disco . italo . cosmic . disco-not-disco . boogie
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The sixth edition of Paris Edits is here and Young Pulse is getting more soulful for every release and this time he's re-tweaked a Dee Dee Bridgewater Jazz-funk cut and a super soulful L.T.D. classic.
Top of the line audio quality that will sound absolutely gorgeous on a proper sound system.
Nice label art as well!
Top of the line audio quality that will sound absolutely gorgeous on a proper sound system.
Nice label art as well!
Sons Of Slum released three singles on Stax and Gamma in the 1970s when they were reputed to be Chicago's finest live band of their time, the band broke up in 1978. 'Music Is Message' is a high-octane funk and soul crossover jam which has the potential to be a future classic. On the flip the tempo is lowered and a rasping horn supplements the killer groove with a smoothing vocal delivery.
What's that?! THREE new Star Creature sevens in one week? Ambassador, you are really spoiling us!
Old pal Saucy Lady comes correct with U-Key and brings the party home with "It's All Here".
Meanwhile label stalwart Shiro Schwartz is on hand to remix said track...
It's a big bad boogie banger make no mistake! And completely necessary for your burgeoning boogie and modern funk collection - don't miss out!
Old pal Saucy Lady comes correct with U-Key and brings the party home with "It's All Here".
Meanwhile label stalwart Shiro Schwartz is on hand to remix said track...
It's a big bad boogie banger make no mistake! And completely necessary for your burgeoning boogie and modern funk collection - don't miss out!
Powder is an alchemist of time. Her ceremonious DJ sets invite listeners and dancers to extend their imaginations to abstracted spaces, while allowing the body to vessel the voyage in free, flowing style. Playful, thoughtful, and natural without knowing, Powder’s crates encourage abandonment of arbitrary boundaries and expectations surrounding genre, movement, schedule, and societal convention to revel, spirited and harmonious, in the passage of time.
Momoko Goto relocated from her hometown of Nagasaki, Japan to Tokyo in 2011. This is where the story of Powder, as the international dance music community knows her, begins. With the change in location came a change in lifestyle, where a balance of 9-to-5 office life and sacred, nocturnal recording sessions invited Moko to reflect on music’s unique ability to “stop the clock” and “expand or shrink our sense of time.”
While many workers across the world feel the pressure of artificially controlled measurements of time, Moko’s musical mission to transcend these weighty associations, to shed light on the positive possibilities of passing time, resonates far past her island’s shores. Experiencing the pleasure that comes from physical and emotional transformation. Creating and nurturing memories.
In embracing these positive properties of time, Powder uses the hypnotic language of patterns to communicate with listener-dancers. Patterns represent the meter by which bodies are compelled to move; they also represent a method for collection and organization of sound, where the cohesive stylistic and historical narrative of different pieces of music are laid over one another transforming both intimate and universal moments into a dreamy, experiential, and endlessly interpretable whole.
Moko notes that patterns, “are always ancillary and never playing the leading part of things, and the patterns themselves recognize this fact and act low-key.” This interpretation of sound and rhythm mirrors critical aspects of underground club culture, such as collective energy-making and protection, togetherness over spectacle, the layering of multiple bodies, and narratives upon one another in ecstasy.
Since her debut release on Born Free Records, 2015’s Spray, Powder’s sound has flirted with numerous unconventional dance institutions and outlets, releasing on ESP Institute, Wichelroede and the Cocktail D’amore imprint, as well as regularly contributing to the latter’s illustrious mega parties. For her Powder in Space mix, Moko presents two new songs that were created within a new schedule, with summers spent touring Europe and North America, welcoming the unique experiences offered by each location.
“New Tribe” toasts the global community Powder’s connected during her travels. Marching-band snares, breathy ostinatos, motivating chords, springy auxiliary percussion and bouncy melodic details – all Powder trademarks, coalescing into one of her most celebratory offerings yet. “Gift” is a subtler jam, shuffling and twinkling in perfect balance. Reminiscent of “Spray,” it sustains a retrofuturistic groove that defies the house / techno categorical binary.
On the the EP, Powder’s two new originals sit alongside Daphne’s “When You Love Someone (Groove Instrumental),” a sultry, twirling vibraphone deep house number from 1993; and the first ever release of Samo DJ and Hidden Operator’s atmospheric scene setter, “Захват Сзади Rox.” For the CD and digital mix release, these four originals weave within an impeccable mix of memories from Moko’s travels and experiences over the past years touring and sharing with new friends.
Powder In Space marks the first in a new series exploring dance music’s form and informality from Tim Sweeney’s Beats In Space Records. The friendly voice behind the longstanding Beats In Space radio show and a formidable DJ to dance floors around the world, the …In Space series, like the rest of the label’s eclectic catalog, is testament to Tim’s trust in the selector and vice versa.
Momoko Goto relocated from her hometown of Nagasaki, Japan to Tokyo in 2011. This is where the story of Powder, as the international dance music community knows her, begins. With the change in location came a change in lifestyle, where a balance of 9-to-5 office life and sacred, nocturnal recording sessions invited Moko to reflect on music’s unique ability to “stop the clock” and “expand or shrink our sense of time.”
While many workers across the world feel the pressure of artificially controlled measurements of time, Moko’s musical mission to transcend these weighty associations, to shed light on the positive possibilities of passing time, resonates far past her island’s shores. Experiencing the pleasure that comes from physical and emotional transformation. Creating and nurturing memories.
In embracing these positive properties of time, Powder uses the hypnotic language of patterns to communicate with listener-dancers. Patterns represent the meter by which bodies are compelled to move; they also represent a method for collection and organization of sound, where the cohesive stylistic and historical narrative of different pieces of music are laid over one another transforming both intimate and universal moments into a dreamy, experiential, and endlessly interpretable whole.
Moko notes that patterns, “are always ancillary and never playing the leading part of things, and the patterns themselves recognize this fact and act low-key.” This interpretation of sound and rhythm mirrors critical aspects of underground club culture, such as collective energy-making and protection, togetherness over spectacle, the layering of multiple bodies, and narratives upon one another in ecstasy.
Since her debut release on Born Free Records, 2015’s Spray, Powder’s sound has flirted with numerous unconventional dance institutions and outlets, releasing on ESP Institute, Wichelroede and the Cocktail D’amore imprint, as well as regularly contributing to the latter’s illustrious mega parties. For her Powder in Space mix, Moko presents two new songs that were created within a new schedule, with summers spent touring Europe and North America, welcoming the unique experiences offered by each location.
“New Tribe” toasts the global community Powder’s connected during her travels. Marching-band snares, breathy ostinatos, motivating chords, springy auxiliary percussion and bouncy melodic details – all Powder trademarks, coalescing into one of her most celebratory offerings yet. “Gift” is a subtler jam, shuffling and twinkling in perfect balance. Reminiscent of “Spray,” it sustains a retrofuturistic groove that defies the house / techno categorical binary.
On the the EP, Powder’s two new originals sit alongside Daphne’s “When You Love Someone (Groove Instrumental),” a sultry, twirling vibraphone deep house number from 1993; and the first ever release of Samo DJ and Hidden Operator’s atmospheric scene setter, “Захват Сзади Rox.” For the CD and digital mix release, these four originals weave within an impeccable mix of memories from Moko’s travels and experiences over the past years touring and sharing with new friends.
Powder In Space marks the first in a new series exploring dance music’s form and informality from Tim Sweeney’s Beats In Space Records. The friendly voice behind the longstanding Beats In Space radio show and a formidable DJ to dance floors around the world, the …In Space series, like the rest of the label’s eclectic catalog, is testament to Tim’s trust in the selector and vice versa.
The 80s Italo disco /proto-house classic ‘MBO Theme’ by the mighty Klein & MBO, repressed! Comes with an heavy (and unheard) South African version on the flip.
“The MBO Theme” (1983) has been a dance floor favorite since decades, created by Mario Boncaldo and Tony Carrasco - the legendary Italian/US duo Klein & MBO. The track got support in NYC and Chicago by greats as Larry Levan, Frankie Knuckles and Ron Hardy.
The rare version on the flip is created by a South-African band called Warrior. Rush Hour explain how they came across the track: “We bumped into this version on a South African record digging trip. It took us a few months to realize the scarcity of this version. Ian Osrin, a well respected engineer in South-Africa who was involved in many 80ties and 90ties Bubblegum, Kwaito and South African disco records, explained us about music distribution in South Africa during apartheid. Because the country was culturally banned at the time, a lot of releases weren’t imported or exported. Even when a track was huge, like “The Klein & MBO Theme”. So South African musicians would create their own versions which were sold locally.
We got in contact with Tony Carrasco from Klein & MBO. He also hadn’t heard Warrior’s version before, but he liked it as much as we do!”
“The MBO Theme” (1983) has been a dance floor favorite since decades, created by Mario Boncaldo and Tony Carrasco - the legendary Italian/US duo Klein & MBO. The track got support in NYC and Chicago by greats as Larry Levan, Frankie Knuckles and Ron Hardy.
The rare version on the flip is created by a South-African band called Warrior. Rush Hour explain how they came across the track: “We bumped into this version on a South African record digging trip. It took us a few months to realize the scarcity of this version. Ian Osrin, a well respected engineer in South-Africa who was involved in many 80ties and 90ties Bubblegum, Kwaito and South African disco records, explained us about music distribution in South Africa during apartheid. Because the country was culturally banned at the time, a lot of releases weren’t imported or exported. Even when a track was huge, like “The Klein & MBO Theme”. So South African musicians would create their own versions which were sold locally.
We got in contact with Tony Carrasco from Klein & MBO. He also hadn’t heard Warrior’s version before, but he liked it as much as we do!”
Is it me or am I hearing echoes of maestro Arthur Russell all over the place? And those cowbells...mmm I love cowbells and Russell used them very often. This is definetely no Arthur, but his spirit is well alive and kicking all over the Marching Orders.
You get 'Marching Orders' in four different flavours: the original, the instrumental, the acapella and... the drumapella! What a package!
STAFF COMMENTS
Sil says: As said above, it has an 80s diy Arthur Russell feel to that it is difficult to shake off. This is not a semi-covert way to say this is rubbish. It is not. It is a decent track and you definitely got to listen to it. We like it here at the towers. If you do not dig the vocals, go straight for the instrumental!
First opus of the new series is La Batterie, by the UK’s Richard Podolor and Sandy Nelson in 1983 in the hypnotic shimmering disco of “Let There Be Drums.” The music of Polodor and Nelson is being given new life by Kalahari Oyster Cult. Alongside the entrancing original are two remixes. First up is Australia via Amsterdam’s very own Max Abysmal with his “Spooky Remix.” Adopting and adapting the raw energy of the ’83 version, Abysmal layers ghostly notes and spectral snares into his mechanical remake. The flip takes on a different slant with “Shotgun” taken from the EP of twenty fives years ago. A super slick work of understated funk shot through with bold keys and powerful chants to show another side of the UK pair. The fiercely talented Benedikt Frey closes, turning his daringly able hand to “Let There Be Drums.” He keeps the vocal line, the rest of his rework is dipped in a thick heart of darkness threat. Pulsing thumps, menacing notes and danger lurk in this jungle of Frey’s own making.
A singular presence in 21st Century pop, Róisín Murphy is a genuine maverick. Her seminal 2007 album Overpowered received widespread acclaim from music critics yet, arriving at a time of waning major label interest in vinyl, it was released only as a hyper-limited double LP. Accordingly, in the decade since, it has been obscenely difficult to find. It is a true honour to finally reissue this thoroughly modern dance-pop classic on Be With. Whilst remaining true to the loud pink and orange wax of the original release, this remastered edition enjoys the bonus inclusion of fan-favourite “Parallel Lives”, finally making an appearance on vinyl.
A sumptuous, all-killer electro-disco gem, every song could’ve been a smash. With its heavy disco influence - deep beats, lush synths and subtle horns and strings - Overpowered was focused solely on the dancefloor. Inspired by the Eighties proto-house of D Train, Mantronix and Gwen Guthrie, but also recalling the intelligent pop of Yazoo and early Eurythmics, Overpowered presented sensual electronic soul for the heads and the hips.
Her collaborators, including Timbaland mentor Jimmy Douglass, Bugz In The Attic and Richard X, constructed a gleaming shrine to the spirit of Bobby O and Giorgio Moroder by stitching together crisp synthesised beats with the slicker tics of early house. The lead single and title track lifted the bassline squelch from the dawn of cosmic disco -- La Bionda's "I Wanna Be Your Lover" -- and the follow-up, "Let Me Know", effortlessly incorporated the chorus of Tracy Weber's 1981 boogie bomb "Sure Shot".
The wonderfully dank, sticky R&B of “Primitive” is Murphy’s favourite track from the album: “I mean, who gets to put primordial soup in the first line of a song? That idea of not always being in control of the primitive parts of yourself, the bits that fall in love or the bits that dance or lose the plot or drink too much, and putting that across … that’s pop for me. It’s playing with all the different colours of the rainbow of life.”
Murphy’s blistering vocals are versatile enough to elevate the icy textures of "Dear Miami", the sexed up kaleidoscopic funk of "Footprints" and the grace of "You Know Me Better". Sharp, witty and heartbreaking, here Murphy laid claim to being the kind of strident disco singer “Dusty Springfield never quite had the abandon to become”, as Pitchfork noted in their original, glowing “8.0” review.
