After the inevitable success of L'Hiver des crêtes (aka season 1 of their major new project celebrating 40 years of approximate punk), Ludwig Von 88 are back for new adventures in a second season entitled Le Printemps du Pogo. This second vinyl album (of the four planned this year) is this time illustrated by LauL (iconic graphic designer of the 80s - Bérurier Noir, Ludwig Von 88, Mylène Farmer, Patrick Topaloff).
Fourteen tracks packed with love, joy, shitty jobs, noisy neighbours, flowery pogos, fried chicken, unsanitary dungeons and a negative carbon footprint.
There are some good traditional Keupon numbers, but also ska, reggae, yodelling (Yodel to Hell), a universal anthem of destructive punk (Youplapunk), swing, the follow-up to Fistfuck Playa Club (New Club) and Kaliman (Kaliman saves the world), and the long-awaited conclusion, 38 years later, to their interstellar hit J'ai tué mon père (J'ai sauvé mon père). Or the hit Let it burn, which we'll probably be able to sing along to during the long hot days to come.
Thirteen of these songs have already been released on the internet (at a rate of one a week, because the Ludwigs like periodicity, and that's why they keep coming back and coming back) but the fourteenth track, Casques Rouges, is completely new to the galaxy.
So here's something to liven up the weeks of holiday that are just around the corner. On the beach, in the mountains or in the forest, approximate punk remains salvific and Ludwig Von 88 are its most faithful servants.
Manda Moor steps out on Mood Child for the first time as the label co-founder links with mysterious talent Trangaz for four fresh productions on their collaborative ‘Peligro’ EP.
Ever since dropping her debut release in 2020, Danish-Filipino talent Manda Moor has been on an impressive upwards curve and one that doesn’t seem to be slowing anytime soon.
Having dropped back-to-back releases on Jamie Jones and Lee Foss’ iconic Hot Creations imprint, the hotly-tipped DJ/producer and label founder heads to her Mood Child label for the first time. Founded and created alongside Sirus Hood, the label serves as an artistic platform, a community-focused label, and an events series that delivers quality music via digital and physical formats, plus NFTs, unique experiences, and more. An ‘invitation to a journey that blends feelings, emotions and desires’, with takeovers at Hï Ibiza, Café Mambo, Lovefest, Fabrik and more, the first release saw Sirus partner with fellow Frenchman Malikk, and now the second arrives in perfect time for the peak summer months as Manda combines with Boogeyman and Pakate signee Trangaz.
New York City born-and-raised, he draws lines between primitive and futuristic sounds and rhythms influenced by world travel and different cultures, and the two reunite for their four-track ‘Peligro’ EP.
Crafted together in Ibiza, the EP showcases sonics capturing the island’s unique magic. Lead cut ‘El Peligro (Ibiza Mix)’ is a production made after a special day at the coves and hidden treasures of Atlantis, under full moonlight near Talamanca, with the rolling organic drums grooves, playful vocal murmurs and vibrant melodies journeying deep into the night.
Next, ‘Tagalog’ keeps the energy bubbling with another percussive workout sprinkled with vocal interjections and spoken words in the native Filipino language it is named after, while B1 ‘Chatita’ is a slinking production as wonky stabs meet and snaking low-end grooves. Closing the EP, the pair deliver the most stripped-back track with ‘Buena Vibra’ as a killer groove guides vocal chants to wrap things up in fine fashion.
Manda Moor & Trangaz ‘Peligro’ EP drops via Mood Child in July 2023.
Sanullim's 4th album consists of background music and insert songs for TV and radio dramas and plays, including Korean Film director Im Kwon-taek's movie "Tomorrow And Tomorrow Again". It is a noteworthy collection of works that has not faded with the unique scent of Sanullim, and contains several songs that still shine with charming emotions and whimsical or vague sensibilities.
Express Train (Inside), a mountain sound-style hard rock with dynamic rhythm, fuzz guitar, and Kim Chang-hoon's wild shouting, Kim Chang-wan's soft vocal and brilliant keyboard sound, Can't Tell Anyone, Love It includes the elegant performance songs Glass Doll and The Windy Hill By The River, and the beautiful song Afterglow that achieves the climax of romance and lyricism.
Finally the wait is over. Played for years as an unreleased weapon – not only by Priku - Ave is this kind of track where you just can’t forget the synths. You will still hum them while walking the streets months after. The mighty melody can catch the whole crowd creating memorial moments on the dancefloor.
B1 with „For your love“ is an older track but old is gold, right? It fits perfectly with its house beat and sexy vocals on the B-Side. The track gets even more love on top from Bärtaub with an excellent sounding remix – as usual for their work - completing the Ep as the B2. Thank you guys.
Paul Walter, who definitly defined producing as his lifestyle, runs also Meduka Records and has released music on labels such as Do Easy Records and Neostrictly.
We couldn't be happier to announce the first Mapache Records compilation after all these years. ONE MILE FROM HEAVEN is a dreamy travel through the 70's and beyond private singer songwriters scene.
There have always been privately-pressed records. Such a "private" LP is an album that has been composed, performed, recorded and edited usually very-DIY style by the very artist or by an amateur label. A private press record is, above all, an act of the artistic urge. It's an act that takes place outiside of the industry out of need, out of a lack of knowledge, out of love, out of a drive, out of ambition... you can choose among the many reasons.
Depending on their genre, origins, time, and above all, quality, some of these efforts have become valuable pieces for the music collector. Having been created behind the "canonical history of music" written by the industry, every now and then an archaeologist will bring to the surface an artifact they have found in some basement or flea market, or that was kept covered in dust in the shell of some old recording studio soon to be torn down.
All these records have their own story, and some are still especially relevant, and others are but small footnotes in the encyclopedia of music that made their way into the margins of the mainstream world. These are the most limited of editions (and mostly locally made ones) of largely unsociable and mostly unobtainable records--and when found, they are often exorbitantly priced. Many of these marginalized and onscure artists have stayed alive only through the wonderful work of tireless song rescuers, music lovers, vocational archivists, collectors, and record labels with an idealistic drive. These romantics have been rescuing and indexing a form of music that very few have showed interest in until recent years. This record is a tribute to all of those who managed to make these songs not be lost to time. Above all, this release is a tribute to all those artists who recorded their songs on their own, mostly because they couldn't keep the music inside themselves.
Respect The Craft's archives keep growing. After a double-hitter with Ricardo Villalobos, Tripmastaz is back on solo duties for the third iteration of RTC with "Rare Sensation EP".
Filling the a-side with the warmest summery vibes, 'Rare Sensation' perfectly displays Andrei's deep love for house music - groove, rhythm, emotional chords and club-ready, euphoria-inducing samples very tightly reminiscent of the world's best beach parties. A "deeper dub" version is also available, stripping down some elements and bringing a classier, less euphoric tone to the forefront.
'3000' has the virtuosic producer back to exploring the minimal and deep tech-house realms while, in essence, still targetting the summer-drenched tropical raves. And where the original version is a driving, slightly dryer, percussion-infused affair, its dubbier 'Space Program' version brings all its elements to the astral plain, filling the space with melody and atmosphere.
Respect The Craft - a goal, a call, and a mission.
As we hit the 10th release on the day by day series, we have a special two part vinyl with our first one featuring four special tracks to spice up your record bag.
Starting off the release is MPEG's 'Datetime', a playful and uplifting tune that's sure to perk up any dance floor!
A2 gets a bit deeper and darker with Sasha Nevolin’s ‘Tears at Rave’. With acidic arpeggios breathing through your sound system, this is a perfect track to transition into your trancier moments!
On the B side, Seo John's 'Circuit of Light' takes listeners on a mid-tempo progressive journey that beautifully blends the elements of acid, techno, and trance. Be sure to fasten your seatbelts for this one!
To close out the release, Nvsession delivers an atmospheric journey filled with moody breaks and arpeggios! Perfect for your after-hours or home listening!
Freestyle Records presents Albert "Alchemist" Thompson's Promise Land, an EP featuring vocals from reggae & dancehall greats Frankie Paul, Joseph Cotton, Prince Malachi & Anthony John, representing a musical collection that has gradually evolved, matured & marinated over the course of the past 32 years - now finally seeing it's first ever release.
