent disorientation.
"Smegta" opens the flip with an arresting slice of aural manipulation; pulling and stretching a canvass of synthesized choir notes around a mechanized loom; it's like the ghosts of a cotton mill escaping out the woodwork.
"Escroc Voice In My Head" concludes the trip with a stop-you-in-your-tracks slice of taut EBM. Highly strung and ready to implode at any moment, the elastic synths and dark stabs perfectly compliment the creeping, zombie-horror groove in what's surely one of the best closing tracks to grace an EP all year!
It's a scuzzy take on sinister electro and more experimental electronix as our guides takes us through five very different sonic environments.
"Umamami" is sludgy and lysergic, full of gated drums and swirling sfx; like if Adrian Sherwood decamped to the Red Planet. "Hell Reggaeton" also milks the 80s gated drum set, with a crossover freestyle beat and mangled to oblivion vox; it's galloping delays and discordant guitar chops only add to the sense of urgent disorientation.
"Smegta" opens the flip with an arresting slice of aural manipulation; pulling and stretching a canvass of synthesized choir notes around a mechanized loom; it's like the ghosts of a cotton mill escaping out the woodwork.
"Escroc Voice In My Head" concludes the trip with a stop-you-in-your-tracks slice of taut EBM. Highly strung and ready to implode at any moment, the elastic synths and dark stabs perfectly compliment the creeping, zombie-horror groove in what's surely one of the best closing tracks to grace an EP all year!
There's a lot to love about Voitek Taranczuk, not least the the fact that his nom de plume appears to be Polish for Ket! This latest EP on the producers own imprint comes chock full of floor pleasing goodness spread out across five multi-purpose jams. The opener (appropriately titled "Number One") doles out redolent guitar licks, exotic synths and the occasional reggae vocal over a mid tempo beat just polyrhythmic enough to prompt a sway from the most committed wallflower. Next up "Loca" launches electro drums (massive snare, heavy on the two) and pinging synth melodies like a lost Metro Area tool with maximum bite, minimum fucking around. For "Another Mindset" the Polish producer reaches into that hazy '03 - '07 era to blend Villalobos bleeps with a tuned tom bassline and clattering hand drums, adding the chopped "ethno" vox for added impact. Flip it for a right chug-a-thon in the form of "Lasai" - spine tingling trance lines laid upon a stiff space age rhythm grid - and the eerie deep house of "Tu I Teraz", a fine throwback to the sexier end of the late minimal techno era. Is Sankeys still open? Asking for a friend...
A classically trained multi-instrumentalist, Don Laka began his career in the ‘70s and then joined the seminal jazz outfit Sakhile in the early ‘80s. Already an established musician by this time, Laka was at the forefront of exploring the latest synth sounds of the day. Being introduced to synthesizers by Harari's Alec Khaoli, Don soon began experimenting with different synths like the Oberheim, Juno, and Prophet 5 while using a Commodore 64 to sequence them. Constantly striving for the latest sounds, Laka’s early explorations culminated in his debut solo album, "I Wanna Be Myself". 'I went and did an album, recorded tracks at Downtown Studios [in downtown Johannesburg]. Most of the album, except for "Let’s Move the Night", was done straight with a Fairlight at a different studio, of the guy that owned the Fairlight, Adrian Strydom.'
He was the only guy in the country who had a Fairlight, I think on the continent. 'This was the first commercial record made on a Fairlight in this country. I remember the other instrument I used was Jupiter 8, which was a very expensive Roland synth, and I used a Juno-60. I would layer them. The only thing I programmed was the drums. You can hear the snare sound, I think it was a mix of some cracked bottles and something that we just mixed. Holed up in the studio, Laka remembers getting special input on "I Wanna Be Myself" from master bassist Bakithi Khumalo, who would also feature prominently on Graceland. 'I remember I played all the instruments on it. I played bass, I played all. Bakithi walked into the studio and I said, ‘You know, I’m not a bass player. Baks, do you wanna do it?’ And he nailed it, in one take! Reissued for the first time is Don Laka's masterful album.
He was the only guy in the country who had a Fairlight, I think on the continent. 'This was the first commercial record made on a Fairlight in this country. I remember the other instrument I used was Jupiter 8, which was a very expensive Roland synth, and I used a Juno-60. I would layer them. The only thing I programmed was the drums. You can hear the snare sound, I think it was a mix of some cracked bottles and something that we just mixed. Holed up in the studio, Laka remembers getting special input on "I Wanna Be Myself" from master bassist Bakithi Khumalo, who would also feature prominently on Graceland. 'I remember I played all the instruments on it. I played bass, I played all. Bakithi walked into the studio and I said, ‘You know, I’m not a bass player. Baks, do you wanna do it?’ And he nailed it, in one take! Reissued for the first time is Don Laka's masterful album.
STAFF COMMENTS
Matt says: If you study the sleevenotes or credits of pretty much any good dance record from South Africa around a certain time period (let's say 1980 - 2005) there's a 90% chance that this guy will be involved! A true star, prodigy, muse and inspiration. Don Laka we salute you!
Five years have now passed since Boogie Café Records was established as an outlet for soul-flecked dance floor jams. The Bristol-based label has grown exponentially in that time, with a succession of highly regarded releases attracting a swathe of higher profile artists to the roster.
The latest is Russian heavyweight Alexander Lay-Far, a producer whose blends of deep house, disco, boogie, soul, jazz and broken beat have appeared on labels including Local Talk, Atjazz, City Fly, Lazy Days, Leng and the In-Beat-Ween Music imprint he established in 2015.
The Moscow-based producer’s first outing on Boogie Café is entitled “Re-Imagine Yourself”; it seems a fitting name, because across the four sample-heavy tracks Lay-Far brilliantly joins the dots between disparate sounds and styles whilst retaining his trademark warmth and soul.
Check first “Embrace The Contradictions”, a deliciously sub-heavy broken beat number bristling with hazy Fender Rhodes chords, glassy-eyed female vocal snippets, funky samples, wobbly analogue bass motifs and cowbell patterns slyly sampled from a disco-boogie classic. Bustling breakbeat number “Spiral Movement” follows, with Lay-Far invoking the spirit of 1989 via dreamy chords, cut-up vocal blasts, short-sharp rave sirens and hip-house style beats.