Overpowered was considered an instant classic and, sounding deeply prescient, it has aged gloriously. There has long been an acknowledgement of Murphy’s influence on other artists’ gonzo fashion, and many musicians have spent the last decade crafting dancefloor tracks that embrace piano house and disco, even if they’d pale when held next to "Let Me Know". Shifting from the glam pop of "Movie Star" to the buzzing acid of "Cry Baby", when the dubby ballad for her dad, "Scarlet Ribbons", wends its way to the sweetest of endings, you realise you've been immersed in the best grown-up dance-pop album since Madonna's Ray of Light.
A sumptuous, all-killer electro-disco gem, every song could’ve been a smash. With its heavy disco influence - deep beats, lush synths and subtle horns and strings - Overpowered was focused solely on the dancefloor. Inspired by the Eighties proto-house of D Train, Mantronix and Gwen Guthrie, but also recalling the intelligent pop of Yazoo and early Eurythmics, Overpowered presented sensual electronic soul for the heads and the hips.
Her collaborators, including Timbaland mentor Jimmy Douglass, Bugz In The Attic and Richard X, constructed a gleaming shrine to the spirit of Bobby O and Giorgio Moroder by stitching together crisp synthesised beats with the slicker tics of early house. The lead single and title track lifted the bassline squelch from the dawn of cosmic disco -- La Bionda's "I Wanna Be Your Lover" -- and the follow-up, "Let Me Know", effortlessly incorporated the chorus of Tracy Weber's 1981 boogie bomb "Sure Shot".
The wonderfully dank, sticky R&B of “Primitive” is Murphy’s favourite track from the album: “I mean, who gets to put primordial soup in the first line of a song? That idea of not always being in control of the primitive parts of yourself, the bits that fall in love or the bits that dance or lose the plot or drink too much, and putting that across … that’s pop for me. It’s playing with all the different colours of the rainbow of life.”
Murphy’s blistering vocals are versatile enough to elevate the icy textures of "Dear Miami", the sexed up kaleidoscopic funk of "Footprints" and the grace of "You Know Me Better". Sharp, witty and heartbreaking, here Murphy laid claim to being the kind of strident disco singer “Dusty Springfield never quite had the abandon to become”, as Pitchfork noted in their original, glowing “8.0” review.
Overpowered was considered an instant classic and, sounding deeply prescient, it has aged gloriously. There has long been an acknowledgement of Murphy’s influence on other artists’ gonzo fashion, and many musicians have spent the last decade crafting dancefloor tracks that embrace piano house and disco, even if they’d pale when held next to "Let Me Know". Shifting from the glam pop of "Movie Star" to the buzzing acid of "Cry Baby", when the dubby ballad for her dad, "Scarlet Ribbons", wends its way to the sweetest of endings, you realise you've been immersed in the best grown-up dance-pop album since Madonna's Ray of Light.
Tradition and experimentation are two familiar territories that C'mon Tigre, a duo who find their identity by working with musicians from all over the world, can balance between very well. As they did for their debut album (2014), they have put together a multicolored collective for their second record “Racines”, out on February 15, 2019 for BDC/K7.
The title is a French word that means "roots", referring to the musical roots in which C'mon Tigre's feet, head and heart are immersed, and from which their contaminated tracks sprout to create unusual and original sound environments. In their new album the sounds of the Mediterranean - the sea of their land - intersect, intertwine and overlap with a kaleidoscope of other sounds and a new approach based - they explain - "on the type of work we had done when we rearranged the first album for live shows, by emphasizing the synthetic part of our tracks". This time around they did it from the very beginning: "The composition of the pieces immediately included the use of machines and synthesizers as a basis for acoustic instruments. The goal was to reprocess the terrain of Mediterranean influences that was undoubtedly our starting point".
Imagine a work in progress where bass and guitars interact with woodwind, synths, percussions, vibraphones, dipping the listener into a sensual and hypnotic musical journey. Sailing from the Mediterranean basin and being guided by the fascination for Africa and the Middle East, C'mon Tigre give rise to a personal language, made up of mixtures with jazz, afrojazz, the rhythmics of hip hop, funk, 70s disco. All without ever confining their songs to one style, but pushing the exploration as much as possible, into a dimension that every journey worthy of this name should encompass. "With the musicians we work with the exchange and experimentation continue till the end, the songs can take different directions at any time”.
The result is a mixed, cosmopolitan record, which escapes from any label for the affirmation of a free attitude. The attitude that led C'mon Tigre to seek a connection with dancefloor culture, even if considered only as an evocation to revisit in an absolutely personal way.
The title is a French word that means "roots", referring to the musical roots in which C'mon Tigre's feet, head and heart are immersed, and from which their contaminated tracks sprout to create unusual and original sound environments. In their new album the sounds of the Mediterranean - the sea of their land - intersect, intertwine and overlap with a kaleidoscope of other sounds and a new approach based - they explain - "on the type of work we had done when we rearranged the first album for live shows, by emphasizing the synthetic part of our tracks". This time around they did it from the very beginning: "The composition of the pieces immediately included the use of machines and synthesizers as a basis for acoustic instruments. The goal was to reprocess the terrain of Mediterranean influences that was undoubtedly our starting point".
Imagine a work in progress where bass and guitars interact with woodwind, synths, percussions, vibraphones, dipping the listener into a sensual and hypnotic musical journey. Sailing from the Mediterranean basin and being guided by the fascination for Africa and the Middle East, C'mon Tigre give rise to a personal language, made up of mixtures with jazz, afrojazz, the rhythmics of hip hop, funk, 70s disco. All without ever confining their songs to one style, but pushing the exploration as much as possible, into a dimension that every journey worthy of this name should encompass. "With the musicians we work with the exchange and experimentation continue till the end, the songs can take different directions at any time”.
The result is a mixed, cosmopolitan record, which escapes from any label for the affirmation of a free attitude. The attitude that led C'mon Tigre to seek a connection with dancefloor culture, even if considered only as an evocation to revisit in an absolutely personal way.
FORMAT INFORMATION
LP Info: 180g vinyl, comes with 84-page book.
Groovin Recordings proudly presents the long awaited official repress of "Going Back To My Roots" by Lamont Dozier.
Without doubts one of the most representative songs of the late 70's soul-disco era, finally back on 12" single including an edit by NY disco maestro Danny Krivit - and in much the same way he did with Richie Havens' version; the expert splicer focuses right in on the groove, utilizing bustling percussion, an incessant bassline and plenty of vocal chants to conjure up a frenzied tribal disco workout. As for the original? Well you know this one by now....
Without doubts one of the most representative songs of the late 70's soul-disco era, finally back on 12" single including an edit by NY disco maestro Danny Krivit - and in much the same way he did with Richie Havens' version; the expert splicer focuses right in on the groove, utilizing bustling percussion, an incessant bassline and plenty of vocal chants to conjure up a frenzied tribal disco workout. As for the original? Well you know this one by now....
The art of editing is seriously taked here in Calypso and for this we introduce you our new series "Correcciones Calypso". We are glad to release some of the most epic ones we and some of the coolest djs around have been spinning here and there for the last year. First we have a track that was born a hit since the very begining, Tyu from Mexico is welcome on the label with his "Meneo" already guilty of setting fire to many dancefloors around the globe. INigo Vontier jumps on the journey with "Justus", space disco at its finest. For the B side Vilnius ascending stars Plot Pilot formers members of Siaubas deliver "Knock Around" a peak hour track full of guitars and live bassline that goes on and on. Again from Vilnius the Serial Experiments boys close the EP with "Industry Works" a slow and sexy lithuanian sax chug.
Finally the official remastered reissue of one of the rarest and sought after italo-disco record from early 80's. You'll be hard pushed to hear anything like this ever again... this is an epic out there electronic production that's one of a kind. In the same period of other italo-disco classics like REM, STOPP, Klein & MBO, GANG previously reissued by Best Italy, they representing the roots of chicago sound played by the pioneers like Ron Hardy!
The Five track EP kicks off with a slinky jazz funk, balearic mover entitled "Camera Dans La Nuit" that weaves the influences of Wally Badarou, and early Brit Funk bands such as Freeez and Light Of The World into a melodic affair that could've come straight out of the summer of 1981. In fact the second cut ("Une Vie Elegante") wouldn't have been out of place on Level 42's Early Tapes if Wally Badarou had taken said band to sunny climes to record it.
The B Side eases us in with the phasing pads and circling arpeggios that we've come to expect from Rudy's Midnight Machine. Taking more of a Pat Metheny influence and combining it with a steady early 80s Jazz Funk feel ,which is all underpinned by Robin's thumb bass line.
It's the bass that get's the main feature in the middle cut on the B Side. "Secret Garden" is a melodic and reflective track with bold bass guitar melodies being held up by the ebb and flow of piano arpeggios. The finale, entitled "Shifting Sands", harks back to the previous two EPs with more electronic synth bass and drum machine textures, with a guitar solo giving us the required organic relief.
The B Side eases us in with the phasing pads and circling arpeggios that we've come to expect from Rudy's Midnight Machine. Taking more of a Pat Metheny influence and combining it with a steady early 80s Jazz Funk feel ,which is all underpinned by Robin's thumb bass line.
It's the bass that get's the main feature in the middle cut on the B Side. "Secret Garden" is a melodic and reflective track with bold bass guitar melodies being held up by the ebb and flow of piano arpeggios. The finale, entitled "Shifting Sands", harks back to the previous two EPs with more electronic synth bass and drum machine textures, with a guitar solo giving us the required organic relief.
Emotional Rescue returns to the Caribbean with the music of Glen Ricks and his infectious Jamaica meets Boogie goldmine that is I've Been Waiting For You.
A performer since the age of 7, Glen Ricks (born Ricketts), established a reputation for his singing range and ability to seamlessly shift from tenor to soprano, going on to sell over a million records around the world.
Having immigrated to Canada as a child, after teaming up with his first band The Fabulous Flames Ricks returned to Jamaica to create his first records. Moving effortlessly from reggae to lovers, and dancehall to soul, R&B, disco and boogie, Ricks established a successful career and he continues to perform to this day.
I've Been Waiting For You is indicative of that cross-pollination of style and sound. Released on 7" in 1983 on the short lived Seraff label, the mix of Ricks' soul voice with laid back boogie groove creates a sound full of lazy JA swing.
Now highly sought after, this special 12" reissue includes the stand out vocal and is backed with an instrumental that builds on the interplay between bass, drums, piano, guitar, keys and finally, backing vocals. To seal the deal - and in true label style - LA's rising star DJ Duckcomb presents the perfect Discomix, seamlessly cutting between both versions with some respectful dubbing in the mix.
A performer since the age of 7, Glen Ricks (born Ricketts), established a reputation for his singing range and ability to seamlessly shift from tenor to soprano, going on to sell over a million records around the world.
Having immigrated to Canada as a child, after teaming up with his first band The Fabulous Flames Ricks returned to Jamaica to create his first records. Moving effortlessly from reggae to lovers, and dancehall to soul, R&B, disco and boogie, Ricks established a successful career and he continues to perform to this day.
I've Been Waiting For You is indicative of that cross-pollination of style and sound. Released on 7" in 1983 on the short lived Seraff label, the mix of Ricks' soul voice with laid back boogie groove creates a sound full of lazy JA swing.
Now highly sought after, this special 12" reissue includes the stand out vocal and is backed with an instrumental that builds on the interplay between bass, drums, piano, guitar, keys and finally, backing vocals. To seal the deal - and in true label style - LA's rising star DJ Duckcomb presents the perfect Discomix, seamlessly cutting between both versions with some respectful dubbing in the mix.
Man Face is a disco afro studio project from 1977, from the musicians duo Winston Alwyn Gill and Henderson Brathwaite from sounth Africa but recorded in Italy during the disco era. New rediscovered by Early Sounds Recordings in conjunction with Best Record Italy. Pellegrino from the Early Sounds Collective did a good job with additional remix and overdubs for the new "Na Na Na Edit" plus the remastered original disco version available on the flip.
Here's something to set the pulse racing: a fresh reissue of a dream house-era Italian cover of Carlos Santana's "Aqua Marine". Thrillingly, this edition dispenses with the pointless radio edit, replacing it with the previously unreleased "Original Studio Version". This is something of a stunner, all told, with the track's Santana-like solos and breezy, beachside synthesizer lines being accompanied by the soft focus of bongo rhythms. Of course, the more club-focused versions are ace, too, with the dream house style "Club Version" and "Sweet Dream Version" being joined by the undeniably epic "Paradise Version", which slowly builds to deep house heaven via a sublime ambient intro.
MB DISCO IS BACK After a break. we're ready with new releases. After heavy demand, we decided to press this little gem on vinyl. It features the stellar remixes from Psychemagik.
Named after an 80s French cartoon, this single is the product of Turkish producer Alico and his shady cohort, Cagri. The tune is a straight-up salad of vintage Eurodisco with lashings of Italo dressing. Evoking the likes of 'Droid' by Mito, Vangelis and anything by Hipnosis, this laconic sprawling synth-fest is saved from total retroville by a crisp modern electro-house bounce.