Albert Thompson (brother to the great Peter Chemist) was chief engineer at the storied I&I Sound Recording Studio after it moved it's base from Los Angeles to Jamaica in 1989, working with a wide range of heavyweight artists such as Dennis Brown, Bunny Wailer, Mighty Diamonds, Gregory Isaacs & many many more. During some studio downtime in early 1991, Albert laid down the rhythm track (itself a take on Aswad's Love Fire riddim, made most famous by Dennis Brown's iconic Promised land vocal track) with musical assistance from Tony Thomas.
16 years and a move to London later, Albert had founded his Alchemist Recording Studio on Brixton's Acre Lane in a space above the legendary Supertone Records - recording dubplates with talented local artists and touring Jamaican artists alike. Digging out the Promise Land tape, he proceeded to cut these 4 vocals on the version during the course of 2007. Another 16 years gone, and after hearing the tracks following a chance encounter with Albert in South East London, we felt they were finally ready to see release!
Over three years after the release of his latest record, Belgian singer-songwriter Bram Vanparys finally returns with breathtaking new music. His songwriting has often drawn comparisons to the music of Bob Dylan and Neil Young, but the new record 'Silent Days' reveals that Vanparys has been on a journey into new musical territory.
After 'Wild Flowers' (2015), which he recorded in Los Angeles with Ray LaMontagne's former live band, Bram Vanparys kept his guitars locked away in their cases for months. Too many questions had been bothering him and soon he found himself struggling with his musical direction and his artistic integrity. Partly so because he felt that his almost archaic approach on songwriting was pushing him down a dead end street and partly because his interest in rich and complex arrangements started to grow stronger. In 2016 he bought an old trailer and went living in the countryside to work on his new sound. A harsh winter and a tragic breakup with his wife set the mood for a new set of songs and soon Vanparys started recording again.
'Silent Days' comprises both classic songwriting reminiscent of the old masters such as Leonard Cohen and Bob Dylan and on the other hand dark, complex arrangements that refer to late Talk Talk and even Radiohead. Guitars were played with kitchen knives and the heavily manipulated acoustic sounds reveal that Vanparys might have been listening to Kurt Vile. Bram's lyrics are deeply honest, touching, but never sentimental and his once so angelic voice now sounds hoarse and mature.
The Bony King of Nowhere is the pseudonym of Belgian singer-songwriter Bram Vanparys. He released his debut album 'Alas my love' to critical acclaim in 2009, which was followed by his second and most celebrated album 'Eleonore' in 2011. In the aftermath of 'Eleonore' he was asked to write the film score for the movie 'Les Géants', for which he was awarded by Les Magritte du Cinéma for best original soundtrack.
Twin Cosmos is not only the name of the musical output of fraternal twins Morihito & Yasuhito Ito, but more philosophically, an album that encapsulates, “the universe of twins”.
The pair were born 1953 in Yokkaichi, Mie Prefecture. A port city 50 kilometres west of Nagoya, famous for its chemical plants. Despite their surroundings, they grew up in an environment that fostered learning and self-expression. From an early age, they began to carve out their own paths.
Morihito was fascinated with scientific endeavours, space travel and spirituality. His father, an electrician by trade - motivated him to build his own musical equipment. This led him to attend an acoustic engineering school in Tokyo from 1972-1974, after which, Morihito returned to Yokkaichi where he worked in the instrument and audio section of a department store. This helped him keep up to date with the latest equipment, while allowing him to simultaneously work on his own musical endeavours.
Morihito’s side of the ‘Double Action’ LP is a cohesive piece, which effortlessly drifts from one song to the next through samples of flowing water and rockets launching into space ,that were recorded while visiting his brother in the States. His music is carried by flowing vocal harmonies, guitar strums, and floating synths to create an eternal dreamlike ambiance.
In contrast, Yasuhito gravitated towards philosophy and the arts and in 1976 followed his Englsih teachers’ advice and moved to the ‘foreign world’ of the United States. It’s here that he further explored his interests in Christianity, sadomasochism and poetry. He was exposed to artists like John Cage and Sun Ra, as well as a variety of ‘Do It Yourself’ recording techniques that enabled him to record remotely.
Using samples, poetry, and an original approach to traditional folk & rock songs, he recorded his side of the LP. The outcome being provocative, dark and confronting realisations, which solely used English lyrics to represent his experiences in the ‘Western world’. In 1980, Yasuhito was wooed back to Japan by his brother and the prospect of a combined record release.
The self-released album ‘Double Action’, was completed at Victor studios in Japan. Without a distribution network, the release was sold mostly to family and friends and fell into obscurity. Despite not reaching commercial success, the pair have continued to make music over the past four decades, crediting it as their driving force in life. This 2022 release includes an insert with archival images & liner notes in both English & Japanese.
A famous anthem once begged: “Don’t Make Me Wait.” Sometimes, though, it’s good to make ‘em wait—even just a little bit. Case in point: The production duo of Fabrizio Mammarella and Phillip Lauer, known to clubbers, DJs and music heads as Black Spuma.
Three years after their last EP—and nearly a decade into their production existence—the duo have finally given us a full-length manifesto. Sure, there have been a smattering of remixes and EPs over the years on labels like Futureboogie, International Feel and Live At Robert Johnson. But on their new LP “No No No,” the Spumas at last get to stretch out and give us their full-meal-deal.
The pair birthed the tracks at Lauer’s famed Pyramide III studio, with 10 tunes finalised and selected remotely, thanks to the wonders of high-speed Internet. While the Spumas are well-known (both together and as solo acts) for their melodic, 80s-tinged club workouts, the album format has allowed the guys to push their sound into parts unknown. The album drops at the end of May on Permanent Vacation, and it distils all the things we love about the duo: The melody, the playfulness and the musicianship of two veterans in full command of their powers.
Take the tune “Obereggen,” which expands a punchy, staccato bassline into that sweet spot where trance and italo can play next to each other. Or the cut “Fracture,” which is built on a Detroit-like chassis but makes room for gorgeous pads, subby bass and a nimble breakbeat.
For the established fans, there’ll be plenty to latch onto, including the title cut (and first single), which sounds like something Robocop may have produced if he’d taught a violence diversion program.
Meanwhile, cuts like “Dillingen” remind us of one of those lost Eurythmics B-sides that show up in the dark corners of MixesDB. The album was mixed and mastered by Lopazz, and boasts a colourful cover from Berlin-based artist Ilja Karilampi.
So, 17 years after initially meeting, we finally have a full album from these Spuma Men. And in the end, it was worth the wait.
Urban Underground Grooves comes back alive after the only release from 1996, this time with St. David, re-opening this beautiful catalog with “A Sample Story EP”.
If you have been educated with the Henry Street or Cajual Records this is something that will transport in that nostalgic atmosphere.
A complete package for the really MPC 12bit sampling lovers.
Urban Underground Grooves is now a sub-division of Theory Of Swing Records, relaunched by St. David for the love of House music.
Amazingblaze is the latest red-hot new talent to be signed up by Charlotte de Witte's KNTXT label. The Russian artist serves up four fierce techno weapons on his Venture EP, due for release on 25th February 2022.
Though a relative newcomer, Amazingblaze is already making big moves mixing up heavy-hitting hard trance and techno. He has a sound that combines old school influences with new school sound design, and it never fails to captivate the dance floor. On this first EP for KNTXT, all of the signature Amazingblaze essentials are here: weighty drums, massive synths and authentic atmospheres.
Says the artist, "The Venture EP was started when I was living in Saint-Petersburg and there was a pandemic situation. Experimenting with different shades of techno I created a pretty authentic sound which works very well on the dance floor. After leaving Saint-Petersburg I decided to move to Moscow, gladly the pandemic restrictions there were lifted and I became inspired by the new city and parties where I've never been before, I completed the EP adding some new bangers with an already experienced touch.”
Says Charlotte de Witte, “My eye fell on Amazingblaze for the first time during the preparation of my Tomorrowland Around The World Set, where I closed with his beautiful track "Stratosphere". A couple of months later, I fell head over heels in love with his track "Venture", which, I'm proud to announce, turns out to be the title track of the newest EP on KNTXT. Venture captures every crowd of people I’ve played it to, ever since I debuted it in my set at Exit Festival. The entire EP is an out of the box masterpiece.”