The latter half of the EP is deliciously warm and woozy, with Lay-Far wrapping enveloping pads, ear-catching synthesizer flourishes and yearning melodies around off-kilter broken beats and sturdier sub-bass. Of the two tracks, it’s “Something Else” that’s arguably the most potent of the pair despite its’ inherent deepness – think Bugz In The Attic style beats and fireside-warm musicality – but closing cut “April” is not far behind. Lay-Far has successfully re-imagined himself for Boogie Café and the results are little less than stunning.
The latest is Russian heavyweight Alexander Lay-Far, a producer whose blends of deep house, disco, boogie, soul, jazz and broken beat have appeared on labels including Local Talk, Atjazz, City Fly, Lazy Days, Leng and the In-Beat-Ween Music imprint he established in 2015.
The Moscow-based producer’s first outing on Boogie Café is entitled “Re-Imagine Yourself”; it seems a fitting name, because across the four sample-heavy tracks Lay-Far brilliantly joins the dots between disparate sounds and styles whilst retaining his trademark warmth and soul.
Check first “Embrace The Contradictions”, a deliciously sub-heavy broken beat number bristling with hazy Fender Rhodes chords, glassy-eyed female vocal snippets, funky samples, wobbly analogue bass motifs and cowbell patterns slyly sampled from a disco-boogie classic. Bustling breakbeat number “Spiral Movement” follows, with Lay-Far invoking the spirit of 1989 via dreamy chords, cut-up vocal blasts, short-sharp rave sirens and hip-house style beats.
The latter half of the EP is deliciously warm and woozy, with Lay-Far wrapping enveloping pads, ear-catching synthesizer flourishes and yearning melodies around off-kilter broken beats and sturdier sub-bass. Of the two tracks, it’s “Something Else” that’s arguably the most potent of the pair despite its’ inherent deepness – think Bugz In The Attic style beats and fireside-warm musicality – but closing cut “April” is not far behind. Lay-Far has successfully re-imagined himself for Boogie Café and the results are little less than stunning.
Recorded in a basement studio in Deer Park, New York - 1980. Mixed Company’s "Let’s Go Disco" is a relatively under the radar record, originally released on New York radio station WNBC 66’s compilation showcasing local talent. Thanks to meticulous archiving, Gene Lastorino was able to locate the original multi-track master tapes for the session which included a number of unreleased tracks. Gene also found lots of old photos and flyers, which you see grace the cover design courtesy of Charlotte McCrae.
Here, Rain&Shine present a 12” with the best unreleased tracks, edited for the dancefloor by Andrea Passenger. The original "Let’s Go Disco" is of course included, along with a Waxist multi-track edit and a groovin’ Frank Booker instrumental mix. Nice!
Here, Rain&Shine present a 12” with the best unreleased tracks, edited for the dancefloor by Andrea Passenger. The original "Let’s Go Disco" is of course included, along with a Waxist multi-track edit and a groovin’ Frank Booker instrumental mix. Nice!
Nick The Record & Dan Tyler return with the sixth mission of their esteemed series. The boys have nailed it this time with a quartet of tracks that stylishly traverse proto-house and wacked-out disco with flair and flamboyance, landing somewhere between Mark Seven, (Dan's) Idjut Boys and Felix Dickinson.
"Wordy Soca" is an electric affair with big boogie synths, a James Mason-esque proto-house drum pattern and large, killer bass.
"Noice" sees fizzy disco drums and an echo-drenched vox vie for attention on the master tape. With recording levels red hot and 'nuff saturation we're left with a scorched groove until Nick & Dan allow more of the quirky Jamaican vocal part through toward the end. Crazy. Good!
"Can You See My Big Pan" merges steel drum lines with classic disco drums for a tropical disco flurry of jovial, pleasant vibrations full of good vibes.
Finally, we get all the echo artifacts and tape delay detritus from second track, "Noice (Dub Debris)" for the more leftfield-learning, Idjuts-adoring DJs out there in the field...
Top stuff here and as always, limited copies so get those orders in quick folks!
"Wordy Soca" is an electric affair with big boogie synths, a James Mason-esque proto-house drum pattern and large, killer bass.
"Noice" sees fizzy disco drums and an echo-drenched vox vie for attention on the master tape. With recording levels red hot and 'nuff saturation we're left with a scorched groove until Nick & Dan allow more of the quirky Jamaican vocal part through toward the end. Crazy. Good!
"Can You See My Big Pan" merges steel drum lines with classic disco drums for a tropical disco flurry of jovial, pleasant vibrations full of good vibes.
Finally, we get all the echo artifacts and tape delay detritus from second track, "Noice (Dub Debris)" for the more leftfield-learning, Idjuts-adoring DJs out there in the field...
Top stuff here and as always, limited copies so get those orders in quick folks!
STAFF COMMENTS
Sil says: Floor fillers for the world music inclined DJ. Touching many genres and bringing the right amount of effects and elongation of breaks a la Todd Terje to make this an essential 12". Bomba!
Noema's last EP on his own, Magic Movement imprint was an absolute doozy, landing slap bang between shamanic house, cosmic and EBM flavours with a beguiling, mystic palette of sounds. He's back with some more music recorded on a recent trip top Sao Paulo and packing just as much punch as that previous volley. The title track translates a 90's Detroit house groove to the present day and adds cuica, berimbau and several other Brazilian drums on top. Riding the complex groove, you encounter eccentric synths, mysterious soundscapes and of course the horse, on this 11 minute long hack.
"Minhocao" trades the horse for a racing car and takes you on a cruise on the same-named elevated highway that leads through the city of Sao Paulo. Surrounded by driving beats, guitar single-notes, massive synth-bass howls and a gritty Moog theme, this jam is a hell of a joyride!
Khidja strips down the original title track to its core and creates a solely percussive version in a half-time groove. By adding a virtuoso qanon / saz-like sound the tune develops an arabesque flavour with a dubby bass as the cherry on the top.
"Minhocao" trades the horse for a racing car and takes you on a cruise on the same-named elevated highway that leads through the city of Sao Paulo. Surrounded by driving beats, guitar single-notes, massive synth-bass howls and a gritty Moog theme, this jam is a hell of a joyride!
Khidja strips down the original title track to its core and creates a solely percussive version in a half-time groove. By adding a virtuoso qanon / saz-like sound the tune develops an arabesque flavour with a dubby bass as the cherry on the top.