Named after an 80s French cartoon, this single is the product of Turkish producer Alico and his shady cohort, Cagri. The tune is a straight-up salad of vintage Eurodisco with lashings of Italo dressing. Evoking the likes of 'Droid' by Mito, Vangelis and anything by Hipnosis, this laconic sprawling synth-fest is saved from total retroville by a crisp modern electro-house bounce.
In 1988, on the eve of a two decade civil war, Somalia's authoritarian ruler Siad Barre launched punishing air strikes on the north of the country in response to agitations for independence. The bombing leveled the entire city. Barre targeted local radio station, Hargeisa to prevent any kind of central communication system that could organize a resistance.
With the attack imminent, a few brave radio operators and vanguards of Somali culture knew the archives, containing over half a century of Somali music had to be preserved. Thousands upon thousands of cassette tapes and master reels were quickly removed and dispersed to neighboring countries and buried deep under the ground to withstand airstrikes.
These audio artifacts were excavated and recalled from their foreign shelters only very recently. Some are now kept safe in the archive of the Red Sea Foundation, the largest collection of Somali cassettes in the world.
The archive offers a living window to the Mogadishu of the 1970s and 1980s, when the coastal capital glistened as the "Pearl of the Indian Ocean.
Mogadishu's nightlife culture was rich and booming. Raucous rhythms, rugged horns, celestial synthesizers, and stalking baselines came alive alongside majestic voices like Mahmud "Jerry" Hussen and powerful and adored female singers like Faadumo Qaasim. Somali music of this era is set apart by its empowerment of women. Female singers, often more prolific than their male counterparts, are inseparable from its evolution. Half the compilation is sung by women, their voices often compared in Somali poetry to the sweetness of broken dates.
This project took the Ostinato team from Mogadishu to Minnesota, tracking down the musicians and songwriters on the album.Their words and stories are revealed in a 15,000-word liner note booklet — the only document of its kind to cover this era of Somali music in depth.
With the attack imminent, a few brave radio operators and vanguards of Somali culture knew the archives, containing over half a century of Somali music had to be preserved. Thousands upon thousands of cassette tapes and master reels were quickly removed and dispersed to neighboring countries and buried deep under the ground to withstand airstrikes.
These audio artifacts were excavated and recalled from their foreign shelters only very recently. Some are now kept safe in the archive of the Red Sea Foundation, the largest collection of Somali cassettes in the world.
The archive offers a living window to the Mogadishu of the 1970s and 1980s, when the coastal capital glistened as the "Pearl of the Indian Ocean.
Mogadishu's nightlife culture was rich and booming. Raucous rhythms, rugged horns, celestial synthesizers, and stalking baselines came alive alongside majestic voices like Mahmud "Jerry" Hussen and powerful and adored female singers like Faadumo Qaasim. Somali music of this era is set apart by its empowerment of women. Female singers, often more prolific than their male counterparts, are inseparable from its evolution. Half the compilation is sung by women, their voices often compared in Somali poetry to the sweetness of broken dates.
This project took the Ostinato team from Mogadishu to Minnesota, tracking down the musicians and songwriters on the album.Their words and stories are revealed in a 15,000-word liner note booklet — the only document of its kind to cover this era of Somali music in depth.
FORMAT INFORMATION
CD Info: Deluxe CD + Booklet
Second Star Creature this week you lucky buggers! This stable of all things modern funk, new disco and boogie related is going from strength to strength, with each consecutive release selling out and becoming collector's items within weeks!
First Choice has previously released an amazing double LP on Star Creature full of tasty new electro-funk, boogie and house flavoured style. They reassert their feel good vibe here with a double-A side of their glistening, polished brand dancefloor music. Both sides deliver the kind of hard-hitting, late night boogie that's currently massively in vogue due in no small part to NTS's Full Beam! FM. Super limited and highly desirable, buy now or cry later.
First Choice has previously released an amazing double LP on Star Creature full of tasty new electro-funk, boogie and house flavoured style. They reassert their feel good vibe here with a double-A side of their glistening, polished brand dancefloor music. Both sides deliver the kind of hard-hitting, late night boogie that's currently massively in vogue due in no small part to NTS's Full Beam! FM. Super limited and highly desirable, buy now or cry later.
STAFF COMMENTS
Matt says: Get a fully authentic dose of the Wet Play and Red Laser dancefloors as First Choice keep the boogie flames burnin'. Unbeatable.FORMAT INFORMATION
Ltd 7" Info: Limited edition green vinyl
Once upon a time, in the glory days of the forum, a new generation of DJs and collectors were being introduced to a wealth of rare and exotic tunes; musics with life changing powers which spoke a universal language. Moonboots, Mike, Brewster, Broughton, Boardman, Mison and Dr Rob - all present and correct, all on hand to educate, entertain, inform and swiftly remind you that you had next to no chance of ever finding a copy.
Well, times have changed, editmania has given way to the march of the reissue, and all those rare birds are coming home to roost - or at the very least nest nicely in your record collection.
This latest reissue from Italian imprint Best Records ticks another biggie off the collective wantlist, providing us all with an affordable, remastered and reissued copy of Roberto Lodola's Balearic classic "Marimba Do Mar".
Lodola was one of the first Italian DJs and producers devoted to the Afro sound born in the Northern parts of Italy. As the 80s wore on, and Roberto found his way into the studio, his exotic tastes and sunny disposition perfectly translated into the Mediterranean masterpiece "Marimba Do Mar", a breezy, jazz flecked slice of tropical pop complete with DX7 panpipes, synth marimba, subtle percussion and swelling sax. Whether you opt for the largely instrumental 'Fusion Version' or the sweet and sensuous 'Vocal Version', you've got a certified classic on your hands. As a BIG brucey bonus, Best have also turned up a pair of previously unheard outtakes "Feeling Of The Sun" and "Hey George!", which slice your cocktail lime in different directions depending on taste and mood.
Well, times have changed, editmania has given way to the march of the reissue, and all those rare birds are coming home to roost - or at the very least nest nicely in your record collection.
This latest reissue from Italian imprint Best Records ticks another biggie off the collective wantlist, providing us all with an affordable, remastered and reissued copy of Roberto Lodola's Balearic classic "Marimba Do Mar".
Lodola was one of the first Italian DJs and producers devoted to the Afro sound born in the Northern parts of Italy. As the 80s wore on, and Roberto found his way into the studio, his exotic tastes and sunny disposition perfectly translated into the Mediterranean masterpiece "Marimba Do Mar", a breezy, jazz flecked slice of tropical pop complete with DX7 panpipes, synth marimba, subtle percussion and swelling sax. Whether you opt for the largely instrumental 'Fusion Version' or the sweet and sensuous 'Vocal Version', you've got a certified classic on your hands. As a BIG brucey bonus, Best have also turned up a pair of previously unheard outtakes "Feeling Of The Sun" and "Hey George!", which slice your cocktail lime in different directions depending on taste and mood.
STAFF COMMENTS
Patrick says: Awwww yeah! Best Records hit us with another BIG Balearic classic, that's been super tough to find for the longest time. As Mediterranean as it gets, "Marimba Do Mar" takes tropical synth work, sleazy sax and jazzy grooves and flips it into a piece of true Balearic brilliance. Every home should have one.
Africa Seven presents A7 Edits. The African reissue and compilation output slides over to the dancefloor with its new edits label, packing both holsters with edits alongside sought after originals, a combination you don’t see all that often. The man in charge of the first edition is Stefano Ritteri, who has seen recent releases on Freerange and Congoloid, has DJs like Axel Boman regularly playing his edits and has his own imprint Viagio set to drop in 2019. Stefano is a producer where sampling is key to his creative process and unreleased edits of African and other worldly delights have made up a lot of his DJ sets of recent.
With the A-side we see Stefano take on Ekambi Brillant’s 1976 Nyambe, originally released on BBZ productions and later featuring on our African Funk Experimentals series. Stefano takes the Cameroonian’s disco number, extends it, speeds it up and adds a whole lot of dancefloor energy, with a well-constructed break down and party-time drop. Stefano manages to create the perfect dancefloor weapon with this one, maintaining a lot of the original energy and reintroducing it into the 21st century.
On the B-side we have Stefano’s interpretation of one of the more psychedelic numbers that we have released on Africa Seven, with Zinabu from Bunzu Soundz, originally featured on their 1976 in demand Afrodisia album. This edit sees the Nigerian psychedelic highlife lift off into space, with trippy sound effects playing on top of chunky sampled drums and a well thought out bass line whilst the guitar solo competes against the vocals for lead position.
A7 Edits offer with this release the opportunity to see how the artist has interpreted two original works on the same record. This being Volume 1, it goes without saying that we have others on the way.
With the A-side we see Stefano take on Ekambi Brillant’s 1976 Nyambe, originally released on BBZ productions and later featuring on our African Funk Experimentals series. Stefano takes the Cameroonian’s disco number, extends it, speeds it up and adds a whole lot of dancefloor energy, with a well-constructed break down and party-time drop. Stefano manages to create the perfect dancefloor weapon with this one, maintaining a lot of the original energy and reintroducing it into the 21st century.
On the B-side we have Stefano’s interpretation of one of the more psychedelic numbers that we have released on Africa Seven, with Zinabu from Bunzu Soundz, originally featured on their 1976 in demand Afrodisia album. This edit sees the Nigerian psychedelic highlife lift off into space, with trippy sound effects playing on top of chunky sampled drums and a well thought out bass line whilst the guitar solo competes against the vocals for lead position.
A7 Edits offer with this release the opportunity to see how the artist has interpreted two original works on the same record. This being Volume 1, it goes without saying that we have others on the way.
All too often, rare records suck ass. Yeah they're rare, and only wotzizname from wherever the fuck has a copy, but they tend to be average variations of well known jams, with their scarcity merely a novelty.
But then there are records like this, popping up out of nowhere only to blow your musically obsessed mind! From a quick scan of the centre label, you'd be forgiven for thinking this is your standard Chicago acid track, desireable only for the posibility of a few motivational spoken word cuts. When you whack the platter on the player however, you experience something very different indeed. A spiritual journey through cosmic keys and subtle percussion, which vibrates at your very core, enriching your soul with every passing moment.
Frustrated at her students' lack of cultural awareness, Miami-Dade public school teacher Dr Mary Sullivan Bain recorded ‘Do You Know Black History’ in 1985, self releasing it as a single for educational purposes. Original copies didn't make it much much further than Florida’s public school libraries and the record has been shrouded in mystery up until now. Produced with no label constraints, this cross-genre grail sits comfortably in many boxes... 808’s, bass synths, deep chords, live percussion and effects dubbed into the mix. The production leans towards the electronic diy framework that informed the local sound on the Miami south side. The vocal side offers an inspirational account of Black history, full of passion and pain, while the instrumental side strolls through outer space and Ibizan sunset, sounding exactly like the kind of sublime ambient cut you'd find on a battered old Café del Mar. Reissued officially for the first time ever by Backatcha, this is a total one of a kind.
But then there are records like this, popping up out of nowhere only to blow your musically obsessed mind! From a quick scan of the centre label, you'd be forgiven for thinking this is your standard Chicago acid track, desireable only for the posibility of a few motivational spoken word cuts. When you whack the platter on the player however, you experience something very different indeed. A spiritual journey through cosmic keys and subtle percussion, which vibrates at your very core, enriching your soul with every passing moment.
Frustrated at her students' lack of cultural awareness, Miami-Dade public school teacher Dr Mary Sullivan Bain recorded ‘Do You Know Black History’ in 1985, self releasing it as a single for educational purposes. Original copies didn't make it much much further than Florida’s public school libraries and the record has been shrouded in mystery up until now. Produced with no label constraints, this cross-genre grail sits comfortably in many boxes... 808’s, bass synths, deep chords, live percussion and effects dubbed into the mix. The production leans towards the electronic diy framework that informed the local sound on the Miami south side. The vocal side offers an inspirational account of Black history, full of passion and pain, while the instrumental side strolls through outer space and Ibizan sunset, sounding exactly like the kind of sublime ambient cut you'd find on a battered old Café del Mar. Reissued officially for the first time ever by Backatcha, this is a total one of a kind.
STAFF COMMENTS
Patrick says: Words (even mine) can't do this record justice. Sublime, spiritual soul, recorded on synth and 808 which transcends genre confines to blow minds. It'd be record of the week in about five genres on any given week. DO NOT MISS THIS!FORMAT INFORMATION
12" Info: REPRESS DUE!
Edit outfit Reiterate get back on the dancefloor with a second batch of club killas thanks to the production talent of DJ Qu, JTC and Steve-Oh. The king of the super deep New Jersey sound, DJ QU, bookends the release with two dope reworks for your all night parties. Up first on the A-side is his sprawling and loopy edit of Dinosaur's "Go Bang", which concentrates on the hazy psychedelia of the Arthur Russell original and strings it out for 6 minutes of peak time immersion. He closes the set in completely different fashion, with a blurred, smudged, rough and ready edit of "Avant Apres Mars" by Liasons Dangereuses. Qu cakes the EBM pioneers in a thick layer of grime, ups the drum machine anti and starts to loop the track into a topsy turvy post peak brain boggler in the Hieroglyphic Being category. Joining Qu on the A-side is Michigan's own JTC, who follows recent releases on Spectral Sound and Hoya:Hoya with a dusty and rusty retouch of Rafael Villafane's exotic disco groover "In The Forest". The cooing female vocals and upwardly mobile bassline take you to somewhere where the sun shines and the cocaine is cheap; and that's before the headband wearing guitar histroinics come into play. I'm gonna be dropping this one way into next summer. Last but not least, Brooklyn veteran Steve-oh drops by with an MPC rocking rework of none other than Manchester's finest The Bee Gees. Loading up a simple refrain from the group's 1968 track "Holiday", a "pre white suit and perm" pastoral folk number, and getting his swing on with the hats, Steve-Oh drops a bumping house sizzler that'll have the Andres heads cooking on calor. Get involved!