First up is the mighty 'Venture' with its pummelling drums and turbo-charged trance stabs. They are bright and bring the energy while a rapped vocal adds something utterly fresh. 'Inner Fire' ups the ante further with a diva female vocal straight from the classic trance era. She brings waves of euphoria and, after a spine tingling breakdown, the machine-gun grooves fire on. There is terrific turbulence in the synth stabs of techno gem 'Flashback' as well as industrial textures and walls of white noise that bring real tension. ‘Neutron’ closes down with the most fierce groove of the lot, this time rippled with cosmic psy trance chords and irresistible video game synths to take you into the next dimension.
*MILKY CLEAR VINYL - 300 COPIES ONLY FOR WORLD!!* Technology + Teamwork’s fizzling synths, interweaving textures and punchy rhythms are beguiling on their long-awaited debut album We Used To Be Friends. However, at the heart of it all it’s the connection between the group’s two members, Anthony Silvester and Sarah Jones, the friendship the much-travelled duo have managed to maintain for nearly 15 years and a showcase of the slow-burning construction of the electronic world that they’ve surrounded themselves with. We Used To Be Friends is ultimately the tale of two storied artists in their own right, holding onto each other through personal and career twists and turns, relocations and broader movements through respective phases of their lives. Silvester and Jones first met and then collaborated as part of biting post-punk five-piece XX Teens in 2008, eventually breaking off to forge their own path together even as the latter’s demand as a drummer grew. Performing with everyone from Hot Chip, Harry Styles and Bloc Party among many others, Jones has been a constant percussive presence across the sphere of alternative UK pop music – she’s also found time for her own solo project Pillow Person and played on records by the likes of Puscifer and Kurt Vile. Silvester meanwhile has performed in art galleries across Europe including: Fridericianum in Kassel, Kölnischer Kunstverein in Cologne, and Vleeshal in Middelburg, as well as providing sound design and composing work for several art films. Technology + Teamwork is the constant throughout all of that though. “Technology + Teamwork's name perfectly describes how we work” Silvester explains. “Sometimes the teamwork is between each other and sometimes it’s between us and the technology.” Although going by the name Technology + Teamwork as far back as 2014, two events conspired that pulled the project into focus for the pair of them: firstly, Silvester spent a year constructing a soundproof studio shed on the border of London and Essex where he lives. Secondly, inevitably, the pandemic brought the globe-trotting Jones back home to just seven miles away from her long-time collaborator and friend. “We probably hung out more than we had for a few years” says Silvester. “Also, after all her Pillow Person releases Sarah had gotten really good with recording vocals and knowing what did and didn’t work and had a really good home studio set up. We still worked separately though, exchanging ideas via email and WhatsApp.” As with many artists through 2020 and early 2021, working separately was a new necessity that they were forced to adapt to. However, it became clear that there were creative benefits to it. “It really changed our sound and our sounds became a lot more focused as a result” Jones says. “I wanted to use the same ideas of improvisation that I might use while playing the drums for myself and apply that to melodies and lyrics.” The album bristles with hyperpop modernity. You can hear it in the manipulated vocals most prominently on Big Blue’s disco strut and on Moving Too’s heady mix of pitched up voice and burrowing sub bass. However, the pair also looked to San Francisco and the West Coast synthesis movement of the 60s, Silvester inspired by the likes of Suzanne Ciani and Don Buchla. The plaintive lo-fi and melancholy of Amsterdam incorporates Mutable Instrument’s Marbles by Émilie Gillet which – inspired by Buchla’s own synthesis work – outputs random voltages to give the track an air of unpredictability. It’s something that occurs throughout the album, the duo revelling in the happy accidents that disrupt the flow of their hook-laden pop. “The ‘Buchlian’ ideas of music having randomness and uncertainty, completely freed us up” Silvester explains. “It felt a bit like having more members in the band, machines that didn't do what you expected or intended.” Perhaps more subtly, is the influence of 17th and 18th century Baroque music, with Silvester drawing a line between it and the 90’s R’n’B he and Jones both love – exemplified perhaps best on K+B’s percussive claps and sultry grooves. The portentous juddering synthpop of the title track, meanwhile, alludes specifically to Handel’s Sarabande. It’s typical of an album that only needs a scratch of its seemingly glossy surface to unearth a myriad of contorted touchstones and reference points that’ve fermented beneath it. Thematically there’s an anxious sense to the record, with tracks often balancing above a quiet sense of unerring tension even at their most bombastic. Moving Too is the result of an existential doubt that hit Silvester while out cycling, with the outro refrain "it's not enough to die you also have to be forgotten" a take on something Samuel Beckett once said. These worries are echoed on the album’s closing track What A Year, which borrows a lot of lines from the late drag performer and fashion designer Dorian Corey including the grimly defiant "you're gonna leave your mark somewhere in this world just by getting through it”. Those clouds offer a counter point to We Used To Be Friends, but then isn’t that what great pop albums do? Technology + Teamwork undoubtedly love the craft of the hook and the song, but they always position themselves left of centre, prepared to scuff things up, pull something out of shape or manipulate something to leave it sounding warped. Much like their friendship, nothing here is particularly linear – and it’s all the better for it. Bio: Anthony Silvester & Sarah Jones first collaborated as part of biting post-punk five piece XX Teens in 2008, eventually breaking off to forge their own path together even as the latter's demand as a drummer grew. Performing with everyone from Hot Chip, Bat for Lashes, Harry Styles and Bloc Party (among many others), Jones has been a constant percussive presence across the sphere of alternative UK pop music - she's also found time for her own solo project Pillow Person and played on records by the likes of Puscifer and Kurt Vile. Silvester meanwhile has performed in art galleries across Europe including Fridericianum in Kassel, Kölnischer Kunstverein in Cologne, and Wleeshal in Middelburg, as well as providing sound design and composing work for several art films. Technology & Teamwork is the constant throughout all of that though. "We Used To Be Friends" proves that Technology & Teamwork undoubtedly love the craft of the hook and the song, but they always position themselves left of centre, prepared to scuff things up, pull something out of shape or manipulate something to leave it sounding warped. Much like their friendship, nothing hear is particularly linear - and it's all the better for it.
the EP FACE I is an evolution from the previously released album JAHRE. it fits into the narrative of urban life and our own personal development. both chronology and emotions are explored here and adapted with lyricism and atmospheric digital and analog sound.
it starts with 1984, beginning of our emotional journey and also literary (GEORGE ORWELL) fixpoint of the electronic adaptation. we feel a kind of lightness in our society, upswing and freedom determine everyday life for a large part of germany. we are free, everything seems possible! almost we move through an utopia. new prosperity and contentment let us blossom, no digital friends and in-between worlds alienate our seemingly naive and peaceful being.
in TMV a first individual emotional world comes to the fore, the mood is mixed and seems fragile. euphoria and melancholy mix to an undefined state of emotional and musical confusion. LYRIK gets a first big space here and carries from the part of confusion into a part of detachment. despite the ambivalence of the first moment, the scene ends in a transcendental, positively driving state of letting go and rest ...
the next part takes us away from the familiar and seemingly peaceful MOMENTS. we jump into the year 2184! 200 years later we are sitting here now, society has turned into an emotional desert like in ORWELLS fiction. a lonely CYBORG sits in the ruins of our once joyful cathedrals and sings about his tearing apart. he can't be without, but also can't be with his own anymore. like a cursed of two worlds he sits stranded in space and time.
the conclusion is made by TMVA, here we get into a very intimate emotional farewell to a lost and unfulfilled love. the calm tempo lets everything flow out that has confused and driven us for years. who or what do we want to become emotionally? are we even capable of letting ourselves fall after decades of searching and disruption? are we already dying? in the end only art and the love of it remains to save us.
‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’
BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol
Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and EZ-AL, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.
Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/WBLS/Kiss FM respectively.
Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on WBLS, WKTU and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.
Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his WBLS/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.
In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.
DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.
In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.
Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.
BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound.
