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Cemtex dancefloor action. 4/4 non stop bangin,g 180 BPM frenchcore !

Changing Channels ist das neue, zweiteilige Album des britischen DJ/Produzenten Pangaea (aka Kevin McAuley), sein erstes seit der gefeierten Debüt-LP In Drum Play (2016). Die Tracks sind galoppierend, ansteckend und hypnotisch und fangen Pangaeas Fähigkeit ein, Banger mit einer experimentellen Neigung zu konstruieren, ohne auf Wirkung zu verzichten. Ihr Fokus auf den Dancefloor ist dringend, nachdrücklich und von einer unbestreitbaren Präzision. Die beeindruckenden, unaufhaltsamen Grooves glänzen wie Marmor auf Beton: glatt und doch rau, attraktiv und doch aggressiv. Wie ein Zwielicht mitten in der Nacht, mit mysteriösen Elementen, die sich nicht als Bedrohung anfühlen, versprüht die Musik eine Wärme, die die Dunkelheit durchdringt.

Banging hardcore, Gabber oldschool PICTURE DISK !!

LIMITED EDITION

Excellent banging Hardfloor. Listen to dis and get convinced !

Changing Channels ist das neue, zweiteilige Album des britischen DJ/Produzenten Pangaea (aka Kevin McAuley), sein erstes seit der gefeierten Debüt-LP In Drum Play (2016). Die Tracks sind galoppierend, ansteckend und hypnotisch und fangen Pangaeas Fähigkeit ein, Banger mit einer experimentellen Neigung zu konstruieren, ohne auf Wirkung zu verzichten. Ihr Fokus auf den Dancefloor ist dringend, nachdrücklich und von einer unbestreitbaren Präzision. Die beeindruckenden, unaufhaltsamen Grooves glänzen wie Marmor auf Beton: glatt und doch rau, attraktiv und doch aggressiv. Wie ein Zwielicht mitten in der Nacht, mit mysteriösen Elementen, die sich nicht als Bedrohung anfühlen, versprüht die Musik eine Wärme, die die Dunkelheit durchdringt.

After being released on highly limited NDATL Special Edition 2023 U&B became the HYPE track of the summer being banged by many! Now available with new mixes & remixes from another ATL native LEONCE that SLAY!!

Out on 6 October, the music for Certainty of Tides was initially recorded with the Norwegian Broadcasting Orchestra with Nils Petter Molvaer as a soloist in 2020. He had asked several wonderful Norwegian composers to arrange a set of music from his back catalogue. “Have a listen to the recordings I did with the orchestra and tell me what you think” he told Norwegian composer, musician, and producer Jan Bang. Since the original recording was close mic’ed for broadcasting purposes, Bang saw an unfulfilled potential in the material due to lack of space in the initial recordings.
Bang came up with the idea of re-amping the mixes playing the music through speakers in a concert house followed by re-recording of the result through distant microphones. With 76 speakers (one per instrument) carefully placed exactly like the orchestra would have been seated onstage, Certainty of Tides was recorded from microphones strategically placed in the large hall of Kilden Concert House with phenomenal acoustics.
The re-amping and re-recording produced astonishing results. Some of the pieces needed additional color. Bang invited two of his highly talented electronic music students at the University of Agder (Kristian Isachsen and Even Sefenias Sigurdsen Frodesønn Røsstad). Both given freedoms to create their own sound based on their own personal taste.
The final mixes were put together by Øyvind Kurszus at Kilden Studios supervised by both students, Molvaer and Bang. Helge Steen has mastered the recording. Knut Sævik has re-sampled the drum track (played by Peter Baden) on “Simply so” and mixed the Song as well.

Stay Up Forever release the sixth overdose with 4 more classic sounding SUF style tracks from the worldwide Acid Techno scene. A1 features a truly uplifting, crowd pleasing 303 banger from Benji 303 & Lee S on 'Thats What It's All About' - but this is a Jamie Tik Tok Taylor remix and he's hyped it into an even more pounding 303 bomb !! A2 sees ADHD back in action with some gritty 303 action on his track Troublemaker. On the flip Andrey Sitrus goes for a classic 303 builder on the B1, with Acid Steve finishing the E.P. with some trademark squat party style 'Avinit' acid techno mayhem.