New Canoe and it's Nyra manning the paddles and he guides the vessel into the midst of a Belgium-themed warehouse rave! Two tracks that ride the arpeggios into a space disco oblivion ( "Every Electron" and "Atoms Of Joy" ), and two tracks that channel all the serotonin-flooding energies of a well synthesized ecstasy tablet ""Let's Trip Out", "Dusk Rider"), Nyra makes no effort to hide his influences.
Instead, across four track he pays tribute to his favourite moments from the seedier recesses of dance music history. The result is a highly affecting EP that should keep the majority of club goers and DJ's more than happy in the later moments of the sesh.
Instead, across four track he pays tribute to his favourite moments from the seedier recesses of dance music history. The result is a highly affecting EP that should keep the majority of club goers and DJ's more than happy in the later moments of the sesh.
STAFF COMMENTS
Sil says: More Canoe to satiate your weekly fix of techno breaks and rave nostalgia that is so much in vogue now! Solid and likely to really annoy your neighbours if you are residing in a two up two down terraced house!
Spaziale Recordings is born. Setting their sights on reissuing highly sought-after, obscure records, alongside providing fresh new interpretations of these classic gems, they kick things off with a bang. Presenting an official remastered limited edition reissue of a classic cosmic disco 12”, featuring extended disco versions of three superb Afro and Latin-flavoured tracks taken from John Ozila’s 1979 killer funk album "Boogie Salsa".
Released on French label Disques Vogue, the A side offers the highly infectious afro groove of "Funky Boogie", treasured by the likes of Horse Meat Disco, Dekmantel Soundsystem and Jack J. Previously a fiercely-guarded record collectors’ secret, the flip houses two great afro-cosmic, obscure disco versions of "Let’s Go Boogie" and "L’Orange Bleue" previously only available as album versions on the "Boogie Salsa" LP. Now fully remastered and cut loud and proud to 12 inch for maximum audio pleasure.
Released on French label Disques Vogue, the A side offers the highly infectious afro groove of "Funky Boogie", treasured by the likes of Horse Meat Disco, Dekmantel Soundsystem and Jack J. Previously a fiercely-guarded record collectors’ secret, the flip houses two great afro-cosmic, obscure disco versions of "Let’s Go Boogie" and "L’Orange Bleue" previously only available as album versions on the "Boogie Salsa" LP. Now fully remastered and cut loud and proud to 12 inch for maximum audio pleasure.
The sixth edition of the Pleasure of Love edit series features the Toronto based Patchouli Brothers (GAMM, Basic Fingers, Barefoot Beats, Tugboat). The duo have a long running disco & house party called Beam Me Up and have a proven track record of slicing up and distilling rare, underappreciated cuts into peak time dance floor gems.
The A1 is a raw, driving Côte d'Ivoire disco revision with excellent celebratory vocal loops and synth leads. Next up is a smooth italo, tip-tap, jam re-edited to perfection, highlighting the sophisticated horn and lead synth interplay.
On the flip is a rubbery synth bass led soca jam that will set off just about any party with its catchy vocals and tension/release re-arrangement. And rounding out the release is a dutch disco call and response re-edit detailing a common thread in the dancer-DJ relationship. Dancefloor tested and approved!
The A1 is a raw, driving Côte d'Ivoire disco revision with excellent celebratory vocal loops and synth leads. Next up is a smooth italo, tip-tap, jam re-edited to perfection, highlighting the sophisticated horn and lead synth interplay.
On the flip is a rubbery synth bass led soca jam that will set off just about any party with its catchy vocals and tension/release re-arrangement. And rounding out the release is a dutch disco call and response re-edit detailing a common thread in the dancer-DJ relationship. Dancefloor tested and approved!
The brothers Dewaele (of Soulwax fame) keep the Deewee bangers coming courtesy of he solo debut from their Brasilian buddy Phillipi. Earlier this year São Paulo duo Phillipi & Rodrigo dropped their beautifully uplifting debut album ‘Paciencia’, which scored all sorts of plaudits all over the place, including your favourite record shop (Ah-thankyou!). While ‘Paciencia’ pulsated with a euphoric beach party vibe, Phillipi’s solo project explores much darker territory. By uncompromisingly maximising the bass alongside a relentless beat, lead track ‘São Paulo’ is immediately oppressive and ominous. That intensity only amplifies as it’s blown open with tribal percussion, almost whispered vocals and glitchy synth stabs. ‘Vibe De Verao’ then takes a more progressive approach, with minimalist techno constantly evolving in surprising and inventive ways.
The EP’s second half extends Phillipi’s impossible-to-pigeonhole approach. In complete contrast to the preceding tracks, ‘9000’ is cinematic in scope and lighter in tone, feeling like the score to a lost ‘70s sci-fi cult classic that’s been reworked for 2019. And ‘Gelo Seco’ caps an unorthodox sonic adventure by setting a spliced, stuttered vocal simple around a dancefloor-friendly soundscape - making the title, the Portuguese phrase for dry ice, entirely appropriate. As with all DEEWEE releases, ‘Amadurecimento’ was recorded, produced and mixed at the label’s inspiring headquarters Ghent, Belgium.
The EP’s second half extends Phillipi’s impossible-to-pigeonhole approach. In complete contrast to the preceding tracks, ‘9000’ is cinematic in scope and lighter in tone, feeling like the score to a lost ‘70s sci-fi cult classic that’s been reworked for 2019. And ‘Gelo Seco’ caps an unorthodox sonic adventure by setting a spliced, stuttered vocal simple around a dancefloor-friendly soundscape - making the title, the Portuguese phrase for dry ice, entirely appropriate. As with all DEEWEE releases, ‘Amadurecimento’ was recorded, produced and mixed at the label’s inspiring headquarters Ghent, Belgium.
STAFF COMMENTS
Sil says: Brazilian, playful and dancefloor friendly. It does not get hotter than this. And it has to be on the great Deewee label. You need this!The Berlin-based Pina collective drop their second seven inch to date. While the first one seemed focused on the magic of the re-edit / mash-up, volume two of their craft seems intent on delivering pumping mainline house music.
Two tracks that should appeal to fans of Tiger & Woods, Shir Khan and Eddie C with their playful, loopy, sample-based sound.
Limited quants - move quick!