After the enormous support received in previous releases, we believe that the time has come to give our music a bit of color and this time we have opted for green, the color of our natural habitat ... "La Jungla de Andalucía"
Sekret Chadow surprises us again and shows us the most sentimental side of him with his "I Love You Mommy" We can already imagine what this artist would be thinking about when creating this beautiful musical composition, a true tribute to one of the most important people in our life, without a doubt a track created with a lot of love, loaded with arpeggiated melodies, vocals, basses. and powerful breaks that create perfect harmony. Close your eyes and let yourself be hypnotized by the magic of his music.
Baymont Bross joins our family and we could not start in a better way than presenting this beautiful version of one of his greatest hits throughout his career "Enjoy Yourself" Do you remember those infinite closings at Carpas Yerbabuena? Are you one of those who danced in Mangueta Beach until dawn? Surely you once danced to this track and now we can relive those wonderful moments with this vocal version created on the occasion of the 10th anniversary and extended for this occasion. Welcome to the monkey family.
Adam Vyt brings us his track "Don´t Give Up" a message of strength and encouragement for the times. A track with piano melodies followed by an elegant line of atmospheres and basses, vocals and a powerful base with airs of Uk Garage, a mixture of styles that already define this artist. This track was previously released in digital version by the "Distorsion Records" label, making it one of the best tracks in Beatport's Top100. Never give up...!!!!
Case82 is back with us and this time with another of his most powerful tracks "Pump This Party" and that's how it is ... the party's pump .... !!!
Once again this Dutch artist shows us that his strength is pure Old School, a mixture of powerful bases, vocals, stabs and wonderful melodies with violins and piano to which he is already accustomed. This is "Lost in The Jungle"
Introducing twelve.to.zero, the new sub-label by black.round.twelve - an independent record store, record label and distributor based in Berlin. After releasing Ricardo Villalobos and Pirvu on its mother label, the sub-label adheres to the same principles of releasing highly polished, minimal music but now expanding its distribution to a broader market by including digital formats.
The first release on twelve.to.zero "Nexam EP" welcomes Faster to do the honours with three tracks highlighting the producer's exceptional skills. The EP's title track, 'Nexam', fills the A-side of the record with a light-hearted tone, especially fitting for the morning after-hours: minimal house equal parts hypnotic and deep, which subtle (yet thumping) basslines and captivating lead synth elevate it to a dreamy state. The flip side continues the deepness introduced earlier with 'Gush Me' and 'Sunflower' and expands both on sound design and ambience, expertly filling the palette with modular bleeps, groovy synths and organic sampling.
Hypnotic and energetic, this collection of tracks reflects an artist whose love for the craft, production values and deep understanding of the genre are as high as they are noticeable.
After the successful 7-inch release of Agip, Roman producer and composer Azzurro 80 is back on Four Flies with another triple-single that continues his love affair with dreamy synth-pop and Italian Eighties culture and society.
"Notte Inchiesta", on side A, could be the title music to an imaginary '80s investigative/true-crime program broadcast on late-night television. Clearly reminiscent in mood and texture of the soundtracks of late-70s/early-80s Italian detective-action films, it brings back the jazz-funk, post-prog and fusion overtones that characterized the music of those films. In short: a contemporary-retro sound nestled somewhere between Goblin's funk-oriented recordings, Azymuth's "Jazz Carnival", and electronic disco with a sprinkle of new wave.
Side B opens with "Equilibrio", which could serve as additional, more dynamic music for the same TV program mentioned above. The style is once againelectronic jazz-funk, but here we have abreak built upon a trail of notes chasing each other.
In contrast, "Sambuca", the single's closer, is deliberately nostalgic and melancholy. Perfectly suitable for visual narratives of an Italy that no longer exists, it sounds like one of those great Italian soundtrack themes that are able to convey tension and calm at the same time. The track is titled after the anise-flavoured liqueur that Italians often drink after their espresso, because "making references in my music to things that are part of our national popular culture is really important to me", as the artist has explained.
Jazz music has more than its fair share of overshadowed figures that whilst contributing much to the music have little presence in its collective conscious. One such musician is the talented multi-reedist, Sahib Shihab. Born Edmond Gregory, as he was known before he adopted the Muslim faith in 1946, Sahib Shihab's music background shows a deep and significant evolution, influenced by Thelonious Monk, Dizzie Gillespie (his experience in Dizzie's band marked Sahib's switch to Baritone, the instrument he became most readily associated with), and above all by Charlie Parker's Bop. Had it not been for the post-war migration of many top American jazz musicians to Europe, it is quite likely that the legendary Clarke-Boland Big Band might never come into existence. Sahib, one of this musicians disillusioned with the politics and racism of the United States, accepted to join the band of Quincy Jones for an European tour in 1959. When the tour ended, Shihab he remained in Europe where he joined, in 1961, the Clarke-Boland Big Band. The collection 'Companionship', whose line up consists of seven elements which derives from this original band, spotlights the consummate musicianship and individuality of Sahib Shihab and is testimony to his special musical gifts - not only as a top-rank flautist and baritone saxophone but also as a composer. Furthermore, it provides a welcome reminder of the high quality of the Clarke-Boland Big Band's rhythm section, the lively style of vibraphonist Fats Sadi and the power and personality of two of the C-BBB's horn-playing stalwarts, Benny Bailey and Ake Persson. Here's a real rarity, surely a desert island disc. This double album has it all from frantic banging percussive workouts to modal numbers to beautiful ballads. It's a staggeringly good piece of music and worth every penny of the price tag it commands. Let's have a look to the most significant pieces. Francy Boland's "Om Mani Padme Hum", taken from a Tibetan prayer, shows Shihab in exuberant mood, playing against a vigorous percussion background and making dramatic use of his special technique of combining voice and flute. Boland contributes an incisive, effervescent solo. "Bohemia After Dark", a classic original by bassist Oscar Pettiford which he first recorded back in August 1955, finds Shihab in exultant form on baritone. "Companionship" has a Bossa Nova beat and features Bailey on flugelhorn and Shihab on flute, playing with a limpid, floating sound. Bailey's minor-key original, "Stoned Ghosts" was, he says, inspired by listening to some music written by Bela Bartok before he emigrated to the United States. The piece has an infectious back-beat pulse and showcases the superb walking technique of Jimmy Woode. In "Con Alma" Shihab's mellow flute set against a churning 12/8 beat in this stylish Boland arrangement. Woode's performance of the superb Mei Torme ballad, "Born To Be Blue", reveals his great affection for the song. "lt is the perfect combination," he says, "a beautiful melody married to a great lyric. I really love that tune." It is a song of rueful resignation, putting a brave face on the blues. "Balafon" is an up-tempo Francy Boland original written for the French mime artist, Marcel Marceau. The rhythm section really cooks on this track with Kenny Clarke's cymbal work outstanding. Boland's solo here is notable for its neat, left hand punctuations. "Calypso Blues" has been written by Nat King Cole and Don George. lt tells the wry and wistful tale of a Trinidadian in New York desperately homesick for the land where everything 5 so much cheaper (in New York "a dollar buy, a cup of coffee and a ham on rye") and the girls more natural than the artificial, painted beauties of New York. Woode's composition, "Sconsolato" is a haunting theme in A minor and it brings to a close a truly fascinating album. This is dynamic music played with vigour, verve and vitality - and it is an enormous pleasure to rediscover it. A shadowy fugitive from his home in the land of jazz, Sahib Shihab remains a true unsung figure, worthy of more attention. With his equally expert technique on Baritone, Flute, Alto and Soprano saxophones and his capacity to adapt easily to a variety of musical settings. His warm, individual, singsong sound in improvisation and his unusual and interesting compositions mark him out as a hidden treasure in the dusty corners of jazz archive.
No doubt, Komakino´s „Outface“ has co-written the history of rave, trance and techno in the early 90s. Originally released in 1993 and produced by Detleff Hastik and Ralph Fritsch this tune was played by any DJ at any festival like Mayday, Love Parade and Tribal Gathering big time.
After 30 years it´s for sure time for a re-release and this package comes along with the remastered original G60-Mix plus next versions by the "creme de la creme" of techno universe, saying Egbert (Cocoon), Petar Dundov (Music Man) and Robert Babicz (Systematic Recordings). Enter the time machine and enjoy the good old days and futuristic sounds at the same time.
One of Drumcode's solid MVP's Wehbba comes strong with a sci-fi themed trio of tracks to kick off 2023.