Get On Down proudly present the debut solo album from Wu-Tang Clan’s Ghostface Killah. Released in 1996 on Epic Records, Ironman earned immediate success, debuting at number two on the Billboard 200 chart, and number one on the Top R&B/Hip-Hop Albums chart. Produced by RZA, Ironman found inspiration in sources ranging from blaxploitation films to classic soul and charted a whole new direction for hip-hop in the process. The album features classic bangers like “Daytona 500” featuring Raekwon and Cappadonna to soulful emotionally moving cuts like “All That I Got Is You” with Mary J Blige. The album earned gold status a year after its release and platinum by 2004, a true testament to the staying power or this classic piece of Wu-Tang artistry.

This compilation from 2003 includes the band’s biggest hits, including Vasoline, Plush, Interstate Love Song and Creep amongst many other classics. This will be released on standard black vinyl.

After a longer break, Marko Nastic is back with a new Easy Tiger release that was surely worth the wait! This time, Marko is bringing us three banging tracks that are inspired by the comeback of the 90s club sound with a cosmic touch to it. The opening track, "How to Create the Vibe Around", is an old-school roller with a punchy drum and a heavy bassline. Dreamy and trance-inspired synths will push you to the dance floor, and the acid sound will make you move. While you're vibing, the vocal is sure to hit the spot and complete this journey. "An Ode to the Executioner" is the beast of this EP. Starting with crazy modulations, it creates an euphoric energy that is fulfilled with a fat bassline and a straight-on techno beat. Uplifting acid and trance vocals keep us in a rapture state of mind.Last but not least, "Cables And Rain" continues the party with an old-school drum loop and a groovy bassline that reminds us of Marko's recognizable older production. Coloring this banger is a refreshing flute melody and a repetitive vocal. And of course, the wrapper of the track, once again, is the acid sound that is sure to lock you in place.

The most potent memories I have of music are from my early childhood listening to the oldie's station, riding in the back of my Pops' 1975 Cadillac Seville to work alongside him moving plants in Sacramento at the now long gone Capitol Nursery during white hot summer afternoons, and then the drives back home in the purple twilights and oily blue-oranged nights. I'm talkin' The Temptations, War, Earth Wind and Fire, Al Green, Sly and the Family Stone, The Delfonics, Stevie Wonder, Chaka Khan...soul music. I loved the melodrama of it all. The world outside refracted and transmuted through the crackling speakers past Pops' thumping thumb and my tiny whirring mind and left whatever road behind us fundamentally changed in our wake. Through the years other sounds too left its imprint well before I picked up a guitar. Rap, Punk, hardcore, dub, R&B--and a little later in middle school, blues, folk and country. But those early Cadillac memories always remained the bedrock. With folk and blues music, I fell in love with the immediacy of it and found the acoustic guitar economical for all the solitary roaming of my early 20's. All the while I knew that one day, when I had something I felt like I could add, I wanted to incorporate the sound of those early Cadillac memories. But only after I felt established as a songwriter in its most simple form, banging on a wooden guitar and yodeling up some melody did I feel comfortable exploring other sounds and only recently did I find the time and space to do that. The pandemic trapped all the world in their rooms. While recording my last record in the height of it and at the behest of my friend and You, Yeah, You producer Brad Cook and his friend Justin Vernon, I bought my first keyboard. A Roland Juno DS. I started tinkering on it throughout the past couple of years and as I became more stationary started writing songs on different instruments that I accumulated. Layering sounds on garageband in my apartment writing bass and horn parts, making drum loops, adding synth... I became pretty obsessive with the endless possibilities it brought and got quicker and quicker at making songs that way. It was just so fun and limitless.