Two tracks that should appeal to fans of Tiger & Woods, Shir Khan and Eddie C with their playful, loopy, sample-based sound.
Limited quants - move quick!
Brand new album from stand alone producer RAMZi whose totally unique and enticing sounds have garnered her some loyal support amongst the more ritualist and shamanic music adventurers.
Latest LP "Multiquest Niveau 1: Camouflé", sees eleven different compositions that poke at the otherworldly and ethereal. Unusual melodic motifs clash with found sounds, AM radio chatter and a backdrop of stimulating frequencies - whether it be gentle, tuned subs or the pitter patter of celestial wind chimes. There's a holographic and hallucinatory nature to the whole piece, like you're looking through the dimensions of a philosopher's stone into events past, present and all-encompassing. RAMZI's allure is in the mystic and unspoken, in strange rhythms andsonic witch craft. "Multiquest Niveau 1: Camouflé" details the beguiling soundscape beautifully, and by the end of the release you feel like you've explored new lands...
Highly recommended!
Latest LP "Multiquest Niveau 1: Camouflé", sees eleven different compositions that poke at the otherworldly and ethereal. Unusual melodic motifs clash with found sounds, AM radio chatter and a backdrop of stimulating frequencies - whether it be gentle, tuned subs or the pitter patter of celestial wind chimes. There's a holographic and hallucinatory nature to the whole piece, like you're looking through the dimensions of a philosopher's stone into events past, present and all-encompassing. RAMZI's allure is in the mystic and unspoken, in strange rhythms andsonic witch craft. "Multiquest Niveau 1: Camouflé" details the beguiling soundscape beautifully, and by the end of the release you feel like you've explored new lands...
Highly recommended!
STAFF COMMENTS
Matt says: RAMZi pours more heady & noxious content into her cauldron of sonic witchcraft resulting in an extremely transportative journey.
In 1980, dutch outfit Renée came out with the album “Reaching for the sky". It`s made of delicate pop-songs, with lovely little hooks and ice cold guitars. From songs that sounds almost ABBA, to more Reggae-sounding stuff, and avant pop. In the middle of it all you`ll find Anja Nodelijks hypnotic voice. One the album's killer cuts is the song “Change Your Style", already a semi-classic on the Balearic scene (and frequent flyer in Patch's Coastin' sessions). The song can probably be described as “wonky pop funk", with a twist. On the A-side you get the original. On the B-side Prins Thomas has stretched the greater parts, giving the song the length it probably deserves. Almost six minutes of bliss.
From the people who brought you Disques Sinthomme and Ghost Town comes a new imprint LESDK. Bringing back that NYC Lower East Side grime, LESDK will feature edits as well as new work from Dennis Kane and his immediate circle.
Starts off side A with "Real" - a soulful disco romp that has a gospel force as well as a powerful vocal performance. The song grooves from its first beat, and pushes the energy as it builds. The edit work here comes from one of the OG's of serious digging, Senior Reyes aka Jersey Pete.
Side B brings "Action" as its first track, complementing the A Side, this is some dirty late night Philadelphia bar nastiness, mentholated disco with a humid female vocal. Closing off the side is "Motion", a slice of cosmic funkiness that laments a love that is not happening while a thick bassline moves the proceedings along. This song has heartbreak and the haze of an early morning on the dancefloor.
Dennis Kane is a DJ and producer based in NYC, he has run the Disques Sinthomme and Ghost Town labels and is also a partner in the recording group SIREN, (with Darshan Jesrani) on Compost records.
Kane has produced numerous tracks and done remix work for Cantoma, Liz Torres, The Phenomenal Handclap Band, and Hokis Pokis among others.
He has been a DJ in NYC since the mid 90's holding down numerous residencies and touring worldwide.
Starts off side A with "Real" - a soulful disco romp that has a gospel force as well as a powerful vocal performance. The song grooves from its first beat, and pushes the energy as it builds. The edit work here comes from one of the OG's of serious digging, Senior Reyes aka Jersey Pete.
Side B brings "Action" as its first track, complementing the A Side, this is some dirty late night Philadelphia bar nastiness, mentholated disco with a humid female vocal. Closing off the side is "Motion", a slice of cosmic funkiness that laments a love that is not happening while a thick bassline moves the proceedings along. This song has heartbreak and the haze of an early morning on the dancefloor.
Dennis Kane is a DJ and producer based in NYC, he has run the Disques Sinthomme and Ghost Town labels and is also a partner in the recording group SIREN, (with Darshan Jesrani) on Compost records.
Kane has produced numerous tracks and done remix work for Cantoma, Liz Torres, The Phenomenal Handclap Band, and Hokis Pokis among others.
He has been a DJ in NYC since the mid 90's holding down numerous residencies and touring worldwide.
Nineteen tracks of Russell’s most personal work. Featuring collaborations with a stacked roster of downtown New York musicians. More than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing.
Over the past decade, the visionary musician Arthur Russell has entered something close to the mainstream. Sampled and referenced by contemporary musicians, his papers now open to visitors at the Performing Arts Library at Lincoln Center in New York, and his name synonymous with a certain strain of tenderness, Russell is as widely known as he’s ever been.
Thanks to Russell’s partner Tom Lee and to Steve Knutson of Audika Records, who have forged several records from Russell’s vast archive of unfinished and unreleased work, the world now hears many versions of Arthur Russell. There’s the Iowa boy, the disco mystic, the singersongwriter and composer, and the fierce perfectionist deep in a world of echo. While all of these elements of Russell are individually true, none alone define him. Now, after ten years of work inside the Russell library, Lee and Knutson bring us Iowa Dream, yet another bright star in Russell’s dazzling constellation. Blazing with trademark feeling, these nineteen songs are a staggering collection of Russell’s utterly distinct songwriting.
And although Russell could be inscrutably single-minded, he was never totally solitary. Collaborating here is a stacked roster of downtown New York musicians, including Ernie Brooks, Rhys Chatham, Henry Flynt, Jon Gibson, Peter Gordon, Steven Hall, Jackson Mac Low, Larry Saltzman, and David Van Tieghem. Musician Peter Broderick makes a contemporary addition to this list: more than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing.
Patrick says: This collection of previously unheard demos and sketches, diligently restored, completed and compiled by Peter Broderick finds the genre-fluid outlier in cornbelt-country mode, treating us to tender ballads, aching Americana and dreamy power pop across four sides. I didn't need any more convincing that he was a once in a lifetime talent, but the brilliance of this set is making my soul hurt.