The Brazilian enjoyed another stellar year in 2022, with highlights include the excellent 'Dynamo' EP on Drumcode in April, a contribution to A-Sides ‘The Next Step' and collaborating with Adam Beyer to remix the classic Planetary Assault Systems cut ‘In From The Night’.
He likewise played Drumcode's WHP, our NYC event at Avant Gardner and Drumcode São Paolo to round out the year.
His latest EP on Drumcode ‘Premonition’ is an atmosphere-rich, intergalactic-themed trip that plays out deliciously over three cuts. The title track is imagined as a kind of travel through space and time, propelled by sci-fi synths, Wehbba’s trademark full bodied basslines and a cleverly placed sample from a David Bowie interview.
‘The Message’ is a dynamic beast of a track driven by robotic synth stabs, a catchy melodic riff and memorable vocal refrain ‘Mars Needs Women’ sampled from a 1950s sci-fi film. It has all the ingredients to be another classic addition to Wehbba’s discography. ‘Inertia’ is led by a hypnotising riff that builds over six minutes.
“I love to play this track after a series of rave bangers to keep the energy levels up while taking people on a trip,” shares Wehbba.
George Palmer is a young artist from the DUB and sound system scene where he quickly stood out thanks to these stage appearances. It was with the international label Irie Ites Records that he wanted to collaborate in order to produce his first album.
Entitled "Working Man" this opus is composed of 10 titles including 2 combinations with LION D, famous international singer based in Italy and SOLO BANTON, famous English singer and toaster who needs no introduction.
The instrumentals are composed by big names of the genre: Sly & Robbie (Jamaica), Jammy's (Jamaica), Naram (New Zealand), Med Tone (Israel), Irie Ites (France) giving this project a great scope.
After the release of 6 music videos from the album and the physical (CD) and digital release at the end of June 2022, the project will soon be released on LP due to strong demand from its fans. In addition, this summer you were able to find George Palmer alongside Irie Ites Sound for fiery stage performances at various European festivals.
To accompany the release of the LP, several clips will be released and a new tour is in preparation.
»Love As Projection« is the new album by Frankie Rose, her fifth studio LP and second for Night School following the reissue of her interpretation of The Cure’s »Seventeen Seconds«. Frankie Rose has forged an enviable musical legacy, from playing with bands like Crystal Stilts and The Vivian Girls but on »Love As Projection« she takes a bold step into electronic pop production. A sumptuous recorded statement, it dances in ecstasy and broods on the tumult of the western world’s decay in equal proportion. At the heart of the album is glowing, confident songwriting, resplendent in hooks and choruses but still touched with an optimism undimmed.
After spending nearly two decades establishing herself across New York and Los Angeles independent music circles, Rose re-emerges after six years with a fresh form, aesthetic, and ethos. Celebrated over the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal melodies and harmonies, »Love As Projection« is a reintroduction of her established style through the lens of contemporary electronic pop. Recorded with producer Brandt Gassman and mixed with long-term collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career.
More than a rebirth, a refinement, a resurgence, »Love As Projection« boasts a widescreen scope: a long- form project heavily considered for half of a decade, culminating in the most personal and accessible collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead track »Anything«, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible chorus that marries classic epic 80s American pop with the cult effervescence of Strawberry Switchblade »It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning fear even if the world is quite literally on fire.. In the end, at least we have each other,« says Rose. »Sixteen Ways« further boasts a propulsive, massive chorus, though tempered by a cynicism built in global post-truth, global malaise. »It’s about getting your hopes up, but simultaneously making lists in your head about how it will never work out in your favour.«
The big anthems don’t let up there. On »DOA« some massive, rolling drums lathered in big mid-80s gated reverb dovetail with a syncopated baseline for the ages as Rose’s vocal sails effortlessly above. The effect isn’t unlike ethereal vocalists Clannad circa Howard’s Way or Enya jamming with Simple Minds in their stadium-conquering heyday. Rose tempers the adrenalin with heart-tugging bittersweet tones and there are plenty of them. »Sleeping Night And Day« takes its time with an off-the-cuff chorus, swirling around in harmony and chorus-bass. »Saltwater Girl« picks up the balladeering baton with another nod to album track-mode Switchblade, deep space opening up in the mid-tempo drum track and soupy, digital atmospherics. Album closer »Song For A Horse«, reimagines modern Pop production a-la-PC Music but shorn of the meta-atmosphere. Pianos, swelling synths, minor keys cut through with major. These moments, also seen in Feel Light offer ballast to the soaring pop choruses. Moments like these are big oceans of emotion to fall into before being led out by Rose into a bright new day.
»Love As Projection« is released in the USA by Slumberland.
Two years after their previous effort, regular as clockwork, Swiss throbbing synth pop duo Veil Of Light is back with a new album and what can we say? These guys keep on getting better and better.
If you have followed the Zurich-based outfit over the past few years, you must have noticed the constant moving towards 80’s FM new wave and synthpop tones – without losing their electro/body music outline – that have marked the band’s parable, especially since their latest Landslide LP.
Sundancing is their sixth full-length and it stays the course, bringing what we’ve just said to the next step. Nine new dancy and bright tunes with emotional depth that blend lush instrumentation and robust rhythms, guided by funky and rubbery basslines. Syncopated rhythm sections match suburban cool synths in the lead single Apricot Kiss and Hypersleep, while Raindancing and Tonight summon a sinuosity long gone since the mid Eighties. The musical backdrop here serves as the fundament for emotional vocals delivering lyrics dealing with the fragility of love, joy and loneliness.
There’s some subtle addictiveness to these songs, one that will gently grab you by the collar of your coat and stick the refrains from Sundancing inside your head for good.
Veil Of Light might make it look easy to keep it neat without being minimalist, intimate without being depressing, romantic in the most true sense of the word, but we know that’s possibly the hardest thing to do.
The batteries are charged again! After an adequate summer break the Fortunea Records crew continues its mission to bring out extraordinary compositions with a brand-new EP by Moff & Tarkin.
The Icelander is currently living in Vienna and presents on this record his multi-variant taste in music. Poems of Soy starts with the cinematic opener ‚Sting’. Playful arpeggio synths dive headfirst into an hypnotic shuffle beat which is companied with siren-seeming vocals from the distance. The follow up ‚Love or Something‘ takes that groove and expands it with more pressure and a snappy baseline.
The B-side starts with an acid injected rave bomb called ‚Dating on LinkedIn‘. A track of sublime quality featuring 909 driven beats merged with acid bass lines. And with ‚Great Tan‘ M&T takes us back to the glory days of the big beat movement.
ENARCHY is the debut album by Leipzig-based producer and singer Maria die Ruhe. It is the result of a deep and thorough look the
artist took into both her own inner workings and the world around her. In 14 tracks, she explores different types of energy,
oscillating between head and heart. Final destination of this sometimes painful process of self- exploration is the embodiment of
her own power and creativity; the realization, that she manifests her role as catalyst, healer, and fighter for freedom and equality
by reporting on her experiences. These songs are about nothing less than that. And you can also dance to them.
In a musical sense, Maria surpasses herself compared to previous releases. She is bolder, more explorative and dissolves genre
boundaries. Acoustic instruments like the cello and the piano unite playfully with electronic beats. Her expressive voice speaks and
sings from the lowest lows to the loftiest heights. Her self-disclosing lyrics communicate the deepest messages of the soul. One can
tell right away: something is at stake here, this is about a real human living through something real, and now reporting from the
front lines of the human experience.
With lines like „Things are changing all the fucking time“ (ENARCHY) she posts a reminder for the current zeitgeist and the resulting
global uncertainty. „Some things need to be destroyed before they can heal“ is a demand for openness towards change, even if it is
challenging, requires energy, and leaves behind some scars.
In ART IS THE ONLY REAL TRANSLATION OF LIVING FOR ME, Maria uses sentences like „I’ve been trying to please you, I got headaches
and I still don’t fit“ to express her desperation with existing structures of injustice and the lack of livability of the artist lifestyle.
„Ah, you’re an artist - and what do you do professionally?“ Everyone loves music and art! When, o when, will the understanding
follow that there need to be people who make this art as a central part of their lives?