Man oh man, Isle Of Jura know how to pick out a reissue! This time round it's the all time Italo classic, "The Voice Of Q", a leftfield electro disco gem that's rocked the spot for everyone from IF to Morgan Geist to Il Bosco etc. While it's been readily available in recent years as a standalone 12" or on the Dark Disco comp, it's worth noting that these releases are BOOTLEGS and sound DOGSHIT. Now, those heroes at Isle Of Jura have secured the official rights, sent the masters to Matt Colton for a necessary clean, and chucked in a previously unreleased Q killer for good measure.
If you're sat there thinking, "What the fuck is this dude on about? Has he been stood too close to Matt Ward's stash tin or something" then I'll fill you in. Back in 1982, Q picked up some interplanetary frequencies and laid down a gamechanger. "The Voice Of Q" delivers a discoid 4/4, spiced up with syncopated electro funk hats, a garbled sequence, slap bass, sci fi synth tones and killer vocoder work. The original mix introduces some peppy vocals for those who feel frisky, while the B-side keeps things stripped back for cybernetic dancefloor freaks. The previously unreleased "Keep It Strong" shifts gears a little, packing punchy piano licks over a shuffling garage groove to totally nail the proto house vibe. Warm, light and euphoric, this shoulder roller should sit perfectly next to "Casa Beat", "Free Yourself" and Soft House Company.
If you're sat there thinking, "What the fuck is this dude on about? Has he been stood too close to Matt Ward's stash tin or something" then I'll fill you in. Back in 1982, Q picked up some interplanetary frequencies and laid down a gamechanger. "The Voice Of Q" delivers a discoid 4/4, spiced up with syncopated electro funk hats, a garbled sequence, slap bass, sci fi synth tones and killer vocoder work. The original mix introduces some peppy vocals for those who feel frisky, while the B-side keeps things stripped back for cybernetic dancefloor freaks. The previously unreleased "Keep It Strong" shifts gears a little, packing punchy piano licks over a shuffling garage groove to totally nail the proto house vibe. Warm, light and euphoric, this shoulder roller should sit perfectly next to "Casa Beat", "Free Yourself" and Soft House Company.
STAFF COMMENTS
Sil says: At last a repress of The Voice of Q that has received the Matt Colton remaster love that it deserves. It sounds super. Lovely artwork too for an all-time classic!
After making us wait almost two decades for new solo material before last year's "Saudade", Steve Cobby is back in the blink of an eye with his second LP in as many years, once again on his own Declasse imprint. I suspect self-releasing suits Mr Cobby, and "Everliving" sees him embrace the creative freedom it allows. The fourteen immersive and expansive cuts are spread lovingly across three LPs rather than cramped onto a double, allowing each track the time and space to grow and evolve at its own pace. The result is an LP which entirely envelops you within its own sonic world, beguiling your senses with hypnotic keys, lilting rhythms, gentle guitars and pan global sounds. More electronic than its predecessor, "Everliving" delves deeper, gradually easing you into a trance like state through repetition and an expert understanding of space. So far the release has been met with universal praise from the likes of Dave Harvey, Phil Mison, Richard Norris and Peter Kruder, and really, who are we to disagree? Superb.
STAFF COMMENTS
Patrick says: Surely it's about time Hull appointed Steve Cobby 'first among equals' and had done with it. The insanely talented Yorkshireman is on peerless form here, blending mellow dub, outernational sounds and acoustic warmth into a sublime bit of laid back listening. Cap doffed, sir, cap doffed.FORMAT INFORMATION
3xLtd LP Info: Triple clear vinyl pressing.
In May 1976 a record was released that would have an unforeseen and lasting impact on the music industry “Ten Percent” by Double Exposure was an early release on the New York independent label Salsoul Records. America was in the grip of a disco explosion with new clubs opening on a weekly basis; Salsoul saw what was happening and swiftly created a sound for their label, heavily influenced by the music then coming out of Philadelphia, aimed directly at New York’s dance-floors. Records like “Salsoul Hustle,” “Tangerine” and “You’re Just The Right Size” by The Salsoul Orchestra borrowed heavily from the beautifully orchestrated Philadelphia International records but added a more percussive, bass heavy depth that New York’s DJs loved. So what was so special about this particular single then? Double Exposure was, after all, just another band, “Ten Percent” just another song; one of many “disco” records released that week. First of all Salsoul became the first record label to make a twelve inch single available to Joe Public - the exotic format was previously only available to DJs as promotional items or bought under the counter at certain record stores. Not only that though, the extended version was created by Walter Gibbons, a DJ at New York’s Galaxy 21 who’d built his reputation making exclusive versions of tracks to play in his sets.
In 1976 it was unheard of for a DJ to set foot in a recording studio, being seen as little more than living jukeboxes by the serious music industry. Recording studios were strictly the domain of recording artists and producers so Walter found himself in a unique position, gaining access to a world no DJ had been granted before.
Or so we thought...
The Men In The Glass Booth tells the full story. Featuring ground breaking re-edits and remixes by some of the Disco era's most influential DJs including Walter Gibbons, Bobby DJ Guttadaro, Tom Savarese, Jellybean Benitez, Tee Scott and John Luongo, this opulent release also includes a 40 page book which features exclusive photos and insights from some of the story's key figures.
In 1976 it was unheard of for a DJ to set foot in a recording studio, being seen as little more than living jukeboxes by the serious music industry. Recording studios were strictly the domain of recording artists and producers so Walter found himself in a unique position, gaining access to a world no DJ had been granted before.
Or so we thought...
The Men In The Glass Booth tells the full story. Featuring ground breaking re-edits and remixes by some of the Disco era's most influential DJs including Walter Gibbons, Bobby DJ Guttadaro, Tom Savarese, Jellybean Benitez, Tee Scott and John Luongo, this opulent release also includes a 40 page book which features exclusive photos and insights from some of the story's key figures.
STAFF COMMENTS
Patrick says: BBE answer the prayers of all us non-millionaire disco fans, taking us on a journey through the alternative 12" history via this exhaustive collection of acetates and DJ edits. Mega!FORMAT INFORMATION
LP Box Set Info: Part 1 contains 40-page coffee table book telling the story of the DJ as remixer and featuring previously unseen vintage photographs.
Star Creature return with more of that authentic boogie flavour for 2017. Le'Trell comprises of brothers G. Le'Trell, J. Le'Trell & L. Le'Trell (of course it does!) and this is the second release for the esteemed label. "On The One" stomps off the starting blocks with thick drums and an incredible vocal part, emboldened by the truly inventive instrumentation which supports it - a wigged out synth solo, funked up guitar licks and a brilliant bass part. You'd easily be forgiven to thinking this was some holy grail from the golden years of '80-'83 but I can assure you - it was recorded last year! So damn good! "State Of Shock (S.O.S)" graces the flip, a more electro flavoured / new jack workout with newer drum presents and more cerebral, pillow talk sound. Those killer synth solos are still present, as are some excellent vocal harmonies - highlighting the talents these brothers have for music. Truly magnificent stuff here - absolutely essential for any modern funk, soul and boogie collectors out there.
The Casino Edits series continues with two more disco-inspired DJ tools, ready to compromise the structural integrity of any neighborhood discotheque. Casino Times tackle the A Side, taking a cover of an early blues classic and cutting it up into an unconventional 'flamenco-italo' hybrid (!!!). Yes it's crazy but it definitely works. Pick your moment with this beast and the floor will indeed be yours! On the flip Banoffee Pies affiliate Malcolm provides an untitled number, a wild interpretation of a dial tone infused, late 70s NY disco jam complete with seductive female vox, bustling percussion section and wigged out keyboard parts. Ace!
STAFF COMMENTS
Matt says: Grooving deep disco numbers, swooning mono synth leads and clattering acoustic percussives. Were you missing out on a brilliant groover with old-school telephone noises in it? Well, this is your chance. Brilliant.
Pussy Mothers is the behaviour of a cross-continental two piece from Scotland and Down Under: formed by waving not drowning.
Chasing percussions, vocal athletics and hand claps concocted into a platter of disco junk funk and early hip hop rhythms, The Number 1 EP took shape in Glasgow's tenement flats and came to life through a spaced-out echo party held at Green Door Studios.
Chasing percussions, vocal athletics and hand claps concocted into a platter of disco junk funk and early hip hop rhythms, The Number 1 EP took shape in Glasgow's tenement flats and came to life through a spaced-out echo party held at Green Door Studios.
The Japanese singer Aiko Sekiguchi teaming up with Dale Senaga in 1979. The pair flew from Hawaii to California to record the backing tracks at A&M Studios, returning with the reels to Commercial Recording Studio in Honolulu, where they added Aiko’s voice and Dale’s synthesizer overdubs (and Aiko resumed her residency at the Oasis nightclub).
Fly With Me is a sexy, exotic floater, crossing Love Unlimited-style two-step and West Coast AOR. On the flip, Time Machine is jazzy disco steppers, with a cosmic fizz and a light case of the Gloria Gaynors.
Fly With Me is a sexy, exotic floater, crossing Love Unlimited-style two-step and West Coast AOR. On the flip, Time Machine is jazzy disco steppers, with a cosmic fizz and a light case of the Gloria Gaynors.
One year has passed since The Pilotwings’ first output « Agorespace ». Expectations went further in 2015 as they contributed to the rave-ish J-Zbel project. The pair is now back on BFDM with another ode to rurality and old-fashioned analogue. Including 4 tracks, « Molitor 71 » goes deeper into retrofuturist nostalgia and bucolic mood. A1 31 Septembre (On Va Tout Niker) introduces full-on panflute melodies and uplifting Korg exotica. As the trancy Chicago dream fades out, A2 Les Invasions Babar unveils its weird combo of electro beats and massive Patrick Cowley-esque synths. Unplanned bass moves lead this jam while an undertaking voice calls for no less than « the greatest experience of your life ». Things settle down on the nocturnal B1 Congo Libre. Focus on breakbeats and sophisticated rhythms evokes Trance Beats, while sparkling synths emerge from everywhere. The Ep ends up with a floating ambient piece called Buruganda Ouverture and designed for the listener to rediscover the meaning of his existence. Molitor will give you faith in humanity and flutes again.
7" number two in a series of releases inspired by a very special night called The Common based in Edmonton, Canada, proving that slo-mo re-edts have swept the Globe. First up is a killer slo-mo groover from Eddie C using a sample of the Diana Ross classic "Love Hangover". We've loved his releases on the likes of Sleazybeats, Hope Taping, 7 Inches of love, Jiscomusic and Endless Flight, and this is another essential. A perfect early-doors dancefloor teaser or BBQ tempter. On the flip Koosh drops a killer beatdown soul-jazz groover featuring a great male-female vocal, slapped bass and a sunshine vibe that will be big all summer.
FORMAT INFORMATION
7" Info: Limited pressing with hand-stamped label and sleeve.
Great loud-pressed vinyl EP featuring a superlative selection of Brazilian boogie monsters from the early 80s. Opens with Brenda’s amazing modern funk club killer ‘Natureza Viva’, originally released on an impossible-to-find 7” and produced by Don Beto (of ‘Nossa Imaginação’ LP fame). Next is another great boogie cut ‘Alegria No Ar’ by Rosana plucked from her highly sought-after self-titled album released in 1983. Recorded with some of the best exponents of the early 80s Brazilian boogie scene including Jorjão from Banda Black Rio, Azymuth’s Mamão plus legendary duo Lincoln Olivetti and Robson Jorge, this is pure bass-heavy dancefloor dynamite. Flip over for the wonderful ‘Copacabana Sadia’ by Junior Mendes, a track also touched by the hand of the prolific Olivetti who was in charge of arrangement here producing an elegant slice of upbeat smooth jazz-funk. Title track of Mendes’ mega-rare 1982 LP, this cut simply oozes class. Last but not least is ‘Vem Fazer Glu-
Glu’ which takes the Earth, Wind and Fire classic ‘Let’s Groove’ and ramps up the Latino disco feel taking it to a whole new dimension.
Glu’ which takes the Earth, Wind and Fire classic ‘Let’s Groove’ and ramps up the Latino disco feel taking it to a whole new dimension.
Following the great reception of “Hiverned 01” here's the second installment of Hivern's edit series.
In the A Side, TB's “Invitation To Love”, a highly anticipated track that's finally released after becoming a fixture in John Talabot's sets. Based on Twin Peaks OST's “Laura Palmer's Theme”, the track rephrases Angelo Badalamenti's clas- sic from an acid house perspective. Adding analog rhythms and a crispy bassli- ne to the ethereal chords of the original composition, this refix manages to keep the dream-like atmospheres of the song while transforming it into dancefloor- ready groove. The idea is simple, the results are magic.