Over the past decade, the visionary musician Arthur Russell has entered something close to the mainstream. Sampled and referenced by contemporary musicians, his papers now open to visitors at the Performing Arts Library at Lincoln Center in New York, and his name synonymous with a certain strain of tenderness, Russell is as widely known as he’s ever been.
Thanks to Russell’s partner Tom Lee and to Steve Knutson of Audika Records, who have forged several records from Russell’s vast archive of unfinished and unreleased work, the world now hears many versions of Arthur Russell. There’s the Iowa boy, the disco mystic, the singersongwriter and composer, and the fierce perfectionist deep in a world of echo. While all of these elements of Russell are individually true, none alone define him. Now, after ten years of work inside the Russell library, Lee and Knutson bring us Iowa Dream, yet another bright star in Russell’s dazzling constellation. Blazing with trademark feeling, these nineteen songs are a staggering collection of Russell’s utterly distinct songwriting.
And although Russell could be inscrutably single-minded, he was never totally solitary. Collaborating here is a stacked roster of downtown New York musicians, including Ernie Brooks, Rhys Chatham, Henry Flynt, Jon Gibson, Peter Gordon, Steven Hall, Jackson Mac Low, Larry Saltzman, and David Van Tieghem. Musician Peter Broderick makes a contemporary addition to this list: more than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing.
STAFF COMMENTS
Patrick says: P.S. Disco fans need to check the mega "I Kissed The Girl From Outer Space!Patrick says: This collection of previously unheard demos and sketches, diligently restored, completed and compiled by Peter Broderick finds the genre-fluid outlier in cornbelt-country mode, treating us to tender ballads, aching Americana and dreamy power pop across four sides. I didn't need any more convincing that he was a once in a lifetime talent, but the brilliance of this set is making my soul hurt.
Lyon based, Better Listen Records, connects Ethyène and Saint Paul, who unite for a split four tracker soundly in the tasteful, disco-house vein of their Moonrise Hill Material crew.
Saint Paul takes care of side A, with Ableton-friendly renditions of modern disco-house that bang and twerk in all the right places.
Ethyene takes the wheel for side B,with two pumpin' house jams that should appeal to fans of Shir Khan, Finn (2B Real) and vintage MAW.
Saint Paul takes care of side A, with Ableton-friendly renditions of modern disco-house that bang and twerk in all the right places.
Ethyene takes the wheel for side B,with two pumpin' house jams that should appeal to fans of Shir Khan, Finn (2B Real) and vintage MAW.
More new & unsanctioned hi-grade disco juice here from Hot Peaz 'N Butter who enlist Thatmanmonkz and Simba for a double-headed outing around the glitterball. A combination of riotous, fiery disco, a keen ear for the under-represented and some natural talent on the console means all four of these crafty edits are certified highly combustible!
Hand-stamped vinyl only 12" series in serious limited supply. Cop now or cry later!
Hand-stamped vinyl only 12" series in serious limited supply. Cop now or cry later!
STAFF COMMENTS
Sil says: Organic funk, soul and beyond treated respectfully by Simba and co. Four cuts that will leave you wanting for more.More stuff from The Reflex, France-via-London's no. 1 edit technician. You surely know the drill by now? One of the more considered cats who strictly uses original stems and source material for his edits, his versions have garnered fans right across the world including Noel Gallagher, Nile Rogers, Francois K and Dimitri From Paris!
Two re-jigs decorate the seven: the feel-good stomp and swing of "Good High" is full to the brim of organic instrumentation - horns, guitars, strings, bass and a chorus of vocals working to create a heady funk jam; while "Engine #9" sees James Brown vox meet Etta James instrumentation for a fiery funk jam that'll get hips swaying in unison across the floor....
Top drawer stuff as always!
Two re-jigs decorate the seven: the feel-good stomp and swing of "Good High" is full to the brim of organic instrumentation - horns, guitars, strings, bass and a chorus of vocals working to create a heady funk jam; while "Engine #9" sees James Brown vox meet Etta James instrumentation for a fiery funk jam that'll get hips swaying in unison across the floor....
Top drawer stuff as always!
Causing shock waves across Trafalgar Square at the recent People’s Vote March this ludicrously large, galactic gem finally sees the light of day on 12”, backed with a rapturous disco roof raiser. The crescendo to a protest and a track that many have been scouring the internet for ever since, "Baby Baby Please" couples a huge ‘70s vocal with a perfectly accompanied stomping ‘80s arp-laden beat to create a record that will light the fire of revolution in even the most indifferent of souls.
Flip it over for a cosmic-tinged, disco powerhouse in the form of "True Destiny". Think glitz, glam and downright unadulterated ecstasy, channelled from disco’s glory days to the modern dancefloor at the drop of a needle.
Like the track, support the movement - donations will be made to the cause.
Buy now... be the 3rd person to play it...
Flip it over for a cosmic-tinged, disco powerhouse in the form of "True Destiny". Think glitz, glam and downright unadulterated ecstasy, channelled from disco’s glory days to the modern dancefloor at the drop of a needle.
Like the track, support the movement - donations will be made to the cause.
Buy now... be the 3rd person to play it...
Kobza Vajk is a Hungarian self-taught psychedelic folk musician who has been playing the oud and other obscure stringed instruments, like kithara or the lute for more than 15 years.
His main influences are folk and ancient music of all kinds, which he unites with his contemporary approach of composing and the oriental technique he plays his instruments with.
This release focuses on his original work from the late 2000's with a few reinterpretations coming from established e-music producers.
The title track is a live recording from 2008, perfectly setting the mood for the whole EP: psychedelic shaman music with powerful oud chords and a hypnotic Middle Eastern atmosphere.
In his remix Dutch producer, Perdu keeps one of the main patterns of the original but by adding some extra percussion he turns it into an entranced tribal banger. Next up is Multi Culti boss, Dreems, who revisited one of the most famous Hungarian folk songs creating a uniquely interesting piece with dubish subs and the twisted main melody. The final track is a more carefully tempered yet driving remix by Hungarian producer and Budabeats staple, Bete (aka Suhov).
His main influences are folk and ancient music of all kinds, which he unites with his contemporary approach of composing and the oriental technique he plays his instruments with.