The most potent memories I have of music are from my early childhood listening to the oldie's station, riding in the back of my Pops' 1975 Cadillac Seville to work alongside him moving plants in Sacramento at the now long gone Capitol Nursery during white hot summer afternoons, and then the drives back home in the purple twilights and oily blue-oranged nights. I'm talkin' The Temptations, War, Earth Wind and Fire, Al Green, Sly and the Family Stone, The Delfonics, Stevie Wonder, Chaka Khan...soul music. I loved the melodrama of it all. The world outside refracted and transmuted through the crackling speakers past Pops' thumping thumb and my tiny whirring mind and left whatever road behind us fundamentally changed in our wake. Through the years other sounds too left its imprint well before I picked up a guitar. Rap, Punk, hardcore, dub, R&B--and a little later in middle school, blues, folk and country. But those early Cadillac memories always remained the bedrock. With folk and blues music, I fell in love with the immediacy of it and found the acoustic guitar economical for all the solitary roaming of my early 20's. All the while I knew that one day, when I had something I felt like I could add, I wanted to incorporate the sound of those early Cadillac memories. But only after I felt established as a songwriter in its most simple form, banging on a wooden guitar and yodeling up some melody did I feel comfortable exploring other sounds and only recently did I find the time and space to do that. The pandemic trapped all the world in their rooms. While recording my last record in the height of it and at the behest of my friend and You, Yeah, You producer Brad Cook and his friend Justin Vernon, I bought my first keyboard. A Roland Juno DS. I started tinkering on it throughout the past couple of years and as I became more stationary started writing songs on different instruments that I accumulated. Layering sounds on garageband in my apartment writing bass and horn parts, making drum loops, adding synth... I became pretty obsessive with the endless possibilities it brought and got quicker and quicker at making songs that way. It was just so fun and limitless.

"Ich Bin Wach" is the brand new release by Schwefelgelb loaded with 4 raw, hard stomping Techno bangers. This sharp and defined production perfectly balances familiar classic tones (909 and the like), heavy percussion and unexpected sonic experiences. Club suited arrangements range from 136 to 140 bpm in a highly effective sound, which wraps references from Industrial to Deep Techno in a unique garment. NPLX005 comes on 140 g colored vinyl including a download code and will be released 6th of October. The digital version contains a bonus remix by Tunegirl.

Attentat have been going strong since 1978, but as they were working on this album things came to a
crashing halt when vocalist Jönsson ended up in a coma. The whole experience ended up just
strengthening the band's resolve to plow through. Jönsson recovered in record time, the band
replaced both a few songs and a member and ended up with a banger! Swedish singalong punk rock
reminiscent of classic English bands like Buzzcocks and The Clash as well as later US groups like
Rancid and Social Distortion with a little bit of Slade and Sweet sprinkled on top.

It’s been a pretty eventful year for FKOF Records, but we’re delighted to be ending it with a bang and by welcoming two brand artists to the imprint. We’ve been long-time fans of Oddkut and Abstrakt Sonance and when we discovered they’d been on the buttons together we knew it was material we wanted to home...

Loud & Clear / N.O.R.E (Buttas Remix) b/w Cherry Blossoms (Love Notes Mix) by Strictlybutters | Galaxy Sound Co. – GSC 45-038 | Summer time vibes are here & @galaxy_sound_company is back at it with another sure-shot #hiphop donut via @strictlybutters. I got my hands on an advance copy of a limited-run test pressing & it is cut loud! Ya know ya will be boomin’ in ya, boomin’ in ya, boomin’ this in ya jeep!

Galaxy Sound Co. started taking these occasional fire #hiphopinstrumental interlude breaks from their 45 edit series to shine light on the Michigan skateboarder, cyclist, sneaker-head & bedroom b-boy beat maker Strictlybutters. With the 38th donut in the GSC 45 series, he is making his 3rd appearance on the label & it is another banger.

Side A1’s “Loud & Clear” is a straight-up, warm-up boom-bap banger. It effortlessly, teases along by MC royalty with a sweet soulful piano riff rolling along MPC delights. A joyful crowd is weaved through a familiar GWJ break calling you do get up & get down. A2’s “N.O.R.E. (Buttas Remix)” teases with a buttery-soul laced rework of with a snippet from Noreaga’s “SuperThug”. The only fault here being SB only gives us a taste at just over a minute long. More please.