Frustration takes turns with hope and a growing acceptance of the self. In EQUALISTA, Maria discusses antiquated conditions like the
inequality between the sexes in a kind of manifesto, with a simple proposal for solution: „Let’s both be selfish and raise our
energies, to create a whole world with all the things we need.“
In WE BELONG TO NEVER, Maria sings about the everyday horror of toxic relationships. Lines like „Disengagement and rage, I’ve become such a slave.“ express the despair of the emptiness that results from a lack of affection. She also describes treacherous
narcissistic manipulation: „You cut me small just to feel tall.“
In SKIN, she confesses: „I’m not as enough as everyone else.“ and describes the long and painful way from rejecting her own body
to loving herself unconditionally. „I hate what I feel, while I pretend to be free“ means she doesn’t want to be reduced down to
her body, doesn’t want to be seen as an instagrammable, thoroughly designed product; she wants to be acknowledged as an
individual.
In LOST, she poses a question that many are currently forced to ask themselves: „What do we do with all this solitude?“ Maybe
making use of the reclusion by exploring the shadow self. „Can you cope with the truth?“
The conclusion: energy is being freed up through the means of self-experience and living through the personal darkness -
ENARCHY. The realization: every human being is self-determined and should simply do what they feel. It is everyone’s right to
choose their own life’s path. Here, intuition serves as a signpost. This is both feminine and strong.
ENARCHY celebrates an embodied anarchy by working through the personal shadow and the genuine, healthy integration of the
struggle survived - not as a destructive rebellion, but as a testament of shameless, joyful self-empowerment.
„In the end, I want to be alive, because in reality, I’m free.“
Featuring music from a lost tape of devotional keyboard jams, field recordings of migrating birds, mysterious bells, meditative noise and crooked new beat/EBM, made god-knows-when and subsequently discovered in a Thessaloniki charity shop years later. It now somehow finds its way to vinyl, newly mastered by Rashad Becker, and sounding like a lost Hype Williams x Muslimgauze madness.
Originally discovered in a musty charity shop by Live Adult Entertainment, and issued in minuscule numbers on CD in ’21, Christian Love Forum’s raverential debut ‘Naked Light’ documents the fraternal post-church jams of siblings, Scott, Kiro and N•X, plus their mate Steve, who would regularly channel the light and pain of Sunday mass sermons into their ecclesiastic crud.
As previously heard on their blink ’n miss ‘Unconditional Love’ tape, the trio express their higher purpose thru ribboning microtonal keyboard jams that sound like Gurdjieff with a Casio and a knackered drum machine after too much sacramental wine. They hit the strangest, most affective seam of religious cinematic epic soundtracks, gnarled noise and clandestine Belgian new beat that seriously pushes our buttons, sounding quite unlike anything in the contemporary sphere, but eerily also echoing sentiments explored on record by James Leyland Kirby or Bryn Jones.
Now reshuffled and clad in custom artwork, ‘Naked Light’ is unveiled to believers and skeptics as a definitive article of faith. The lord works in mysterious ways within, manifest in stages of sun-bleached post-church field recordings, whirligig melodies, blown-out bouzouki and choral tape howls and a Béla Tarr soundtrack-like campanology on the A-side, before letting their passions flow in ‘Wicked City (Parts I-IV)’; a spellbinding side-long collage of slurred synths, neo-noir hardbeat rhythms and speaking-in-tongues vox recalling V/Vm’s new beat apocrypha as much as bits from Hype Williams’ hypnagogic ‘One Nation’, thee dustiest gooches of Dirk Desaever’s archive, or even aspects of Rat Heart at his cruddiest.
‘Naked Light’ rarely fails to induce uncontrolled eye movement in susceptible skulls, destined to become an occult hit with lapsed churchgoers, new beat fiends and anyone missing the enigma and ineffable flavour of ‘00s underground noise tapes in this auspicious year of AD2023.
Summer is here, and we at OFF are proud to be once again a steady provider of sunny vibes with this lovely 2-track EP.
Purple Disco Machine from Dresden, Germany step up to the plate with a soul/disco-infused house tune with a driving flow and a killer beat, one made both for the club and the beach.
Second track comes from praised producer James Silk, from Liverpool, already familiar to the likes of Defected or Exploited, who delivers a west coast influenced deep house tune with an inspiring breakdown and a groove that will make everyone smile.
Another hit from OFF aimed straight to the soul!
---- Malente & Teenage Mutants - Blow My Mind
After the immense success of chart topper 'Hanging On' (Co-produced with Andre Crom), Teenage Mutants (Stil Vor Talent, Nurvous) makes yet another promising collaborating alliance with german superstar Malente (No Brainer, Defected, Fool's Gold, Southern Fried) to provide another hit single of huge proportions.
'Blow My Mind' is a nu-disco influenced funk bomb with a rocking synth bassline and hypnotic vocoder vocals that create a deep and spacey atmosphere. Another quality OFF installment destined to take dancefloors all over the world on a deep funky trip!
British musician, multi-instrumentalist, producer and DJ cktrl returns with the release of his new EP ‘Yield’. Born from a desire to change the narrative around contemporary Black British music, the boundary-pushing musician aims with this project to prioritise the art of bonafide musicianship. A stark departure from cktrl’s previous work, ‘Yield’ is a celestial and palpably more inward body of work that harkens back to the pre-electric age of modal jazz while simultaneously pulling in elements from the disciplines of classical and baroque music. Speaking on the project’s sonic identity, cktrl says: “I want to be able to show that you can make things from scratch again that have that feeling and beauty without having to sample an old record. Even though that’s an art-form within itself, I want to show raw orchestration and instrumentation can be the sole source” The origins of the title came from a period where cktrl was looking to find solace in himself after an introspective period of grief and heartbreak. As an intentionally instrumental project with minimal vocals, cktrl wants prospective listeners to see these new songs as guided meditations where they can wholly insert themselves in it. Eliciting and reaping whatever feelings come to the fore. Speaking on what ‘Yield’ means to him as a concept, cktrl explains: “Some people who I've asked to define the word ‘yield’ have looked at it from a harvest point of view, whereas others have seen it as something to submit to, to render, like you're giving up yourself. I see it as a barometer for how you feel - no matter if you're at your lowest or your highest vibration, you still need to show up for yourself. You still have to be present. It’s about getting the best from yourself no matter where you are in life” The new project is the follow up to last year’s ‘Zero’ which featured collaborations with esteemed contemporaries like the GRAMMY-nominated Mereba and anaiis. Upon the project’s release, it was met with a plethora of critical acclaim from highly regarded publications and platform such as British Vogue, Dazed, CRACK Magazine, Resident Advisor, NOTION, Harper's Bazaar and ES Magazine for its sprawling and experimental scope, spanning avant-garde jazz, classical music, alternative R&B and electronica. cktrl has a tune for every occasion: as content making beats by himself at home in Lewisham as he is amongst this generation’s fashion and cultural vanguards. Music has been a part of his life for as long as he can remember: from clarinet lessons throughout his school life to fond memories from his NTS days. Moulded by a unique blend of his West Indian heritage, years of classical training in both the clarinet and saxophone, cktrl strives to do what hasn’t been done before. His approach to creation is decidedly wide-ranging and broad. In fact, where sonic descriptions might fail to encompass the breadth of cktrl’s scope, three words surface when he unpacks his musical aims: freedom, range and feeling. Elsewhere, throughout his career, cktrl has been recognised and heralded by fashion and film VIPs as he firmly embeds himself within the black cultural renaissance emerging here in Britain. Acquiring a global network of creatives that include the late Virgil Abloh, Bianca Saunders, Tremaine Emory, Saul Nash, Maximilian Davis, Ahluwalia, Stephen Isaac Wilson, Sean Frank, Campbell Addy, Ib Kamara and Jenn Nkiru who secured him a cameo in Beyoncé’s ground-breaking film ‘Black Is King’.
For this uniquely personal retrospective spread over twelve vinyl discs, Sven Väth takes us back to the early days of his DJ career. On What I Used To Play we meet great pioneers of electronic music, gifted percussionists, obscure wave bands, and innovative producers of a bygone 'new electronic' era. Rough beats and irresistible grooves from the identification stage of house, techno, and acid remind us not just how far electronic music has evolved over the past four decades, but how great it was to dance to EBM, techno, and house for the very first time.