This release focuses on his original work from the late 2000's with a few reinterpretations coming from established e-music producers.
The title track is a live recording from 2008, perfectly setting the mood for the whole EP: psychedelic shaman music with powerful oud chords and a hypnotic Middle Eastern atmosphere.
In his remix Dutch producer, Perdu keeps one of the main patterns of the original but by adding some extra percussion he turns it into an entranced tribal banger. Next up is Multi Culti boss, Dreems, who revisited one of the most famous Hungarian folk songs creating a uniquely interesting piece with dubish subs and the twisted main melody. The final track is a more carefully tempered yet driving remix by Hungarian producer and Budabeats staple, Bete (aka Suhov).
STAFF COMMENTS
Matt says: Deep shamanic voodoo for our trusty section here as Hungarian musician Kobza Vajk is remixed by a top drawer selection of talent. Sacrifice of a farm animal is optional.
Cult label Belters storm the dancefloor one more time with a quartet of killers from their Lithuanian pal Zoé Zoe. Boffins may recognize "Kalista" from the label's Dekmantel podcast - it now getting its first vinyl outing.
Octave bass, fx-soaked vox and heart swelling chords can only mean one thing - new Italo for the masses! Get yerself down to Bargin Booze and stock up on a crate of poppers - you're gonna need 'em when this one drops! Power thrusts for the midnight hour...."Quark" switches tact and deploys some dry Cornish acid a la Ceefax, RX-101, Squarepusher etc.
The internet breaking "Kalista" kicks off side B, a deep space acid serenade for a sci-fi love story; while the clinking, clanking mechanical madness of "Hubble Deep Field", closes off the record with an intrinsic and trickski cosmic drug-chugger. Check!
Octave bass, fx-soaked vox and heart swelling chords can only mean one thing - new Italo for the masses! Get yerself down to Bargin Booze and stock up on a crate of poppers - you're gonna need 'em when this one drops! Power thrusts for the midnight hour...."Quark" switches tact and deploys some dry Cornish acid a la Ceefax, RX-101, Squarepusher etc.
The internet breaking "Kalista" kicks off side B, a deep space acid serenade for a sci-fi love story; while the clinking, clanking mechanical madness of "Hubble Deep Field", closes off the record with an intrinsic and trickski cosmic drug-chugger. Check!
12 Bombazos Bailables budget sampler album compiling 12 take-no-prisoners dancefloor tracks from the Discos Fuentes vast catalogue that turns 85 this year. Cumbia, hard salsa, descarga and more. A perfect introduction to the Discos Fuentes reissue series and a very convenient DJ tool, every track is a winner! Featuring names such as Los Supremos, Conjunto Miramar, Michi Sarmiento Y Su Combo Bravo, Fruko Y Sus Tesos, Peregoyo Y Su Combo Vacana, Adolfo Echeverria Y Su Orquesta.
Various Artists
Attack The Dancefloor Vol. 15 Inc. The O'jays / Joey Negro / Doug Willis / Sunkids / Chance / Double Exposure
Z Records
"Attack the Dancefloor Vol.15" features four new remixes from the people's champion Joey Negro.
First up is his thunderous rework of the O’Jays boogie classic "Put Our Heads Together" done from the original multitracks in RWL style. The 2020 update of Doug Willis "Dancin" features rattling percussion and full live disco sound.
Sunkids soulful house staple featuring Aretha soundalike Chance receives a powerful bassline driven remix. Whilst the much sampled '"Everyman" by Double Exposure (as heard in Salsoul Nugget) has been give a more up-tempo make over that emphasizes the familiar sections of the instrumentation whilst still using the full vocal.
An Essential 12 Inch that's for sure.
First up is his thunderous rework of the O’Jays boogie classic "Put Our Heads Together" done from the original multitracks in RWL style. The 2020 update of Doug Willis "Dancin" features rattling percussion and full live disco sound.
Sunkids soulful house staple featuring Aretha soundalike Chance receives a powerful bassline driven remix. Whilst the much sampled '"Everyman" by Double Exposure (as heard in Salsoul Nugget) has been give a more up-tempo make over that emphasizes the familiar sections of the instrumentation whilst still using the full vocal.
An Essential 12 Inch that's for sure.
Ever-reliable edit stable The Very Polish Cut Outs have already successfully branched out Soviet and Yugoslavian territories, and now head honcho Zambon casts his net across the whole of Eastern Europe, returning with a brand new EP of off-grid disco, Balearic, electro and funk. All 4 cuts have been re-edited by well-known and long-term label associates such as Old Spice, Beard In Dust (aka Lipelis), Kompleks and Krjuk. Their reworks give brand new life to the original tracks that come from Czechoslovakia, Yugoslavia and the USSR. Czech disco? Check! Serbian Punk funk? Check! Russian electro? Check! Estonian balearic house? Check! This is without a doubt a versatile 4 tracker, that you will spin 4 times at 1 party at different hours of your set. Eastern Europe might not be the future but the edits surely are excellent.
STAFF COMMENTS
Patrick says: Those Very Polish peeps cast the net across the whole of Eastern Europe on their latest 12", serving us four fully under the radar heaters, retreated for dance floor success. Big new wave disco on the A1, sleazy and slow-jamming e-funk on the A2, punk funk power on your B1 and body popping bizzness to close - all killer, no filler folks!
For Music For Dreams’ collector’s series, the Danish label aim to bring us something a little different, something a little out there. After eclectic contributions from Jan Schulte, Moonboots and most recently Basso, they now lend the slot to Belgian sonic globetrotter DJ soFa. As always, he’s been granted supreme curatorial sovereignty, and the man held them to that one. For "Elsewhere Jr I", soFa takes us on a trip to the alluring and magical reality of childhood - and a trip, it is. The double LP features both new and old compositions from a wide range of countries, all centered around the youngest citizens of planet earth. The compilation has been 2.5 years in the making, with soFa collecting obscure pieces from all over the world and inspiring young collaborators to produce new tracks mostly by means of analogue synthesizers and vintage drum machines. The result is a thematically and sonically homogenous collage of cosmic children’s music.
soFa starts us off with Milo Kolarov’s exercise in sonic imagery ‘Analogue Beam’, a story about animal characters, presented to us as distinct motifs of bleeps and blitzes. Next up is the surreal jigsaw puzzle dub ‘Totti und Pippo’ by Jah Limonardi Und Die KleineGräfinDubski. Here, we come bouncing on giant, iridescent mushrooms, lulled deeper and deeper down the rabbit hole by incantations of a child’s voice. Throughout, the record is full of these synaesthetic properties, immersing the listener in creative ways, nudging you down hidden experiential pathways. On the surface, soFa’s selections are pleasantly engaging, often blooming with charming grooves and whimsical melody. But then occasionally something else creeps into picture, some alien trace imbuing the unassuming tunes with a spectral strangeness. Take for example ‘Der KleineRoboter’ by VolkersMusikspiele. Here we’ve got a classroom of children performing a cheerful verse about being little robots, suspended beneath the droning of an icy locomotive synth. Two layers, subverting and transmuting each other.