Side B’s “Cherry Blossoms (Love Notes Mix)” is a killer joint in the vein of 90s hip-hop love jams, with the core sample being one of my fav sweet soul songs from Detroit, 1969’s “Maybe So Maybe No” by the New Holidays (Soulhawk Records 1008). SB lets this beat breathe to perfection, rolling fa-la-la-la’s that slide into a sexy outro.

If the name of this collection of traxxx offends you, move on — there’s no hope for you here. If, on the other hand, Toribio’s salacious fun-pun cracked your cool exterior, here’s an introduction to a set of bangers that helps exemplify New York’s increasingly exuberant dancefloor, and what producer/DJ Cesar Toribio brings to it. His is a ribald, rhythmic take on dance music, neither for the weak of musical character (purists need not apply) nor for the weak of ass (-shaking). In fact, the proof is right there, in Toribio’s label’s and monthly party’s name: Bring Dat Ass. This command is not optional, but *the* key ingredient for a good time.

The five songs Toribio has created for “Tongue In Cheeks,” BDA’s first release, comprise a horny melting pot of tribal house and Linn-drum plug-ins, minimalist synth textures and basslines, hi-hats reminiscent of electro and freestyle classics, some of which are infused with New York’s Latin club history and futures. The lead-off track, “No Pare,” is based on the producer’s 808-driven reinvention of the call-and-response hook from Proyecto Uno’s 1993 merengue-house smash “El Tiburón,” marking the first time the group has ever cleared a sample of this Nuyodominican classic. We predict that “No Pare” will be a Fall 2023 monster.

Guest vocal appearances by The Illustrious Blacks and Maluca, cornerstones of different dance-floor scenes in a city currently hitting peak-energy levels, show the breadth of Toribio’s regard for community: There is a lot of crossover to how the punky Dominicana MC from Washington Heights chooses to slang-tastically “Werk It Out,” and how the Neo-Afro-Futuristic-Psychedelic-Surrealistic-Hippys Monstah Black and Manchildblack infuse a dollop of booty into “Work Dat Shit.” And the two different metallic beats point at seemingly separate parts of Toribio’s musical heritage uniting. There’s no formula, but if there was, it would be: Make it sexy. Make it (consensually) grindy. Make it funny to the point of ridiculous but so funky that the laughter becomes more fuel to the joyous momentum propelling the movement. Then make it home — or try to.

Cesar Toribio’s home is, originally Tampa — and the DR, where he’d spend summers with family. He was a drum-corps prodigy who went to Berklee to become a jazz drummer and be like Gil Evans. He idolized Miles’ orchestral arranger’s work as much as Dilla’s beats, but then discovered house music, so it was a wrap. The 2021 band album Toribio made under the name Conclave — which included his sister Sharin and musicians from such great projects as Standing On the Corner, No Regular Play and Irreversible Entanglements — unearthed the work of a singer-songwriter-arranger-producer of immeasurably nuanced, soulful jazz-house music. But when Toribio started DJing more and more, he decided to listen to the devil on his shoulder who told him to Bring Dat Ass. As Cesar damn-well knows, it’s the devil who has the better jokes and holds the better parties, so his ears perked up. “Tongue in Cheeks” is the music Toribio says he made to play at these parties, because he can’t find it anywhere else. It’s hard to disagree.

After an extended disco nap your friends at rong music have awoken from our slumber and just in time to celebrate our 20th year of doing this rong thing. How will we celebrate? The only ways we know how. Put out a bunch of new music, unearth some weirdo classics, and DANCE & PARTY.

For our first new single to be released in celebration of our 20th anniversary, we bring you some bangers for the club, rave, your ride, warehouse, the playa, or home disco. The title track, Love’s the Meditation is a classy piece of melodic acid funk (?@$!wtf) whatever that means, with an epic extended mix by our fearless leader DJ Spun... We could hear some of our favorite new techno DJ’s playing Spun’s mix of SSM and Do You Feel the Love and 303 & me have a classic acid HOUSE vibe that is our type of thin. Enjoy!