On the flip, Marc Piñol repeats appearance on the series revamping some lost australian minimal-wave track. In the vein of his previous “Wheels” edit, the track conjures gloomy atmospheres and sparse rhythms with gritty synth melodies. On the top of it, the barcelonian producer adds dialogues from spanish cult art- house film “Arrebato” (hence the title) multiplying the obscure ambience of the tune.
Once again, the release comes in a limited edition 10” wrapped in a handmade silk-screened sleeve. No digital and no-repress.
In the A Side, TB's “Invitation To Love”, a highly anticipated track that's finally released after becoming a fixture in John Talabot's sets. Based on Twin Peaks OST's “Laura Palmer's Theme”, the track rephrases Angelo Badalamenti's clas- sic from an acid house perspective. Adding analog rhythms and a crispy bassli- ne to the ethereal chords of the original composition, this refix manages to keep the dream-like atmospheres of the song while transforming it into dancefloor- ready groove. The idea is simple, the results are magic.
On the flip, Marc Piñol repeats appearance on the series revamping some lost australian minimal-wave track. In the vein of his previous “Wheels” edit, the track conjures gloomy atmospheres and sparse rhythms with gritty synth melodies. On the top of it, the barcelonian producer adds dialogues from spanish cult art- house film “Arrebato” (hence the title) multiplying the obscure ambience of the tune.
Once again, the release comes in a limited edition 10” wrapped in a handmade silk-screened sleeve. No digital and no-repress.
FORMAT INFORMATION
Ltd 10" Info: Super limited, handmade silk-screened sleeve. No digital and no-repress.
In 1987, during the recording of the single “Come Back And Stay” Tony Hendrik and Karen Hartmann decided to replace lead vocalist Trevor Taylor with John McInerney. Since then John has become a kind of special feature of Bad Boys Blue. "Love Is No Crime” has two hit-singles: “Charlene”, a song from the repertoire of Roxanne, another Tony Hendrik and Karin Hartmann artist, and, of course, the classic title track.
The Hard Fist label notches up release number five from a fresh new family member in the form of Mr TC, with remixes from Lokier and Khidja. At the forefront of the Glaswegian music scene, Mr TC moves through genres from new wave to post punk, industrial, disco and tropical oddities. He plays mesmeric live shows with synths, drum machines and guitars. This EP, which is an allusion to the origins of trippy dance music, is his first solo effort since 2016 and takes you to the void of space, seeking freedom from moral prohibitions and standards, refuge from sexual and gender prejudice, exile from oppression, and aims to rupture aesthetic boundaries. Strictly limited to 300 copies.
My Rules storms into 2018 with the raw machine music project Happy Family from Eric Duncan and Justin Van Der Volgen.
A side 'Downtown Wedgeee' kicks off with twisted acid lines and drunken arpeggios which build and build until completely going off the rails, then finishing with ethereal pads and metallic percussion.
B side 'Bad Monks' ups the tempo and goes even further into woozy psychedelic territory with thick dizzying drones and a smeared pounding analogue rhythm.
A side 'Downtown Wedgeee' kicks off with twisted acid lines and drunken arpeggios which build and build until completely going off the rails, then finishing with ethereal pads and metallic percussion.
B side 'Bad Monks' ups the tempo and goes even further into woozy psychedelic territory with thick dizzying drones and a smeared pounding analogue rhythm.
A1 Beard In Dust - At the Dawn
Is a tribal monster of a dance floor jammer. I have not heard a single second of a bad beat from the dude, and super psyched to have it channeled thru the Hamam dancefloor.
A2 Hidden Track
Psssst
B1 Tales of Voodoo - Sharky
Nu crew with the heart, art and the beats at the right place delivers an epic middle eastern disco jammer to take u on a journey tru time and space.
B2 Esen Gunduz - Deve Gucu
Mysterious nu cat comes with a psychedelic dancefloor disco workout . I'm still chasing the tail of who this might be... but for sure, my mind was blown with the craft on this piece.
Is a tribal monster of a dance floor jammer. I have not heard a single second of a bad beat from the dude, and super psyched to have it channeled thru the Hamam dancefloor.
A2 Hidden Track
Psssst
B1 Tales of Voodoo - Sharky
Nu crew with the heart, art and the beats at the right place delivers an epic middle eastern disco jammer to take u on a journey tru time and space.
B2 Esen Gunduz - Deve Gucu
Mysterious nu cat comes with a psychedelic dancefloor disco workout . I'm still chasing the tail of who this might be... but for sure, my mind was blown with the craft on this piece.
The second album by the phenomenally popular 80s group Bad Boys Blue, “Heartbeat” was originally released in 1986 and is BACK on vinyl with remastered sound and with high quality embossed sleeve and poster. It features a couple of international hits, “Kissed And Tears” and “I Wanna Hear Your Heartbeat”. MIRUMIR music publishing create a Deluxe edition, which everyone will want to get, even if they have an original LP.
Marcel Vogel aka Em Yee joins the RNT roster with a 4-pack of unsurprisingly heavy edits.
The Lumberjacks In Hell label boss takes us on a little trip through one of his own eclectic sets, starting with the oddball boogie of You Move Me and then moving on to the hands-in-the-air positivity of Spreading Energy.
On the flip it’s the up-tempo afro burner Don’t Be Sabi Say, with the 12” concluding on the whimsically catchy I Wish I Knew The Words. Tried and tested and found true!
The Lumberjacks In Hell label boss takes us on a little trip through one of his own eclectic sets, starting with the oddball boogie of You Move Me and then moving on to the hands-in-the-air positivity of Spreading Energy.
On the flip it’s the up-tempo afro burner Don’t Be Sabi Say, with the 12” concluding on the whimsically catchy I Wish I Knew The Words. Tried and tested and found true!
From Jim Sharp’s ever burgeoning stable we have these two funky fresh edits come to you straight from the very south of Europe and are sure to rock the dance floors and airwaves around the globe.
A limited exclusive press on the Funky Fresh imprint will make this a collectors item for sure.
Both sides add a dope drum break to recent classics that will have your booty move.
A limited exclusive press on the Funky Fresh imprint will make this a collectors item for sure.
Both sides add a dope drum break to recent classics that will have your booty move.
MM Discos originally emerges from the passion of two friends who share the same fondness for records made just of vinyl, after years spent hunting, collecting and spinning them. This is driven by the intention of bringing to light the work of talented newcomer artists.
MM Discos is born with no musical prejudices whatsoever but undoubtedly influenced by a certain mix of genres in which one can identify, among others, Disco, Synth-Pop and Italo.
Our first track is a groovy Edit, produced back-to-back by notorious Akirahawks, Capo di Tutti I capi of the Berlin scene and House Mannequin's frontman, and Enzino, responsible of his own editions at Encino's Rec. and one of the most significant representatives of the Balearic sound around the world.
The second cut is brought to you by the enigmatic MSMCI, who has masterfully deployed all his skills to put together a killer House track drizzled with soft-spoken vocals that carries the listener to an evocative world of Daiquiris, palm trees and girls in bikini.
On the B-side, Marvin & Guy coming hard after a series of successes on Hivern Discs and Young Adults, combining Synth-pop and Italo crystalising in a Nordic 80's-influenced Edit ready to rock the dance floor.
And last but not least the ultimate Edit produced by Just John. The ineffable producer from JohnWaynes, well known for his works for Mule Music, Endless Flight and Let's Play House, delivers an inspired self-righteous hymn for Italo Disco ready to become and instant cult classic.
MM Discos is born with no musical prejudices whatsoever but undoubtedly influenced by a certain mix of genres in which one can identify, among others, Disco, Synth-Pop and Italo.
Our first track is a groovy Edit, produced back-to-back by notorious Akirahawks, Capo di Tutti I capi of the Berlin scene and House Mannequin's frontman, and Enzino, responsible of his own editions at Encino's Rec. and one of the most significant representatives of the Balearic sound around the world.
The second cut is brought to you by the enigmatic MSMCI, who has masterfully deployed all his skills to put together a killer House track drizzled with soft-spoken vocals that carries the listener to an evocative world of Daiquiris, palm trees and girls in bikini.
On the B-side, Marvin & Guy coming hard after a series of successes on Hivern Discs and Young Adults, combining Synth-pop and Italo crystalising in a Nordic 80's-influenced Edit ready to rock the dance floor.
And last but not least the ultimate Edit produced by Just John. The ineffable producer from JohnWaynes, well known for his works for Mule Music, Endless Flight and Let's Play House, delivers an inspired self-righteous hymn for Italo Disco ready to become and instant cult classic.
Den Haan are built for the rhythms of the night. Their debut album “Gods From Outer Space” embodies the spirit of seedy 70’s basement dives, a deco-greco roman blur of glistening bodies and dazzling lights, Criso on the wrists, spunk in the dark corners, sweat condensed on every surface while machine-made rhythms from some far-away disco planet send shockwaves of ecstasy across the dancefloor. Their rhythms are dark, electronic, tribal, with vocals hewn from Anvil or Van Halen rather than from Donna Summer. They are popper-soaked macho guys barking out tales of stalking the night, cruising for kicks, backed by a chorus of booming sado-cybernetic vocoders. And there ain’t no Divas in the Den Haan sound – save maybe for a terrifying 26 stone dog-shit eating drag colossal know as Divine.
The duo of Matthew Aldworth and Andy Gardiner bonded over their passion for sounds born during a short period in the evolution of soul and funk at the end of the 1970’s when producers and artists were breaking ground in new forms of disco production. Den Haan’s compositions pay homage to these producers, Celso Valli (Azoto and Tantra), Franco Rago & Gigi Farina (behind the ‘Lectric Workers releases), the experimental excursions of Vangelis, the homo-disco cybernetics of Patrick Cowley and the atonal alienation of the soundtracks of John Carpenter and Claudio Simonetti. Sourcing original instruments and production equipment the duo sweat it out in the studiostriving to re-create as close to a version of this original approach to sound creation as possible. This commitment to process brings not only an authenticity to the productions but also to their explosive live performances.
“Gods From Outer Space” takes the listener on a journey through Den Haan’s fictitious universe;- titles like “Release The Beast” and “Nightshift” conjour up the sweaty nightclub scenes from “Cruising” all hyper-macho swagger and pungent sexuality, “Gods From Outer Space” recalls the endless cheap laser blasts of 80’s sci-fi also-rans, the pompous faux religiosity of concept prog synth albums, while interludes like “The Arrival” and “The End” give a short breath of contemplation – BBC Radiophonic workshop interludes reflecting the dichotomous dystopia/utopian divide in their film soundtrack influences - before you are propelled back into an exhilarating votex of flesh and fantasy. The music may seem to have a parodic quality, an in-built “cheese” factor - but that is resolutely not its intention. Den Haan are deadly serious in celebrating their musical influences. Its camp undoubtedly, but HIGH camp. Theirs is an aesthetic hip enough to appreciate trashy genius whilst simultaneously in awe of the craft and imagination that was employed to create it. This isn’t just a game, it’s a ridiculous reality.
“equal parts leather, amyl nitrate, Mr Flagio and Bobby O” – Guardian Guide
“forget Italo, this is Macho Disco” - DJ Mag
“there are still those who can deliver synth disco’s high camp drama without life-sapping irony or inanity” – The Wire
The duo of Matthew Aldworth and Andy Gardiner bonded over their passion for sounds born during a short period in the evolution of soul and funk at the end of the 1970’s when producers and artists were breaking ground in new forms of disco production. Den Haan’s compositions pay homage to these producers, Celso Valli (Azoto and Tantra), Franco Rago & Gigi Farina (behind the ‘Lectric Workers releases), the experimental excursions of Vangelis, the homo-disco cybernetics of Patrick Cowley and the atonal alienation of the soundtracks of John Carpenter and Claudio Simonetti. Sourcing original instruments and production equipment the duo sweat it out in the studiostriving to re-create as close to a version of this original approach to sound creation as possible. This commitment to process brings not only an authenticity to the productions but also to their explosive live performances.
“Gods From Outer Space” takes the listener on a journey through Den Haan’s fictitious universe;- titles like “Release The Beast” and “Nightshift” conjour up the sweaty nightclub scenes from “Cruising” all hyper-macho swagger and pungent sexuality, “Gods From Outer Space” recalls the endless cheap laser blasts of 80’s sci-fi also-rans, the pompous faux religiosity of concept prog synth albums, while interludes like “The Arrival” and “The End” give a short breath of contemplation – BBC Radiophonic workshop interludes reflecting the dichotomous dystopia/utopian divide in their film soundtrack influences - before you are propelled back into an exhilarating votex of flesh and fantasy. The music may seem to have a parodic quality, an in-built “cheese” factor - but that is resolutely not its intention. Den Haan are deadly serious in celebrating their musical influences. Its camp undoubtedly, but HIGH camp. Theirs is an aesthetic hip enough to appreciate trashy genius whilst simultaneously in awe of the craft and imagination that was employed to create it. This isn’t just a game, it’s a ridiculous reality.