If there is one protagonist of the electronic music scene who has remained curious, innovative and at the very cutting edge of music for over four decades, it's Sven Väth. His multi-layered artist albums and Sound of the Season mix compilations have been defining the genre for over two decades, and even today, he is constantly on the lookout for the next top tune to add to the highlights of his next set. At least, that's the case when he's not producing them himself as an artist or remixer. "Actually, it's always been part of my DNA to think ahead," and nothing had been further from his mind than looking back at his past, but when in spring of 2020 the international DJ circuit had to be scaled down to virtually zero, the 'restless traveler' suddenly had time. Time to stop and reflect on "how it actually was back then, at the very beginning of my career..."
"It was a great trip and with every track, beautiful memories came flooding back".
In the London apartment, he had just moved into, Sven has set up a "little music room", where he cocooned himself for several days, "to look way back for the first time and review my musical journey through the eighties, so to speak."
The interim result was six thematically oriented playlists with a grand total of 120 tracks from 'early 80s' to 'Balearic late 80s', together with excursions into afrobeat, European new wave, and EBM sounds and a few epochal techno/house tracks from the USA in between. From these 'Best of Sven Väth's favorites', the project What I Used To Play crystallized. Sven remembers how the Cocoon team reacted to his proposal: "They found the idea of making a compilation out of it MEGA from the beginning and everyone said 'Sven, go for it', but then, of course, the work really started, namely, to clear the rights and to get clean sounding masters of the up to 40-year-old tracks. There was also disappointment, of course. We couldn't clear certain titles because the rights holders in the USA had fallen out with each other or simply disappeared from the scene. In short, it wasn't easy, but now I can safely say we got the most important tracks."
Finally, after two years of research, curation, design, and administrative fine-tuning, the "little retrospective" from 1981 to 1990 is available. The exquisitely packaged, and three-kilo heavy box set is not only physically impressive, WIUTP is also the definitive record of Sven Väth's musical development. On each of the twenty-four sides of vinyl, you can trace track by track, what influenced him during which phase, and how he took off as a DJ from his parents' Queen's Pub straight into the spotlight at Dorian Gray. There and at Vogue (later OMEN), Sven became the style-defining player in the DJ booth that he still is today.
1981 - 1990: Future Sounds of Now
In the early eighties, the crowd in clubs like Vogue and Dorian Gray danced to what nowadays we call 'dance classics' - mainly disco, funk, soul, and chart pop. It was up to a new generation of DJs, including Sven Väth, the youngest protagonist in the Rhine-Main area at the time, to create their own club-ready music mix. Good new tracks and potential floor-fillers were rarities that had to be sought out and found, in order to prove oneself worthy.
Without MP3s, internet streaming, or other digital download possibilities, music didn't just gravitate to the DJ, instead, it had to be tracked down. In well-stocked record stores in Frankfurt and Wiesbaden or even in Amsterdam, London, or New York, Sven and friends sourced the material for countless magical nights. On WIUTP we can follow Sven's very personal journey through this wild, innovative era in which synth-pop, funk, hip-hop, and disco were successively replaced as 'club music' by house, techno, acid, and breakbeat. By the end of the decade, it was clear to see that these once exotic 'fringe' phenomena would soon become 'mass' phenomena.
Early 80s
Dirty Talk by the Italian-American duo Klein & M.B.O. represents the most innovative phase of the Italo-disco genre in the early eighties like no other track. Mario Boncaldo (I) and Tony Carrasco relied entirely on the original synthetic drum and percussion sounds of the Roland TR-808, coupled with the raunchy vocals of Rossana Casale and guitar accents of Davide Piatto. Of course, other tracks from this period were also influential in style, most notably Unit by Logic System, which worked as the perfect soundtrack to the laser lighting system at the legendary Dorian Gray club. With stomping beats and robotic rap interludes, Bostich by Yello also belongs on Sven's eternal playlist - after all, it caught the attention of Afrikaa Bambaataa, who invited the Swiss duo to perform at the Roxy in New York in 1983.
EBM Wave - Mid 80s
From today's point of view, the almost ten-minute-long, downtempo track Giant by Matt Johnson's band project The The, would probably not be considered an obvious club classic. However, a closer (re)listen reveals the rhythmic intricacies of the percussion overdubs by JG Thirlwell (aka Foetus) on Johnson's composition, and it becomes clear why this exceptional piece of music is one of Sven's absolute favorites. Other classics from this phase include Kaw-Liga by the mysterious The Residents, the hypnotic-synthetic Our Darkness by Anne Clark (and David Harrow), and last but not least, the somber, monotonous anthem Where Are You? by 16Bit, one of Sven Väth's projects together with Michael Münzing, Luca Anzilotti from 1986.
US House - Late 80s
You certainly can't talk about Chicago house without mentioning Frankie Knuckles. The resident DJ at the Warehouse not only gave the name to an entire genre, but also produced epochal floor fillers on the Trax label like the timeless Your Love, sung (and moaned) by Jamie Principle. Acid house protagonists Phuture also hail from Chicago, and on We Are Phuture (also released on Trax) we hear the chirping acid sounds of the legendary Roland TB-303 in full effect. Another featured classic is No UFO's by Detroit's Model 500 aka Juan Atkins, who is rightly considered the 'Godfather of Techno' even if the genre-defining track from 1985 still breathes with the spirit of hip-hop and electro from the first breakdance era.
Afrobeat
Le Serpent, by Algerian-born Abdelmadjid Guemguem, is a track that sounds completely different from everything else on WIUTP. Made in 1978, it's a monumental, rousing groove created without bass or synths, just with five congas! Even though Guem sadly passed away in 2021, his immortal, acoustic beats are understood all over the world and will continue to enrich many thousands of DJ sets for years to come. Another classic that not only Sven appreciates beyond measure is Hugh Masekela's Don't Go Lose it, Baby. In addition to being one of the most important jazz pioneers, the trumpeter and freedom fighter from Johannesburg was very experimental, integrating electronic sounds into his music in later years, in a similar vein to Miles Davis and Herbie Hancock. Dutch jazz pianist Jasper van't Hof's afrobeat project Pili Pili has also aged well. The trance-like, almost sixteen-minute-long track of the same name, manages to fill a whole side on the seventh of twelve vinyl discs in the WIUTP box.
UK-US-Euro - Late 80s
Time for a change of scene, in the truest sense of the word, and from a musical perspective, this section is like landing on another planet. First up is Andrew Weatherall's classic remix of Primal Scream's Loaded, featuring the iconic Peter Fonda sample (lifted from the 1966 biker film Wild Angels) that came to personify the mood triggered by the British Second Summer of Love in the late eighties: "We wanna be free to do what we wanna do, and we wanna get loaded...". This period also saw the emergence of M/A/R/R/S whose only single, 1987's Pump Up The Volume, became a club classic with support from DJ legend CJ Mackintosh. In this most eclectic of sections, we also encounter New York house and reggae producer Bobby Konders and his seminal Nervous Acid.
Balearic - Late 80s
Those who know him, know that Sven had already lost his heart to the 'magic island' of Ibiza as a teenager, so with that in mind, the WIUTP project couldn't end without a Balearic chapter. Inspired by Manuel Göttsching's E2-E4, the immortal, eponymously titled Sueño Latino belongs in there without question. Equally popular on the island was, and still is Break 4 Love by Raze, which thinking about it, would also fit perfectly into the house chapter. Last, but not least, there's an overdue reunion with Sven Väth himself, in his role as frontman of the successful Frankfurt trio OFF. Together with Michael Münzing and Luca Anzilotti (later of Snap!) this 'Organization For Fun' created the off-the-wall club hit Electric Salsa in 1986 which incidentally turned into an international chart smash, putting Sven in the enviable position of having to decide between pop stardom and a DJ career. Well, we all know how that decision turned out and the rest, as they say, is history. A not insignificant part of his story is What I Used To Play. Enjoy!
It was in the year 1981 when Belgian electronic musician Michel Huygen and his Spanish colleague Carlos Guirao, both better known as Neuronium, met with Evngelos Odyss as Papathanassou, better known as Vangelis, to record a joint session in London.
