“Musica da Discoteca Vol.3” is l’oggetto’s last of three 12” EPs exploring the musical cross-pollination between NY, Chicago, Detroit, and the Italian Riviera. Percussive grooves, ethereal pads, bouncy basslines, sharp stabs, and digital flutes interweave in these 4 new tracks, creating a oneiric trip in the deepest areas of underground house music.
Impulse’ was a band of Milwaukee, Wisconsin musicians whose members included Michael Reese (Rhodes Piano and background vocals), Cedrick Rupert (Lead and Rhythm guitar), Jeffrey Williamson (Drums and background vocals) and Robin Gregory (Bass and background vocals). They would become a group in their own right with the eventual addition of another local artist John Gee, who joined them as their lead singer. The Impulse musicians formed the backing/touring band for another Milwaukee outfit, a vocal quartet, The Quadraphonics who recorded the solitary 45 single “Betcha If You Check It Out/Prove My Love To You” for the Carl Davis/E. Rodney Jones owned ‘Innovation II’ Record label during 1974. This release would later be nationally distributed by the major Warner Brothers label. With import copies of “Innovation II” single finding their way into the UK the record became popular with the devotees of Blackpool Mecca’s Highland Room.
During 1976 the members of Impulse migrated to Oakland California, they had hoped that, The ‘Quadraphonics’ would join them but instead The Quadraphonics chose to remain in Milwaukee and eventually broke up. It was fellow Brewtown producer/recording artist Harvey Scales who was responsible for inviting ‘Impulse’ to the west coast. Under the auspice of Scales, Impulse recorded their self-titled debut album project at Wally Heider’s Studio in San Francisco. The album was initially offered to Casablanca Records but no firm interest was to materialise, a subsequent approach to Jerry “The Ice Man” Butlers newly formed Chicago label, Fountain Records again failed to secure a release of the album, sadly leaving the project unreleased in the can. In the ensuing years, the former group members have continued with their respective careers, the late John Gee embarked on a solo career, recording the 1980 release “Not Enough Love Makin’/ you Are That Man (Why Don’t You Be That Man)” for Leroy Smith’s Oakland C.A, Pashlo label followed by his 1985 modern favourite “So Good To Me/Just Get On” recorded under the artist name of Jon Pierre Gee on his own newly formed Kandi Inc, Record label. Later Kandi projects included the 1995 Jon Pierre Gee & Touch album and the 2005 Ah’VantSoul cd album project, which featured Jon’s business and real-life partner, Kathryn Hannemann (a.k.a the performing artist Kat Webb).Throughout all the aforementioned projects Jon continued to use and enjoy performing with his former fellow ‘Impulse’ musicians of which the two surviving members Robin Gregory and Michael Reese can still be found jamming to this day in the renowned Milwaukee Restaurant/Coffee House by the name of ‘Coffee Makes You Black’. Sadly, drummer Jeffrey Williamson passed away during 2015 with Coley Jackson coming in to pick up the sticks! Lead and Rhythm guitarist Cedrick Rupert left the group in the 1970’s moving to Lake Charles, LA, sadly, he too passed away in 2020.
The Impulse album project having lain dormant since the 1970’s was resurrected during 2018 when Jon Pierre Gee in conjunction with Stephen Chin of Nice Choice Records (USA) and Soul Junction Records (UK) breathed new life into the project. Beginning with the release of the first of two ‘Impulse’ 45 singles on Jon’s Kandi imprint. Firstly “What’s that Sound/You Changed Me” followed in 2020 by a second 45 “I Really Love You/Get The Funk Off my Back” with all four soul and funk tracks receiving worldwide acclaim. Initial plans for the release of the whole album project had been set in place but we’re unfortunately brought to an unexpected halt with the passing of Jon Pierre in November 2020.
Undetered Soul Junction have finally been able to bring this amazing ‘Impulse’ project to life as a limited vinyl press I’m sure once heard, the old adage of “Good Things Come To Those Who Wait” will certainly ring true, enjoy.
EP compilation of essential UK house cuts recorded between 1987 - 1990. TIP!
Before British house and techno found its’ distinctive groove at the turn of the 1990s, one act led the way: Bang The Party, a trio who emerged from London’s vibrant underground party scene in the mid 1980s and proved, beyond any doubt, that UK producers could make music every bit as magical as the pioneering productions put forward by their counterparts in Chicago, Detroit and New York.