“equal parts leather, amyl nitrate, Mr Flagio and Bobby O” – Guardian Guide
“forget Italo, this is Macho Disco” - DJ Mag
“there are still those who can deliver synth disco’s high camp drama without life-sapping irony or inanity” – The Wire
This is the second release by Antonelli for Dreck after his "Boogie EP" in 2007. In classic Antonelli working method the material here is made without a CPU, just with hardware. This gives the tracks a warm feel and a sense of an older mode of production, but nevertheless the two tracks are fully rooted in the now! Stefan Schwander (aka Antonelli, Antonelli Electr, Repeat Orchestra and Rhythm Maker amongst others) starts out with the idea of the bassline as a genre-defining element in music. He then works from this central idea towards an ‘euphoric’ and a ‘reductive’ version, resulting in the two tracks here at hand, "Disconnected" on the A-side, and "Operatore" on the B-side. They both feature a beautifully analogue disco (if not Moroder) bassline, build up continuously without ever meandering or loosing direction – very straight and pushing the dancefloor forward with "Operatore" being the more bouncy and carefree track of the two.
Including tracks by Lucretio, Steve Murphy and DJ Octopus, Chevel, Caio and Madí Grein. 5 tracks of gritty house music by the members of the Riviera project, showcasing the suburban sound that has been flourishing from the muddy banks of the Brenta river. All the tracks have been arranged, mixed and produced with outdated agricultular machinery. Mastered by Frank Merritt at the Carvery (London).
Originally privately released on Pittsburgh's Jeree Records, ‘Steel City Disco' is one of the most sought-after disco records in existence, searched for by most yet the treasured possession of but only a few fortunate DJs and collectors. A grail in the truest sense of the word, this is a masterpiece in disco form, guaranteed to set any modern discerning dance floor alight.
Featuring an evolving line-up of various Pittsburgh-based students from the band's inception in 1975, Steel City Connection featured a multi-race make-up of musicians, led by bassist Keith Stewart. They rehearsed religiously in their parents' basements, and quickly developed into a well-trained group, performing at top venues across the city such as The Crazy Quilt and Pinball Wizard, accompanied by their manager and even their own roadies.
In 1978, with their hard-earned money secured from previous gigs, they paid to record and manufacture the single at Pittsburgh's most popular studio, Jeree, who then released it on their own label. However, upon its release the record sadly failed to make the headway that it deserved, mostly due to their manager's failing ill health and the band's inexperience in promoting music in the record industry. Although it received airtime on a few Pittburgh-based radio stations, it was soon lost into distant memory.
'Steel City Disco' has since become highly sought-after as arguably one of the best privately pressed disco releases ever put to wax, lifting its status from a mere 'rarity' to a true grail for many collectors and DJs. It is our honour to officially offer it here for the first time once more, backed with an unreleased extended version of 'Dansation', sourced from the original master tapes.
Featuring an evolving line-up of various Pittsburgh-based students from the band's inception in 1975, Steel City Connection featured a multi-race make-up of musicians, led by bassist Keith Stewart. They rehearsed religiously in their parents' basements, and quickly developed into a well-trained group, performing at top venues across the city such as The Crazy Quilt and Pinball Wizard, accompanied by their manager and even their own roadies.
In 1978, with their hard-earned money secured from previous gigs, they paid to record and manufacture the single at Pittsburgh's most popular studio, Jeree, who then released it on their own label. However, upon its release the record sadly failed to make the headway that it deserved, mostly due to their manager's failing ill health and the band's inexperience in promoting music in the record industry. Although it received airtime on a few Pittburgh-based radio stations, it was soon lost into distant memory.
'Steel City Disco' has since become highly sought-after as arguably one of the best privately pressed disco releases ever put to wax, lifting its status from a mere 'rarity' to a true grail for many collectors and DJs. It is our honour to officially offer it here for the first time once more, backed with an unreleased extended version of 'Dansation', sourced from the original master tapes.
"Excited to announce Tambourine Party's first release of June Evan's music. We dug through hours of unreleased recordings from June's archives of studio sessions, jams and official releases to compile June's first ever album. TPR001 master material comes from a variety of formats from master tapes to cassettes. We attempted to compile a concise and consistent album from start to finish that takes you on journey throughout June Evan’s musical career while still dancefloor focused. From the late night modern soul masterpiece “Hardly Need To Say” to the high energy boogie bomb June is so well known for “If You Want My Lovin”."
Jayda G releases her debut album “Significant Changes” via Ninja Tune, having risen steadily through the dance music underground thanks to her infectious energy, vitality, rhythm and boundless enthusiasm. Musically it’s a blend of vintage drum machine funk drawing heavily on Chicago’s house blueprint - a natural progression from a string of EPs both solo and alongside her friend and mentor DJ Fett Burger (Sex Tags Mania), often appearing on the Freakout Cult label the two ran jointly until 2018 and most recently her newly minted JMG Recordings imprint. Also renowned for her high-energy performances as a DJ, the past 12 months have seen her play London’s formidable Printworks venue alongside the likes of Marcellus Pittman, Moodymann and Omar-S, be invited by The Black Madonna to play at her Warehouse Project takeover, and Berlin’s iconic Panorama Bar, as well as festival appearances at Field Day, Kala, Melt!, AVA and the xx’s Night And Day to name a few.
“I’ve gone through some significant changes personally, in terms of growing up into the person that I am, my career just morphing to a place I never dreamed or imagined possible,” explains Jayda. “It’s about me understanding myself as an artist, understanding who that person is, and who I want that person to be, and taking more responsibility for the platform that I’ve been given.”
In 2018 Jayda completed her Masters in Resource and Environmental Management specializing in environmental toxicology, wherein she specifically studied the effects of human activity on the Salish Sea killer whales (orcas) of Vancouver, in her native British Columbia. It was also the year that she finished recording her debut album as Jayda G: “Significant Changes”. The title of the album was the most used phrase in her final thesis and exemplifies how intertwined her work in science is with her work in music. “I’m trying to bring my two worlds together… to bridge the communication gap, engage people in a new way”, she explains. “I don’t know if people in the electronic music world will want to talk about the environment but I think I should try! I think it’s our duty to use a platform like this in a positive way, that’s our social responsibility."
Additionally she will be hosting a series of intimate talks in London aimed at offering young scientists a platform to discuss their recent academic work as well as their personal journeys. Jayda’s aim is to try to bridge the communication gap between critical work in contemporary science and the wider public to promote a better understanding of science.
“I just want people to feel not so hopeless… there's a lot of really depressing things going on, but people are doing good work out there and finding out really interesting stuff, so I just want people to be informed of those things, so that they feel inspired in whatever work that they do.”
“I’ve gone through some significant changes personally, in terms of growing up into the person that I am, my career just morphing to a place I never dreamed or imagined possible,” explains Jayda. “It’s about me understanding myself as an artist, understanding who that person is, and who I want that person to be, and taking more responsibility for the platform that I’ve been given.”
In 2018 Jayda completed her Masters in Resource and Environmental Management specializing in environmental toxicology, wherein she specifically studied the effects of human activity on the Salish Sea killer whales (orcas) of Vancouver, in her native British Columbia. It was also the year that she finished recording her debut album as Jayda G: “Significant Changes”. The title of the album was the most used phrase in her final thesis and exemplifies how intertwined her work in science is with her work in music. “I’m trying to bring my two worlds together… to bridge the communication gap, engage people in a new way”, she explains. “I don’t know if people in the electronic music world will want to talk about the environment but I think I should try! I think it’s our duty to use a platform like this in a positive way, that’s our social responsibility."
Additionally she will be hosting a series of intimate talks in London aimed at offering young scientists a platform to discuss their recent academic work as well as their personal journeys. Jayda’s aim is to try to bridge the communication gap between critical work in contemporary science and the wider public to promote a better understanding of science.
“I just want people to feel not so hopeless… there's a lot of really depressing things going on, but people are doing good work out there and finding out really interesting stuff, so I just want people to be informed of those things, so that they feel inspired in whatever work that they do.”
FORMAT INFORMATION
2xLP includes MP3 Download Code.
Everyone has to deal with night cravings, but the way you handle them makes all the difference.
Beam Me Up (Cyclist & The Patchouli Brothers) invites you all to indulge your senses with three tracks that all reveal the same quiet intent and zeal for detail – rich, full of texture and luscious.
Beam Me Up (Cyclist & The Patchouli Brothers) invites you all to indulge your senses with three tracks that all reveal the same quiet intent and zeal for detail – rich, full of texture and luscious.
Attention, Eurodisco fans! The classic 80's sound is back on vinyl! Bad Boys Blue, one of the most important pop bands of that era, is again available on deluxe edition audiophile vinyl, remastered sound, with high quality embossed sleeves and posters. The first album “Hot Girls, Bad Boys”, released in 1985, features top International hits “You’re A Woman” and “Pretty Young Girl”.
Dark Entries Editions is proud to reissue "Perfect High" the 1983 debut 12” by Peppermint Lounge from Germany. The group consisted of Matthias Elvers (synthesizers, bass), Regina Petersen (vocals) and Jorg Burckhardt (drums, strings). They took their name from a popular 1960s discotheque in New York City. Treading the lines between Italo Disco, Electro, and New Wave, the trio crafted a unique sound difficult to classify. Regina’s powerful vocals command attention as they tell the sad tale of a boy searching for the perfect high. The lyrics are based on the poem “The Perfect High” by Shel Silverstein. Melancholic arpeggiators, a throbbing baseline, stuttering samples, vocoder and the classic Roland TR-808 drum machine run throughout the track, which builds to a majestic crescendo, ala Klaus Schulze or Jean-Michel Jarre. This reissue includes the original vocal version, backed with a shorter instrumental version.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The 12” is housed in an exact replica of the original sleeve with black and white Dali-esque drawing. Each copy also includes a 2-sided postcard lyrics and notes.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The 12” is housed in an exact replica of the original sleeve with black and white Dali-esque drawing. Each copy also includes a 2-sided postcard lyrics and notes.
Joey and Mauro Raffaele Fiume, we can say for sure is that the odd couple of 'Italodisco of yesterday and today. Joey mauro spent the last 15 years as a writer , producer, singer and 1st actor of alomost 60 new generation Italodisco dance tracks published worldwide. Raffaele Fiume an old acquaintance of Italodisco who produced and sang over 40 disco mix from 1981 to 1989 and sold thousands of records around the world with various pseudonyms, the most famous are : Clock on 5, Mr Rocambole, Helicon and Raf Coney. They come together with a mini album born from their friendship that led to a collaboration destined to leave an indelible mark in the Italo disco new generation panorama .Their newest mini album rediscovers the QUADRANGOLO MIRABILE label in an all-Italian production that is bringing back to the great experiences of Label as Discotto and Disco Magic. Along with the great the Pin Up designs of the great artist Giovanna Casotto, the voice of Francesco Cataldo Verrina aka Bounty Miller and Karl Otto make this release a must to have for all Italo Disco fans!
BLACK BONES once again making full use of their quarrying skills, with another fine excavation...
Not a cm of precious vinyl wasted as we get another indispensable 4-tracker turning up Bayou Funk, 80's Spanish pop, a classic mid-80's UK hit (that was bigger in Chicago's burgeoning House scene than it was in Soho), and winding up with a wonderfully sordid slab of early 90's Weatherall channeling psychedelia...
Limited, hand-stamped vinyl 12"
Not a cm of precious vinyl wasted as we get another indispensable 4-tracker turning up Bayou Funk, 80's Spanish pop, a classic mid-80's UK hit (that was bigger in Chicago's burgeoning House scene than it was in Soho), and winding up with a wonderfully sordid slab of early 90's Weatherall channeling psychedelia...
Limited, hand-stamped vinyl 12"
Roy Garrett born Roy Sambar in Colonia, New Jersey arrived in New York City hungry to explore the sex and porn scenes he’d seen advertised in the Village Voice’s classified section. He danced in Times Square theaters The Gaiety, Ramrod, and Big Top before moving into adult film. From 1979 through 1983 Garret starred in ten films, five of them for Joe Gage, including his lead role in 'Heatstroke'. Throughout this period of self-discovery, he wrote the suite of poems that became ‘Hot Rod to Hell’. In 1982 he recorded 48 of the poems with haunting, atmospheric score by Man Parrish, who also did several soundtracks for Gage. The project was produced for the stage and for cassette by Manhattan illustrator Robert W. Richards. Richards calls 'Hot Rod', “a searing voyage through the labyrinths of modern male sexuality; it’s geography ranging from porn theaters to back room bars to the intimacy of shared beds. Only a man born at exactly the moment in gay history that Garrett was could have lived through and conceived this work.” Roy Garrett tells his stories of sex, violence, truth, and illusion, a visceral and personal a record as any of that moment in gay history pre-AIDS. Joe Gage, describes 'Hot Rod' as, “…sweet danger. This is a perceptive look at the underside of love. It is funny, scary, surprisingly moving and best of all, extremely acute in observing the specifics of the human condition.” All poems have been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The records come housed in a jacket designed by Gwenael Rattke and includes an 44-page full color magazine with all 48 ‘Hot Rod’ poems plus 44 previously unpublished poems from Garrett’s archive. All proceeds from ‘Hot Rod’ will be donated to Housing Works, a New York City based non-profit fighting the twin crises of AIDS and homelessness.
Following on from their standout debut release, Viaggio return with another collection of global grooves, formulated by co-captain of Viaggio Recordings, Musta. Nestled alongside Musta’s productions, Disco Halal affiliate and man of the moment, Kincaid takes to remixing the mind bending ‘Cantana’.