On the B- and C-side, our host for the hour spins us into a 16-bit midi mania straight outta the 90’s Nintendo-sphere. PallaTemplouf’s ‘Ping enKeun’ evokes the ominous mood of unknown threats lurking behind every corner, while Jan Turkenburg’s ‘In Hyperspace’ takes us through uncharted galaxies searching for lost space-treasures. On the final side, we’ve gone through the chocolate factory and come out the other side a bit less dazed and a bit more habituated to the weirdness of it all. PM Production’s ‘Pêle-Mêle’ twists a non-sense nursery rhyme mantra around a trudging bassline, while Thomas Natschinksi’s ‘Robotertanz’ returns to the robot-theme in a 70’s-inspired, hypnagogic space-funk-ballad. One of the few songs on the compilation that actually sounds like something out of the vast rock-pop continuum we’re familiar with.
Elsewhere Jr I is a record that simultaneously infuses your reality with harlequin mystique and reminds you of what goes lost in the integration into the adult society. It’s both hyperreal and magical, with important lessons for young and old alike in an increasingly disenchanted world. Definitely something you haven’t heard before.
soFa starts us off with Milo Kolarov’s exercise in sonic imagery ‘Analogue Beam’, a story about animal characters, presented to us as distinct motifs of bleeps and blitzes. Next up is the surreal jigsaw puzzle dub ‘Totti und Pippo’ by Jah Limonardi Und Die KleineGräfinDubski. Here, we come bouncing on giant, iridescent mushrooms, lulled deeper and deeper down the rabbit hole by incantations of a child’s voice. Throughout, the record is full of these synaesthetic properties, immersing the listener in creative ways, nudging you down hidden experiential pathways. On the surface, soFa’s selections are pleasantly engaging, often blooming with charming grooves and whimsical melody. But then occasionally something else creeps into picture, some alien trace imbuing the unassuming tunes with a spectral strangeness. Take for example ‘Der KleineRoboter’ by VolkersMusikspiele. Here we’ve got a classroom of children performing a cheerful verse about being little robots, suspended beneath the droning of an icy locomotive synth. Two layers, subverting and transmuting each other.
On the B- and C-side, our host for the hour spins us into a 16-bit midi mania straight outta the 90’s Nintendo-sphere. PallaTemplouf’s ‘Ping enKeun’ evokes the ominous mood of unknown threats lurking behind every corner, while Jan Turkenburg’s ‘In Hyperspace’ takes us through uncharted galaxies searching for lost space-treasures. On the final side, we’ve gone through the chocolate factory and come out the other side a bit less dazed and a bit more habituated to the weirdness of it all. PM Production’s ‘Pêle-Mêle’ twists a non-sense nursery rhyme mantra around a trudging bassline, while Thomas Natschinksi’s ‘Robotertanz’ returns to the robot-theme in a 70’s-inspired, hypnagogic space-funk-ballad. One of the few songs on the compilation that actually sounds like something out of the vast rock-pop continuum we’re familiar with.
Elsewhere Jr I is a record that simultaneously infuses your reality with harlequin mystique and reminds you of what goes lost in the integration into the adult society. It’s both hyperreal and magical, with important lessons for young and old alike in an increasingly disenchanted world. Definitely something you haven’t heard before.
STAFF COMMENTS
Patrick says: MFD hand the controls over to DJ soFa for the latest instalment of their Collectors Series, and the Elsewhere man continues his search for strange synthwave and cosmic pop, but refines his focus on children's songs. Any chump out there writing this off as twee needs to check their attitude and the clips - might I suggest you start with the masterful "Robotertanz".
The motor hasn’t had time to cool down and the belt drive is feeling the fatigue. But Charles Maurice is the kind of DJ who just can’t let a turntable rest. After steaming up the slipmat with three sexy compilations of French Boogie, Charles Maurice is back with Volume 4.
In the late 70s and early 80s, while France was still firmly tuned into variety-show pop, a few enlightened ears and souls picked up the hypnotic beat of funk from across the Atlantic. These first warrior monks spread the good word in discotheques, jumped on newly available frequencies to fill the airwaves and, in some cases, took up instruments themselves to unabashedly build on the U.S. model.
In a short decade stretching from the late 70s to the late 80s – just a blip on the scale of music history – they turned out material in abundance. Lush productions with colorful covers, groovy typeface and creative photo shoots…
But first and foremost, they made music weaned on, spoon-fed and imbued with funk. Music defined by a groove with a robotic beat (Djeneba) that clearly hears hip-hop banging on the door, where layers of synthesizers, handclaps (Eric Chotteau), horns and African percussion line up and follow the all-powerful lead of the swelling slap bass (Cyrill). Music that tells everyday stories, both humorous and lovelorn (Serge Delisle), and often packed with pheromones just waiting to be released on the dance floor or sofa (Chris O’Hara). Shaped by synthetic textures, these productions are also spiced with Caribbean and Creole arrangements that reflect the West Indies’ critical contribution to French Boogie (Wai Kop, Acayouman).
With his immaculate tailoring, slicked back hair and clipped moustache, Charles Maurice has once again transformed himself into a HiFi stylus to explore the groove traced by this specifically French musical style. From 45 to 33 rpm, he has traveled the black spiral to bring us a new selection that proudly features a number of rarely heard pieces and even an unreleased track by Marco Attali. True to form, Monsieur Charles carefully crafted this fourth volume from his personal collection of impeccably restored and mastered vinyl recordings.
Charles Maurice, where French elegance meets uncompromising musical taste.