By the time long-running DJs and party promoters Kid Batchelor and Leslie Lawrence joined forces with trained engineer Keith Franklin at legendary North-West London reggae studio Addis Ababa in 1987, they’d spent years as DIY dance music activists in Britain’s capital city. They channelled these experiences and their love of imported house and techno sounds into a new project, Bang The Party, in the process becoming the first British act to appear on Transmat, a reflection of the quality and authenticity of their music.
The latest Rush Hour Reissue Series release offers a snapshot of some of the numerous gems nestled in the Bang The Party catalogue, delivering a much-deserved celebration of one of Britain’s most significant early acid house collectives. It features four fully remastered cuts recorded and released between 1987 and 1990 – on-point and far-sighted club workouts that sound as fresh and timeless now as they did when Britain was sweltering under its infamous ‘second summer of love’.
Fittingly, the EP begins with ‘I Feel Good All Over’, the group’s ground-breaking debut single. Dedicated to their home city and one of the earliest UK interpretations of house music, the track exists in the grey area between Chicago house and New York ‘garage house’ – all jaunty organ stabs, jacking Windy City beats, restless bass and soulful vocalizations. ‘Jacques Theme’, which follows, originally nestled on the B-side of that single release. An early, acid-flecked expression of hip-house with a British twist, breakdance-friendly bongo patterns and a dose of Larry Heard-inspired deep house dreaminess, the track remains an under-appreciated classic whose rap verses reflect the popularity of hip-hop in London at the time.
1988’s ‘Release Your Body’, Bang The Party’s most celebrated early release, was reissued in the United States by Transmat, reflecting the strong working relationship between Derrick May and Kool Kat Records’ Neil Rushton. A hypnotising affair propelled forwards by sweat-soaked drum machine beats, jacking fills and an addictive bassline, the track offers another near perfect distillation of the band’s Black American musical influences while delivering something genuinely new and fresh.
Rounding off the EP is a choice cut from Bang The Party’s sought after 1990 album Back To Prison. Doused in the star-lit synth sounds of the Motor City with jaunty organ stabs inspired by the kind of New Jersey jams championed at East Orange institution Club Zanzibar, ‘Let It Rip’ is a superb slice of deep house soul featuring a lead vocal every bit as emotive as anything laid down by Robert Owens. Like the rest of Bang The Party’s output, it has stood the time better than anything laid down by their London contemporaries.
For fans of post-Chicago post-"Second Summer of Love" acid; Chris & Cosey, Terekke, Cabaret Voltaire, Anthony Naples, JTC, D.K., Luke Vibert, Khotin. The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: New Standard. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJfriendly muse: "I realized I wanted to make a record where every track could go off in a live setting." These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun." From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.
Sourced from the Original Master Tapes and Presented in Audiophile Sound for the First Time: Mobile Fidelity’s Numbered-Edition 180g SuperVinyl LP Plays with Riveting Detail
Three decades before he released The Philosophy of Modern Song — an insightful book devoted to 66 tunes that both impacted his career and the music world at large — Bob Dylan issued Good As I Been to You. The under-heralded 1992 album, Dylan’s first solo acoustic album in nearly 30 years and first all-covers effort in nearly 20 years, can be seen as a prophetic prelude to what has become the Nobel Laureate’s celebrated late-career arc. It’s also an absorbing continuation of the custom Dylan has embraced since he first picked up a guitar.
Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton jacket, Mobile Fidelity's numbered-edition 180g SuperVinyl LP of Good As I Been to You reveals the immediacy, detail, and stripped-down nature of recording sessions that took place in Dylan’s garage studio in California. Simple, raw, and unplugged, the record presents Dylan in peak form — and showcases a diversity of vocal phrasing, soulful chording, harmonica accents, and close-up ambience that on this reissue emerge like never before. As the first-ever audiophile edition of this almost-lost classic, this LP also benefits from SuperVinyl’s extraordinary properties: a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces among them.
Recorded and mixed by Micajah Ryan, and supervised by Debbie Gold, Good As I Been to You took shape at Dylan’s home shortly after the singer-songwriter completed sessions in Chicago with a full band. Unaccompanied, he again gravitated to existing works — in this case, traditional folk music — and, with Gold serving as a trusted advisor, performed the songs in multiple keys and tempos until he arrived at what he desired. That careful, determined albeit loose, organic approach emanates from this reissue, on which each note, movement, and space come across more directly, fully, and immediately than on the original formats. It helps draw a through-line to Another Side of Bob Dylan (1964) as well as the similarly themed follow-up, World Gone Wrong (1993) and immersive old-world storytelling of Tempest (2012) and Rough and Rowdy Ways (2020).