The A side is an invite into the inner circle of the tribe, with melodic messenger Musta leading the dance. Rome born, Sardinia based, he channels the sounds, sights and feelings of his time spent living in South America into the tribalistic ‘Cantana’. Hypnotically rhythmic, drawing on local samples and entrancing, percussive loops, Musta weaves organic, analog synths and beating kicks to form its basis. The energy conjured is animalistic, moving bodies with a purpose drawn from deep within. Enter the spiritual vocal - as infectious as they get, it’ll have dancers imitating the chants without them even knowing what they’re doing.
Who better to remix this far-flung treasure than rising star, Kincaid. Taking ‘Cantana’ and twisting it into a tripped out roller, that transplants Musta’s exotic soundscapes into a distant cosmos. Surging synthesis, tectonic echoes and wobbly, otherworldly tinges pop and crackle throughout. It’s a grittier, glitchier affair with a more electronic, distorted feel, yet it’s roots still remain in that warm, earthy aesthetic with its rich, tactile tones.
Take to the flip side and Musta swaps the baked earth, for the sandy tropical disco sounds of ‘Mangiamo’ - further bringing that South American flavour to the fore. Strutting guitar riffs blend with fiery bongos, whilst a punchy bass strides over the top. It’s uplifting, alluring and drenched in the kind of zesty sax lines that will bring a smile to the face of any frown it comes up against.
The A side is an invite into the inner circle of the tribe, with melodic messenger Musta leading the dance. Rome born, Sardinia based, he channels the sounds, sights and feelings of his time spent living in South America into the tribalistic ‘Cantana’. Hypnotically rhythmic, drawing on local samples and entrancing, percussive loops, Musta weaves organic, analog synths and beating kicks to form its basis. The energy conjured is animalistic, moving bodies with a purpose drawn from deep within. Enter the spiritual vocal - as infectious as they get, it’ll have dancers imitating the chants without them even knowing what they’re doing.
Who better to remix this far-flung treasure than rising star, Kincaid. Taking ‘Cantana’ and twisting it into a tripped out roller, that transplants Musta’s exotic soundscapes into a distant cosmos. Surging synthesis, tectonic echoes and wobbly, otherworldly tinges pop and crackle throughout. It’s a grittier, glitchier affair with a more electronic, distorted feel, yet it’s roots still remain in that warm, earthy aesthetic with its rich, tactile tones.
Take to the flip side and Musta swaps the baked earth, for the sandy tropical disco sounds of ‘Mangiamo’ - further bringing that South American flavour to the fore. Strutting guitar riffs blend with fiery bongos, whilst a punchy bass strides over the top. It’s uplifting, alluring and drenched in the kind of zesty sax lines that will bring a smile to the face of any frown it comes up against.
Fockewulf 190 was a New Wave group from Milan formed in 1980 by Vittorio Barozzi aka Victor Life and Dario Dell'Aere. In 1979 the duo met outside a cinema and began a lifelong collaboration of projects: Diamond Dogs, Ice Eyes, Demode Boulevard and Fockewulf 190, named after the model jet planes Dario fanatically built. Musically, the duo were inspired by the Human League’s “Reproduction” and John Foxx’s “Metamatic”, while they took visual cues from the New Romantics Visage and Ultravox. With the Fockewulf 190 moniker, they created their own dark blend of Italo disco and New Wave, and released two singles in 1984 and recorded an album’s worth of music that eventually saw the light of day in 2010.
By 1983, local DJ and guitarist Salvatore Nonnis aka Stan After was added to the group. The band were searching for a producer and found Giuseppe Mincioni of Market Records who serviced the local DJs at the Taxi Club where Stan worked. Mincioni immediately proposed to make a hit with the Italo Disco production team Miki Chieregato and Roberto Turatti behind such acts as Den Harrow, Joe Yellow, Stylóo, Flexx. Dario handed them a demo called “Walking Out” and Turati thought the John Foxx-esque vocals were not commercial enough so they suggested vocalist Fred Ventura. Fred accepted their offer and wrote lyrics for the song politically inspired by living in a world divided in East and West, the Cold War, terrorism, and street violence. The debut single “Body Heat” was released in 1984 on Market Records with the band’s name misspelled as Fokewulf and vocals wrongly credited to Dario. Clocking in at over 6-minutes, the song features Fred’s New Beat style vocals over melancholic, sweeping keyboards and hard edged drum rhythm patterns. On the B-side is an instrumental version with the occasional “Hey you take a look at me” chorus. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a black and white mannequin bust shrouded in fog by Filippo Maniscalco. Each copy includes a double-sided postcard with lyrics, notes and photos. This reissue is dedicated to Vittorio Barozzi aka Victor Life who passed away in 2014.
By 1983, local DJ and guitarist Salvatore Nonnis aka Stan After was added to the group. The band were searching for a producer and found Giuseppe Mincioni of Market Records who serviced the local DJs at the Taxi Club where Stan worked. Mincioni immediately proposed to make a hit with the Italo Disco production team Miki Chieregato and Roberto Turatti behind such acts as Den Harrow, Joe Yellow, Stylóo, Flexx. Dario handed them a demo called “Walking Out” and Turati thought the John Foxx-esque vocals were not commercial enough so they suggested vocalist Fred Ventura. Fred accepted their offer and wrote lyrics for the song politically inspired by living in a world divided in East and West, the Cold War, terrorism, and street violence. The debut single “Body Heat” was released in 1984 on Market Records with the band’s name misspelled as Fokewulf and vocals wrongly credited to Dario. Clocking in at over 6-minutes, the song features Fred’s New Beat style vocals over melancholic, sweeping keyboards and hard edged drum rhythm patterns. On the B-side is an instrumental version with the occasional “Hey you take a look at me” chorus. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a black and white mannequin bust shrouded in fog by Filippo Maniscalco. Each copy includes a double-sided postcard with lyrics, notes and photos. This reissue is dedicated to Vittorio Barozzi aka Victor Life who passed away in 2014.
Jonny Rock a familiar face on the London house and disco scenes is recognized by many for working behind the counter at Phonica Records & Blackmarket Records during the 00’s and as the dude for playing the guitar in ‘Freaks’ project. Rock skillfully joins the dots between the old school house, underground disco and boogie vibes in a party setting.
Crown Ruler Records returns with a slab of unreleased disco-funk from Miami musician, Aaron Broomfield. HEAVY tune, in two mixes.. TIP
“Boomerang” was first recorded in 1979, when the Broomfield Corporate Jam leader was attempting to plot a solo career. It was the first cut Aaron Broomfield recorded under his own name – Initially, at the family band’s home studio, Kilimanjaro, and later at professional studios in L.A and Miami – but it was never released.
“I always wanted to be able to share ‘Boomerang’ with my fans some day – I didn’t release it back then because I thought the time wasn’t right,” Broomfield explains. “It was so different to what was considered commercial then and felt ahead of its time.”
Before deciding against releasing it, Broomfield had two test pressings made. It was the accidental discovery of the
one remaining record by digger Arun Brown (the other perished when Broomfield’s Kilimanjaro studio was damaged by a fire in 1996) that set in motion the chain of events that finally led to its release.
The jacket boasts a written essay by Broomfield himself, telling the remarkable story behind the song. The wax
features the two versions of Boomerang, of which both were meticulously restored and re-mastered by celebrated
Australian sound engineer, Dan Elleson.
Head to side A for the “test press” version, a cosmic, starry-eyed chunk of elastic Miami disco-funk where the
Broomfield family’s killer instrumentation – all rubbery bass, deep space synths and crunchy Clavinet motifs – arcs
around the sound space like a boomerang in flight. The vocal arrangement, in which Aaron Broomfield’s conscious
lyrics come through loud and clear, brings it home. On the flipside, you’ll hear how dynamic the band was through the
“Demo Version” - a relaxed, loose and spacey groover that sounds as ahead of its time in 2018 as it would have when it was recorded in 1979.
“Boomerang” was first recorded in 1979, when the Broomfield Corporate Jam leader was attempting to plot a solo career. It was the first cut Aaron Broomfield recorded under his own name – Initially, at the family band’s home studio, Kilimanjaro, and later at professional studios in L.A and Miami – but it was never released.
“I always wanted to be able to share ‘Boomerang’ with my fans some day – I didn’t release it back then because I thought the time wasn’t right,” Broomfield explains. “It was so different to what was considered commercial then and felt ahead of its time.”
Before deciding against releasing it, Broomfield had two test pressings made. It was the accidental discovery of the
one remaining record by digger Arun Brown (the other perished when Broomfield’s Kilimanjaro studio was damaged by a fire in 1996) that set in motion the chain of events that finally led to its release.
The jacket boasts a written essay by Broomfield himself, telling the remarkable story behind the song. The wax
features the two versions of Boomerang, of which both were meticulously restored and re-mastered by celebrated
Australian sound engineer, Dan Elleson.
Head to side A for the “test press” version, a cosmic, starry-eyed chunk of elastic Miami disco-funk where the
Broomfield family’s killer instrumentation – all rubbery bass, deep space synths and crunchy Clavinet motifs – arcs
around the sound space like a boomerang in flight. The vocal arrangement, in which Aaron Broomfield’s conscious
lyrics come through loud and clear, brings it home. On the flipside, you’ll hear how dynamic the band was through the
“Demo Version” - a relaxed, loose and spacey groover that sounds as ahead of its time in 2018 as it would have when it was recorded in 1979.
Love Will Fix It: The Best of Ashford & Simpson is a comprehensive double vinyl LP spanning the legendary song-writing duo’s own recording career with Warner Bros. Records from 1973 to 1981. The husband and wife team of Nickolas and Valerie established themselves in the 1960s as one of Motown Records many successful hit making partnerships (“Ain’t No Mountain High Enough,” “You’re All I Need To Get By”). The duo added even more depth, emotion and musicality to their self-produced recordings.
This newly remastered, comprehensive Groove Line Records release features 19 of the duo’s classic progressive 70s R&B duets including It Seems To Hang On, Send It, Don’t Cost You Nothing, Found A Cure, Bourgie Bourgie, Love Don’t Make It Right, Is It Still Good To Ya, Ain’t It A Shame and One More Try, of which the latter four titles are represented here in their extended form, and many of which are mixed by Valerie’s brother Jimmy, regarded as an early innovator and enduring influence on dance music.
Groove Line Records cut no corners when making sure that each and every one of our releases has the highest quality performance possible. Newly remastered from the original tapes and half-speed mastered by Matt Colton at Alchemy; it’s housed in a gatefold sleeve featuring liner notes penned by Christian John Wikane. Love Will Fix It: The Best of Ashford & Simpson is an essential addition to any serious R&B, Soul, Funk and Disco vinyl collector.
This newly remastered, comprehensive Groove Line Records release features 19 of the duo’s classic progressive 70s R&B duets including It Seems To Hang On, Send It, Don’t Cost You Nothing, Found A Cure, Bourgie Bourgie, Love Don’t Make It Right, Is It Still Good To Ya, Ain’t It A Shame and One More Try, of which the latter four titles are represented here in their extended form, and many of which are mixed by Valerie’s brother Jimmy, regarded as an early innovator and enduring influence on dance music.
Groove Line Records cut no corners when making sure that each and every one of our releases has the highest quality performance possible. Newly remastered from the original tapes and half-speed mastered by Matt Colton at Alchemy; it’s housed in a gatefold sleeve featuring liner notes penned by Christian John Wikane. Love Will Fix It: The Best of Ashford & Simpson is an essential addition to any serious R&B, Soul, Funk and Disco vinyl collector.
Elusive Duo Ed Wizard & Disco Double Dee have been delighting dancefloors around the globe since 2009. With Their signature brand of chunky disco dubs infused with hip hop flavors and slow motion house feel.
Having their tracks played @ Movement Detroit by Soul Clap, to BBC radio one mixes by Derrick Carter, being remixed by legend Greg Wilson, To dozens of vinyl releases on great labels around the globe like Whiskey Disco , Disco Deviance, Paper & More. Ed Wizard & Disco Double Dee were also rated #1 and #2 best selling artists on Beatport for Funk R&B for both 2014 and the year 2015.
With no plans to slow down , they now drop the "Slo-Mo Disco" LP on the mighty Editorial Records this summer. A perfect way to light up any daytime disco pool party, BBQ , or dancefloor!
Pressed on 2 x LP in a full Picture Sleeve.
Having their tracks played @ Movement Detroit by Soul Clap, to BBC radio one mixes by Derrick Carter, being remixed by legend Greg Wilson, To dozens of vinyl releases on great labels around the globe like Whiskey Disco , Disco Deviance, Paper & More. Ed Wizard & Disco Double Dee were also rated #1 and #2 best selling artists on Beatport for Funk R&B for both 2014 and the year 2015.
With no plans to slow down , they now drop the "Slo-Mo Disco" LP on the mighty Editorial Records this summer. A perfect way to light up any daytime disco pool party, BBQ , or dancefloor!
Pressed on 2 x LP in a full Picture Sleeve.