In the late 70s and early 80s, while France was still firmly tuned into variety-show pop, a few enlightened ears and souls picked up the hypnotic beat of funk from across the Atlantic. These first warrior monks spread the good word in discotheques, jumped on newly available frequencies to fill the airwaves and, in some cases, took up instruments themselves to unabashedly build on the U.S. model.
In a short decade stretching from the late 70s to the late 80s – just a blip on the scale of music history – they turned out material in abundance. Lush productions with colorful covers, groovy typeface and creative photo shoots…
But first and foremost, they made music weaned on, spoon-fed and imbued with funk. Music defined by a groove with a robotic beat (Djeneba) that clearly hears hip-hop banging on the door, where layers of synthesizers, handclaps (Eric Chotteau), horns and African percussion line up and follow the all-powerful lead of the swelling slap bass (Cyrill). Music that tells everyday stories, both humorous and lovelorn (Serge Delisle), and often packed with pheromones just waiting to be released on the dance floor or sofa (Chris O’Hara). Shaped by synthetic textures, these productions are also spiced with Caribbean and Creole arrangements that reflect the West Indies’ critical contribution to French Boogie (Wai Kop, Acayouman).
With his immaculate tailoring, slicked back hair and clipped moustache, Charles Maurice has once again transformed himself into a HiFi stylus to explore the groove traced by this specifically French musical style. From 45 to 33 rpm, he has traveled the black spiral to bring us a new selection that proudly features a number of rarely heard pieces and even an unreleased track by Marco Attali. True to form, Monsieur Charles carefully crafted this fourth volume from his personal collection of impeccably restored and mastered vinyl recordings.
Charles Maurice, where French elegance meets uncompromising musical taste.
STAFF COMMENTS
Millie says: French Disco Boogie Sounds Vol.4 brings us some of the best tracks yet, from Dwight Druick to Cyrill there’s no holding back on Volume 4 with full blasts of disco groove and funk for all.
Rush Hour announces their second artist compilation Patchwork, curated by one of the label’s most loved family members, Sassy J. The Swiss DJ is the very embodiment of passion and long-standing dedication to the craft of the DJing, but also to the community surrounding the music that she lives and breathes. For the past fourteen years Sassy J has run the Patchwork night in her native Bern and in London, with guests ranging from Theo Parrish and Little Dragon to Floating Points and MF Doom invited to share their respective musical visions. Her collaborative approach stands out in a DJ world that is too often weighted in favour of promoting the individual. This compilation grows out that unique sensitivity, foregrounding a theory of curation that centres on long-term bonds, articulated through Sassy J’s personal relationships with the contributing artists.
Patchwork speaks to the grass roots values that Sassy J espouses, showcasing music by many of the artists that have joined her throughout the years in clubs, on the radio, and at home. It is an expression of Sassy J’s individual musical path that casts its gaze firmly in the future: Patchwork is made up almost entirely of new and unreleased songs that are exclusive to this collection. Patchwork captures a sound that has continued to evolve in its restless search for new musical directions. Across ten tracks we find forward thinking electronic music rubbing elbows with cosmic jazz and deep percussion workouts from Brazil and beyond.
There are irresistible calls to the dancefloor: 2000 Black’s UK boogie, whilst the early rave of Nu Era and Aardvarck’s sub-rattling techno channel the grittier edges of the club experience. We find machine music imbued with humanity in Larry Heard’s deep house classic “Survivor” and in Ron Trent’s WARM project, whose gentle breeze points to a different side of the legendary producer. Patchwork also opens a more immersive listening space in which the radical indie soul of Georgia Anne Muldrow. Patchwork also includes Sassy J’s collaboration with veteran producer Alex Attias, marking her own place in a universe that is held together by her singular thread.
Patchwork is compiled by Sassy J and features ten exclusive tracks. It will be released on 2xLP, CD and digital formats on december 9th, on Rush Hour Records.
Patchwork speaks to the grass roots values that Sassy J espouses, showcasing music by many of the artists that have joined her throughout the years in clubs, on the radio, and at home. It is an expression of Sassy J’s individual musical path that casts its gaze firmly in the future: Patchwork is made up almost entirely of new and unreleased songs that are exclusive to this collection. Patchwork captures a sound that has continued to evolve in its restless search for new musical directions. Across ten tracks we find forward thinking electronic music rubbing elbows with cosmic jazz and deep percussion workouts from Brazil and beyond.
There are irresistible calls to the dancefloor: 2000 Black’s UK boogie, whilst the early rave of Nu Era and Aardvarck’s sub-rattling techno channel the grittier edges of the club experience. We find machine music imbued with humanity in Larry Heard’s deep house classic “Survivor” and in Ron Trent’s WARM project, whose gentle breeze points to a different side of the legendary producer. Patchwork also opens a more immersive listening space in which the radical indie soul of Georgia Anne Muldrow. Patchwork also includes Sassy J’s collaboration with veteran producer Alex Attias, marking her own place in a universe that is held together by her singular thread.
Patchwork is compiled by Sassy J and features ten exclusive tracks. It will be released on 2xLP, CD and digital formats on december 9th, on Rush Hour Records.
FORMAT INFORMATION
LP Info: Limited gatefold edition of 500 copies, including bonus 7"
It was well deserved and thank you for the support 🙏
https://t.co/WnMbAoPs3z
@whlungmusic @MelodicRecords https://t.co/AzSMgbySgI
Sat 14th - 11:32
Sat 14th - 11:32
Open and ready for the second to last Saturday of shopping before Xmas.
We have plenty of vinyl, CDs, box sets, bo… https://t.co/DlnMSVH8e4
Sat 14th - 11:04
Sat 14th - 11:04
Calling all @KillingEve fans. We have a brand new banner up today to celebrate the release of season one and two o… https://t.co/dBRC61YrWi
Fri 13th - 1:25
Fri 13th - 1:25
🎁 FESTIVE FRIDAY🎁
Three essential Xmas albums here from
@lowtheband - ‘Christmas’
https://t.co/lSsF4k2JeF)
Phi… https://t.co/eTYp85NeXK
Fri 13th - 12:57
Fri 13th - 12:57
RT @heymanchester: Night Of The Worm Moon by @laluzers' Shana Cleveland is @PiccadillyRecs' #6 album of the year - 'Recommended if you like…
Fri 13th - 10:28
Fri 13th - 10:28
Sign up