Well before Dylan made those renowned 21st century LPs, however, he needed to find a way out of a funk that — save for his 1989 collaboration with Daniel Lanois, Oh Mercy — followed him for years. As author Clinton Heylin reported Dylan admitting in 1997: “My influences have not changed — and any time they have done, the music goes off to a wrong place. That’s why I recorded two LPs of old songs, so I could personally get back to the music that’s true for me.”
Truth: Few, if any, concepts better encapsulate Good As I Been to You. It resonates with the same originality, honesty, resolve, and age- and time-defying relevance as the seminal Anthology of American Folk Music that fired Dylan’s imagination as a kid in small-town Minnesota and, later, per Greil Marcus’ That Old Weird America book, informed Dylan and the Band’s Basement Tapes sessions. This record also contains the type of music Dylan was playing during his acoustic sets at his period Never Ending Tour shows; within a year of the record’s release, Dylan would play half the album’s songs live.
As for those songs: Rife with strange mystery, common circumstance, and epic adventure, the stories appeal to our base instincts. Their themes — jealousy, temptation, sacrifice, love, revenge, identity, opportunity — operate on a fundamentally human level immune to trends, generations, or eras. They’re ancient and modern, serious and comical, open and disguised, simple and multi-layered. They talk of vengeance and justice (“Frankie & Albert”; “Jim Jones”), romance and tenderness (“Tomorrow Night,” “Froggie Went a Courtin’”), the troubled and trouble-free (“Hard Times,” “Sittin’ on Top of the World”). They lend voice to lovers scorned and freed (“Blackjack Davey”), the used and users (“Diamond Joe”), the powerful and powerless (“Arthur McBride,” “Canadee-I-O”), the followed and followers (“Little Maggie”). And akin to much of Dylan’s finest output, things are not always what they appear to be.
Spanning country, folk, sea shanty, bluegrass, and blues motifs, Good As I Been to You re-confirms Dylan’s position as an elite interpreter and sculptor — not of just structure but emotion. Dylan delivers the tunes as if he’s known them forever. He plays with a subtle sense of mischievousness and retains a largely upbeat demeanour; his eyes seemingly twinkle as he sings and picks. His guitar serves as the guidepost for shuffles, boogies, ballads, and mess-arounds while his innate feel for each specific arrangement and melody helps inform pacing, tone, attack.
Like a great author, he understands the importance of adhering to concision, luring an audience, holding their attention, and maximizing the impact of details, actions, and unexpected turns. Though already coarse and ragged, his voice feels ideal for the subject matter and his phrasing — from the clever ways he stretches syllables to underline meanings on the surprise twists of “Canadee-I-O” to the sheer delight he gets from singing “rowdy-dow-dow” on the protest song “Arthur McBride” — outstanding.
The birth point of ecstasy in British music is usually credited to acid house and the second summer of love: a cemented vision of kids sweating and vibrating in clubs, fields and warehouses in 1988, united by universal empathy and mind-popping sounds. However, in 1981, a couple of young men from Leeds went to New York, discovered the drug in its infancy, fused its’ gritty synth pop to acid house’s squelchy 303 groove and recorded an album: Soft Cell’s Non-Stop Erotic Cabaret. The rest, as they say, is history.
Shortly before that Soft Cell’s debut single Memorabilia was born. Originally recorded a decade before the explosion of acid house and rooted in predominantly black NYC, Chicago and Detroit gay clubs, Memorabilia is a seminal early prelude to rave culture. Merging a
strutting disco bass line with a futuristic proto acid-techno beat, Marc Almond has past described Memorabilia as “the first acid house techno record ever”.
Dave Ball remembers: “Memorabilia got to about number 99 in the charts, but the clubs picked up on it. In NME or Sounds they had a chart for the Danceteria in New York, and we were in it. Our label Phonogram saw this and thought: ‘why is this weird little duo from Leeds that no one’s heard of suddenly getting played in one of the hippest clubs in New York?’ So I think they thought: ‘we’ll give them another chance’.”
Berlin’s very own upcomers Wally Funk round off the remix package, upping the original tempo slightly, while combining elements the of original production with the later Non-Stop Ecstatic Dancing version to create a new hybrid, best played extremely loud!