Michel Huygen remembers: "The music we played together starting from my score, was flowing, flowing so fast and smoothly between the 3 of us, that I can now, many years after, say: We recorded all the music's parts in one single "shot", since the result was absolutely what we all wanted and Vangelis told us: "Don't touch what we have recorded, it is lovely " and so we did."Now, after some rather unofficial releases, the opus "In London" is finally released for the first time in its entire length, titled "In London - The Platinum Edition", fondly reworked, remastered and sonic refined to perfection exactly 45 years after Neuronium released their first album on the famous Harvest label.
Michel Huygen had intended to celebrate this anniversary with Vangelis in Paris. But fate had other intentions, on May 17, 2022, Vangelis died as a result of a Covid-19 disease.
Huygen: "I feel honored to have been able to meet him, to play music with him and to have him as a funny friend too. And mainly to have been able to meet a huge musician, a classical composer for the forthcoming generations, without doubt. R.I.P, dear Vangelis."
Rhythm Shower is the 1973 studio album by The Upsetters, but also features tracks by Dillinger and Sir Lord Comic. Many of the rhythms on the album are known as those done by Lee “Scratch” Perry. Originally released in a very limited Jamaican pressing with no sleeve, it became better known after its reissue by Trojan Records as part of The Upsetter Collection.
Rhythm Shower is available as a limited edition of 1500 individually numbered copies on orange coloured vinyl. Since the original release contained no sleeve, this edition is housed in a custom made sleeve by Music On Vinyl in collaboration with Trojan Records.
As luck would have it, this seventh exclusive Deep Site Vinylized edition sees the pure class of Tojami Sessions (Dessous Recordings/Plastic City) with two stand out original tracks each offering remixes that contrast and compliment the full atmosphere of this release.
Falling (Original Mix) takes you on a late afternoon cruise filled with soft seductive whispers and a surprise percussion during the break. Falling (Manuel Sahagun Remix) adds more of a jazzy element, focus on inspiring words, and the laid back improvisation keep the groove flowing non-stop. Falling (Kessidis Remix) takes on a more mystical and minimal approach amidst modulating synths and the spoken words declaring what is to unfold. What Is Love (Original Mix) The extended intro and groovy bassline start this track off, bathing you in sunlight while the vocal samples splash over and refresh you creating a radiant joy. What Is Love (Deep Spelle Remix) layers some harder beats and an 808 bassline producing that contagious dancing feeling impossible to resist.
What Is Love (Funtom Remix) sends the track to high emotional levels with use of melody and dynamics making it a true anthem bound to leave its touch.
Career spanning collection. The Highlights includes such career-spanning favourites as 2015’s “Can’t Feel My Face” and “The Hills,” 2018’s “Call Out My Name,” as well as more recent hits like “Blinding Lights” and “Heartless.” The album also features many of the artist’s collaborative singles – including “I Feel It Coming” with Daft Punk, “Pray for Me” ft. Kendrick Lamar, and “Love Me Harder” with Ariana Grande. Released on 2LP set. LIMITED EDITION.
Lined up next on Toolroom, we’re set to welcome the return of WEISS to the label 3 years after his last outing. Most known for his certified gold, 2018 smash-hit ‘Feel My Needs’, which received critical acclaim, topping 5 international music charts at #1, and earning DJ Mag’s ‘Best Of British Winner’ in 2018. WEISS himself has locked in an incredible collaboration with legendary Soul act The Jones Girls, using their classic record ‘You Gonna Make Me Love Somebody Else’ to create the club stomping cut that is, ‘I Need Some’.
A prolific DJ and producer, WEISS has released cuts on DIRTYBIRD, Universal, Island Records, D4 D4nce, Glitterbox and Toolroom along with remixing A-list artists including Kylie Minogue, Robyn, Calvin Harris, and Rag n Bone Man to name a few. When it comes to the House Music elite, Weiss is amongst some of the best there is, touring worldwide and sharing stages with Armand Van Helden, Todd Terry, and MK.
Of course, The Jones Girls are an act that needs no introduction, the legendary Philadelphia trio of sisters are the vocalists behind the classic Soul cuts ‘Nights Over Egypt’ and ‘Who Can I Run To’, released on the renowned Philadelphia International label.
Backing singers to both Aretha Franklin and Diana Ross during the 1970’s, The Jones Girls have left their mark on Music History and still influence artists and vocalists alike today.
With a passion for all things Soul, Disco and R&B, WEISS has officially fulfilled a childhood dream working with The Jones Girls to create ‘I Need Some’. This is a Disco House focused cut that pays homage to the original record ‘You Gonna Make Me Love Somebody Else’, whilst reinterpreting the sample and making it club ready for dance floors.
One thing that is written in stone even in these days of near endless uncertainty is that when Topical Disco unleashes one of their vinyl releases they are a no questions asked, must have. For a label which regularly dominates the top spot of the download charts they still consistently manage to up the ante for their vinyl drops. It’s no wonder at all that the previous editions have gone on to become collector’s editions, disappearing from the shelves as quickly as you can say here today, gone tomorrow.
Volume 24 easily keeps this incredible run of club vinyl masterpieces going strong. Packed across two side of black gold are tracks from newcomers and scene heavy hitters alike Toscana, Toby O’Conner, Charly Angelz and Frank Virgilio.
The mysterious Toscana leads the way with the wonderfully enigmatic ‘The Girl With The Red Hair’, a six and a half minute slice of pleasure packed Balearic disco. Incessant, warm and inviting it combines a divine groove heavy bassline, funky guitar licks and a subtle percussive backbone with a rather brilliant stand-out guitar solo. This is a track which is guaranteed to fill those summer dancefloors.
Next up is Toby O’Conner who is returning to Tropical Disco after his lauded ‘The Heist / 1920 EP’ with another high energy slice of disco goodness in the shape of ‘Cave Of Gold’. Again this is classic Tropical Disco, combing both live chops with jazz overtones as throbbing club ready drums provide the framework for a bubbling bassline, subtle keys and sax solo’s aplenty to weave their magic. Expect jazz inspired shapes to be thrown on dancefloors across the globe when this one drops.
Over on the flip is Charly Angelz, another artist who has been making a considerable swirl on the disco scene of late. ‘Mother Phunk’ is very aptly named with an absolute gem of a bassline front and centre as classic funk vocal chops, vibey pads and guitar stabs all combine perfectly with earworm strings for anther sure fire floor filler.
Closing the EP out is scene stalwart Frank Virgilio. Hailing from Napoli Frank has been behind a virtual disco smorgasbord over the five years including regular chart bothering appearances on Tropical disco. ‘What We Love’ tips its hat to the golden era of house music, think 90’s Soulfuric meets MAW. Vibes abound here from the classic drum sounds right through to the divine ethereal percussion which adds that touch of class. This is another track which will sound just perfect on the golden Isle this coming summer, did some-one say Ibizan boat party? We’re onboard!
The missing pieces of the NJOI puzzle are finally coming to you via Food Music on both 12" vinyl & digital formats. The electronic music pioneers unveil "Hidden Gems Vol. 1", the first in a 2 part series of previously unreleased material that follows their "Collected" album. The package also features the incredible talents of vocalist, Luvain.These tracks became a huge part of their original live set, and the iconic mixed "Live In Manchester" release, and after huge demand since their televised 1990 Brixton performance, they're finally available as fully extended individual recordings.
Another one from the fruitful collaboration with LA's highly regarded Patrick Houchen aka Shakaman. After Shakeena's “I bet you” 12" re-issue flying off the shelves, we deepen the exploration within Shakaman's treasure chest of Reggae/Dub gems with Shakeena's first and last album on Majicaa Records. Originally released in 1987, this album is a proper act of musical generosity, not so easy to point out the “hit” track here – clearly a case of all killer no filler. Unlike too many albums where the format length sadly gets the best of the artists' work, rest assured with this one you can play from the beginning to end and you'll only have to come back to flip it. The professional execution of what is hands down an ensemble of highly seasoned musicians sets the tone for the dreamy lyrics and arrangements to unravel. Besides expected reggae rhythms, Shakaman brings in other influences with subtle electro/freestyle hints that might have been hard to ignore in LA at the time. New remastered version sounding especially big and cozy on the low end. Can't go wrong!