Fantasy Life was a one-off Italo disco studio project that consisted of various producers, songwriters, and vocalists from Turin, Italy. The line-up included Lorenzo Avico, Maurizio Camoletto and Sergio Bergamin. They recorded their only single “Over and Over” at Minirec Studio in 1985 with mixing engineer Gigi Guerrieri. It was released that same year by Thick Record a sublabel of Il Discotto Productions and became one of the most coveted Italo Disco 12”s. “Over and Over” is a parable that describes the story of a girl growing up, comparing her life to the changes of the moon. Signature Linn drum and Simmons drums create the driving rhythm track that hauntingly sways back and forth. The vocal version has a nearly two minute extended instrumental break in the middle of the song heightening the dramatic pace. On the B-side is a Dub Version with extended instrumental breaks, bass lines and occasional vocals. Both songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl is housed in the original jacket featuring a painting by Andrea Franzoso and includes a double sided postcard with lyrics and notes
As we enter an exciting second year of Flat White Records putting out records, it is with great pleasure to bring you the third instalment, courtesy of Gijon and Poetry In Motion Music amigos, Paul Rudder & Hurlee.
A1. Got To Be
If you researched “Dancefloor Ready” in the dictionary, this track would be what you’d find. This peak time stomper has all the elements required to bring a smile to every head on the DF.
Pumping drums, with addictive disco loops. A recipe for dancing.
A2. Three Hours To Midnight
The second track by the two Spaniards warms up its listeners with some sample wizardry, before exploding into a track worthy of closing your eyes, and putting your hands in the air.
B1. Les Belles Dames
On the flip, proceedings are started with a more down tempo groover. With mesmerising chords and an addictive hook, Les Belles Dames would add a certain romance to any dance floor.
B2. Les Belles Dames (Danvers Remix)
Bringing a different vibe to the EP, Danvers expertly reworks the B Side of FW003.
Danvers already boasts outstanding solo projects, on WotNot and FINA White to name a couple of labels. He also has releases on Heist and Phonica White as one half of Kassian. For a more breakbeat, 2 step audience, this is the track for you.
A1. Got To Be
If you researched “Dancefloor Ready” in the dictionary, this track would be what you’d find. This peak time stomper has all the elements required to bring a smile to every head on the DF.
Pumping drums, with addictive disco loops. A recipe for dancing.
A2. Three Hours To Midnight
The second track by the two Spaniards warms up its listeners with some sample wizardry, before exploding into a track worthy of closing your eyes, and putting your hands in the air.
B1. Les Belles Dames
On the flip, proceedings are started with a more down tempo groover. With mesmerising chords and an addictive hook, Les Belles Dames would add a certain romance to any dance floor.
B2. Les Belles Dames (Danvers Remix)
Bringing a different vibe to the EP, Danvers expertly reworks the B Side of FW003.
Danvers already boasts outstanding solo projects, on WotNot and FINA White to name a couple of labels. He also has releases on Heist and Phonica White as one half of Kassian. For a more breakbeat, 2 step audience, this is the track for you.
Japanese house producer, KUNIYUKI. A CD album that collaboration with him and talented producers.
Selection of seven songs from co-production with Vakula, Dj Nature, Jimpster which was only record release. DJ Sprinkles A.K.A. Terre Thaemlitz 's remix and 2 collaborations with London' s K15 are included. All 9 songs included.
Sound clips here!!!
https://soundcloud.com/field-of-mouth/01-dj-nature-kuniyuki-groove?in=field-of-mouth/sets/kuniyuki-friends-a-mix-out-session-mixed-out
Selection of seven songs from co-production with Vakula, Dj Nature, Jimpster which was only record release. DJ Sprinkles A.K.A. Terre Thaemlitz 's remix and 2 collaborations with London' s K15 are included. All 9 songs included.
Sound clips here!!!
https://soundcloud.com/field-of-mouth/01-dj-nature-kuniyuki-groove?in=field-of-mouth/sets/kuniyuki-friends-a-mix-out-session-mixed-out
Ferocious propellor fans blast the sweat off your brow. Analogue synth raps on the walls in off-kilter glory. Gunshot tom drums race around the room, like mice you keep missing. This is 'Operation', the first track on Albion's long-awaited second offering for renowned disco edits imprint PASSPORT TO PARADISE. Following the superb Kompression EP last year, the Swedish disco druid is back for another leftfield voyage through paradise. Don't touch the sides..
Where are you? Cruising at light-speed through a disco multiverse. An offering from the aliens - a vocoder box. Layer it on top of a chugging mid-80s synth bass. Put it on your playlist.
Flip around. 'The Music Makes Me Feel Good', is a straight-ahead boogie killer, making Albion Vol. 2 as versatile as it is fashionable, as eclectic as it is galactic.
Finally, you ascend far above the milky way, reaching heaven just as the sun disappears through the clouds. The angels are out dancing. 'Sunset Reggae' is blissed-out cosmic dub sweetness for the headiest of evenings.
Where are you? Cruising at light-speed through a disco multiverse. An offering from the aliens - a vocoder box. Layer it on top of a chugging mid-80s synth bass. Put it on your playlist.
Flip around. 'The Music Makes Me Feel Good', is a straight-ahead boogie killer, making Albion Vol. 2 as versatile as it is fashionable, as eclectic as it is galactic.
Finally, you ascend far above the milky way, reaching heaven just as the sun disappears through the clouds. The angels are out dancing. 'Sunset Reggae' is blissed-out cosmic dub sweetness for the headiest of evenings.
For those who will know Baggy Leggins for previous release “Expensive Sheeeeet” & “Disco Lando” this put together Hand Stamped 7" press will pop your joints, the run is 300 copies hand stamped.
Side A. Mondo Disco Heres a fury filled foundation of bongos, beats and bass, with layers of rolling piano and hypnotic movement of brass, giving nothing else but good time vibes for the dance floor with plenty of outro for any discerning DJ.
Side B. Bug Wax Rewind for vintage 70’s retro kitsch ditchsco , rhythmic bass guitar, enchanting flute and swirling strings, sprinkled with subtle vocals and hints of electronic glitch over a pumping beat
Side A. Mondo Disco Heres a fury filled foundation of bongos, beats and bass, with layers of rolling piano and hypnotic movement of brass, giving nothing else but good time vibes for the dance floor with plenty of outro for any discerning DJ.
Side B. Bug Wax Rewind for vintage 70’s retro kitsch ditchsco , rhythmic bass guitar, enchanting flute and swirling strings, sprinkled with subtle vocals and hints of electronic glitch over a pumping beat
Upcoming, very talented Amsterdam DJ /producer debuts on Rush Hour with a loud 12-inch two-tracker, New Dance. After his remix for Bassekou Kouyate on Joe Claussell's label and the strong "Testify" track co-produced with Jamie 3:26, he now goes solo with these two Italo infused dance floor igniters .
Tempo Dischi is an italian label created on a mission to discover and repress classics and rare gems of the italo disco, afro and cosmic scene. With the support from all the main players who has made that era magic, we work to put back on records stores shelves a piece of art that may have been lost but it’s still timeless. The first release is one of the key projects of the underground Italo Disco scene, probably not the most famous one, but surely it is among the most loved one by DJs and connoisseurs: Steel Mind.
‘It was the end of the '70s and at that time Disco Music was very popular. I was in a band called Caelestium, and we were playing in the most important clubs in Italy…Around the beginning of the 80s, I started to feel the desire to make a different kind of sound and I decided to start my solo project creating songs like 'Boss Man' and 'Lionel' that were closer to the Krautrock style’ recalls Piero Torsani, the producer behind this project.
These songs have become a cult for many djs, including Daniele Baldelli, Beppe Loda and Alexander Robotnick and they still sound contemporary. The Tempo Dischi collective is responsible of a club friendly edit of ‘Boss Man’. And after a deeper search into Pietro Torsani’s original music archive, an unreleased track has surfaced we could not resist to give to the world: 'Summer in The City’ featuring the voice of Marisa Lucà , at that time singer of Caelestium.
‘It was the end of the '70s and at that time Disco Music was very popular. I was in a band called Caelestium, and we were playing in the most important clubs in Italy…Around the beginning of the 80s, I started to feel the desire to make a different kind of sound and I decided to start my solo project creating songs like 'Boss Man' and 'Lionel' that were closer to the Krautrock style’ recalls Piero Torsani, the producer behind this project.
These songs have become a cult for many djs, including Daniele Baldelli, Beppe Loda and Alexander Robotnick and they still sound contemporary. The Tempo Dischi collective is responsible of a club friendly edit of ‘Boss Man’. And after a deeper search into Pietro Torsani’s original music archive, an unreleased track has surfaced we could not resist to give to the world: 'Summer in The City’ featuring the voice of Marisa Lucà , at that time singer of Caelestium.
Japan's Volkuta follow up their first release with another selection of oriental flavours. Volkuta is a new label which introduces traditional Japanese songs alongside more contemporary remixes. Umeko Ando (1932-2004) was a folk singer from Japan. She was a representative of the Ainu culture on the Hokkaido Island in the north of Japan. Here we get six original tracks from her, alongside a remix from Joe Claussell.
The music is reassuringly beguiling; utilizing eastern scales and instrumentation - much of which I'm going to struggle to correctly name. There's flurries of prog, jazz, new age and folk; all combined into a stylish aural soup. When Umeko Ando sings it's playful, almost tongue-in-cheek, but certainly captivating. Joe Claussell is on hand to provide a sympathetically spiritual take on "Metal Rain Shower". It's an eastern exotica opus and demands your immediate attention!
The music is reassuringly beguiling; utilizing eastern scales and instrumentation - much of which I'm going to struggle to correctly name. There's flurries of prog, jazz, new age and folk; all combined into a stylish aural soup. When Umeko Ando sings it's playful, almost tongue-in-cheek, but certainly captivating. Joe Claussell is on hand to provide a sympathetically spiritual take on "Metal Rain Shower". It's an eastern exotica opus and demands your immediate attention!
France's Unlimited Love ship over some more illicit produce just before we leave the EU at the end of next month. The team have kept it simple on this one. One track a side. Both of the heavy disco / soul variety. No track listing as usual but please do send in your answers to Pasta Paul our social media rep and he'll be sure to dish out maximum likes and positive emoticons onto your feed as you wish. Limited copies. Cop now or cry later.
The artist and the track ... Antena "Camino Del Sol"
Some words for those who donʻt know Antenaʻs album "Camino Del Sol"; itʻs an electro-samba classic back from 1983, including several tracks produced by John Foxx. The album inspired many of the big names in pop and dance music, such as Jarvis Cocker from Pulp or the Pet Shop Boys. Moreover several tracks of the album were essential material for the true cosmic sound djs back then in italy. Daniele Baldelli, Mozart and Loda didnʻt end a dj set without playing at least one track of the album, and the track "Camino Del Sol" was one of the biggest hits there. Shivery electric this is.
the remixes ... Joakim and Todd Terje
French electro master and head of Tigersushi Joakim turns the original into a deep and very tense electro-house track, that should burn down any dancefloor. He uses 100% the chords and harmonies of the original plus bits of the vocals in the beginning and in the break. This is pure chordal magic or quality prime time material we would say, you wonʻt regret playing this tune in your set :)
Osloʻs wonderboy Todd Terje, whose recent hit „Eurodans“ and re-edits rule the cosmic -/ nu-disco world, comes along with a wonderful extended samba-electro-disco version, that stays closer to the original. Nonetheless this rework builds up top class with its ever twisting bassline. This is sth for all the DJ Harvey diggers out there.
Some words for those who donʻt know Antenaʻs album "Camino Del Sol"; itʻs an electro-samba classic back from 1983, including several tracks produced by John Foxx. The album inspired many of the big names in pop and dance music, such as Jarvis Cocker from Pulp or the Pet Shop Boys. Moreover several tracks of the album were essential material for the true cosmic sound djs back then in italy. Daniele Baldelli, Mozart and Loda didnʻt end a dj set without playing at least one track of the album, and the track "Camino Del Sol" was one of the biggest hits there. Shivery electric this is.
the remixes ... Joakim and Todd Terje
French electro master and head of Tigersushi Joakim turns the original into a deep and very tense electro-house track, that should burn down any dancefloor. He uses 100% the chords and harmonies of the original plus bits of the vocals in the beginning and in the break. This is pure chordal magic or quality prime time material we would say, you wonʻt regret playing this tune in your set :)
Osloʻs wonderboy Todd Terje, whose recent hit „Eurodans“ and re-edits rule the cosmic -/ nu-disco world, comes along with a wonderful extended samba-electro-disco version, that stays closer to the original. Nonetheless this rework builds up top class with its ever twisting bassline. This is sth for all the DJ Harvey diggers out there.
The new self titled album from @LadytronMusic is out today. It’s their first album in seven years on Ladytron Music… https://t.co/8kbjEmO9hd
Fri 15th - 4:37
Fri 15th - 4:37
.@DavidBowieReal fans. His 1983 album Let’s Dance has been reissued/remastered. Out today on @parlophone… https://t.co/45eM108QJy
Fri 15th - 1:35
Fri 15th - 1:35
Hollow Earth is the new album out today from @PyeCornerAudio aka Martin Jenkins, his third for Ghost Box. It’s conc… https://t.co/USB9oQ9yrj
Fri 15th - 12:14
Fri 15th - 12:14
.@dinkededition No 5 has landed 🙌🏻
@HOOMESHAAKE album ‘Helium’ available on “fruit punch” coloured vinyl, hand nu… https://t.co/hLkc9AvkLC
Fri 15th - 11:43
Fri 15th - 11:43
The brand new banners are up on this glorious #newmusicfriday here in Manchester. Today they are representing… https://t.co/4sPp6jtjAX
Fri 15th - 11:12
Fri 15th - 11:12
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