The COLLECTIVE RHYTHM NETWORK is a Canadian radio show established in 1998 focused on underground dance music.
The 2nd single in the series features a previously unreleased full length version of INFILTRATE’s “C'MON NOW (THE D'PAC 905 DUB)”. INFILTRATE released “C’MON NOW” in 1993 on CONTRABAND RECORDS. A stellar remix 12” was put out the following year on the legendary Detroit label KMS RECORDS. From that record, and EXCLUSIVE to this release we get the previously unreleased full length remix with a distinctly KMS sounding dancefloor stomper that stands the test of time.
DJ SLUGO is a founding member of Chicago's infamous DANCE MANIA label and a true Ghetto Superstar often referred to as the “Ghetto-father of the American Dancefloor”. Here you get a rare deep house cut “SISTA 2 SISTA”.
Detroit’s CHRIS SHIVERS released the classic “DO RIGHT EP” in 1994 on TERRENCE PARKERS’ INTANGIBLE RECORDS & SOUNDWORKS record label. With additional production by TP and including atmospheric keys and a moody rhythm “THE FIFTH INNING” is one of the deeper cuts in the catalogue. A classic for the true heads.
Limited pressing with matte varnished sleeve, designed by ANDREI STOISOR.
ONE LEVEL is delighted to announce its latest release, the captivating 'Big Tal's Elements' EP by French DJ/Producer, ALEQS NOTAL.
Following the resounding success of One Level's debut release, the awe-inspiring Afro-futurism of Hagan's 'Forward Focus' EP - a production that ignited a dynamic and fruitful chapter for the London-based artist - the label has been meticulously crafting its return. One Level prides itself on championing quality over quantity, and this ethos is beautifully demonstrated in its second release...
Aleqs Notal, the former scratch champion and consistently evolving producer, joins the label family with a collection of four remarkable tracks. Despite his years of experience, Aleqs admits that he's still in the process of refining his own sound and with 'Big Tal's Elements’, a nickname affectionately bestowed by longtime friend and fellow artist Manaré, his four carefully curated house joints encapsulate a wealth of influences, all beautifully combining to create a modern and innovative soundtrack.
Following his early years of turntable virtuosity, and having embarked on a new creative chapter in the studio, it was 2014 and as a founding member of the innovative ClekClekBoom collective - a group of young French talents who spearheaded a groundbreaking movement that reshaped the Parisian electronic landscape - that saw Notal continue to cultivate his own sound, one rooted in the sounds of Detroit and Chicago. He became a respected DJ on the cities’ club circuit, and has gone on to to feature his music on esteemed labels including Phonogramme, Salon Recordings, Release Sustain and Patrice Scott's Sistrum Recordings.
The EP opens with 'Untwisted Delight', a homage to the timeless sound of the Motor City. A bass-driven DJ tool, pulsating with the resonance of the 808, evoking echoes of Pittman, and igniting a powerful dancefloor energy.
‘Save Ya’ is an ode to determination and self-preservation. A track with its roots deeply embedded in the dancefloor and featuring an archive sound-bank vocal alongside glorious hi-hats, it is a firm favourite of Notals. “I think its from my scratch background. I always work with the hi-hats. For me, when I hear the hats its as though I hear somebody singing." Fully road-tested at Fabric London, Save Ya is now set to rescue many a night.
'Come Get It' channels the spirit of early Chicago house. A fusion of spirited 606 and 808 drum patterns, coupled with the enchanting allure of resounding hi-hats, it offers a heartfelt homage to the revolutionary sounds that defined an era and continue to influence so much of today’s music.
Concluding the EP is 'Hymn Of Passion', a track inspired by Ron Trent's Future Vision imprint. Drawing on a diverse palette of Nigerian percussive elements and samples garnered from past projects, Aleqs weaves a sonic mosaic. Crafted in a single jam session, the track elegantly melds a rhythmic finesse with resonant congas, intertwining with the emotive Rhodes piano, to craft an unforgettable finale.
With a diverse array of influences seamlessly interwoven, Aleqs Notal’s ‘Big Tal's Elements’ EP is a journey through sound that fully captivates the listener.
2023 Repress!
DJ Mo Reese excites crowds with his unique brand of House music. A Detroit native, his music is steeped in the tradition of his hometown and blended with his own soulful, funky style.
Influenced by such legends as Dennis Ferrer, Kevin Saunderson, Todd Terry, Derrick May, Roger Sanchez, and Terrence Parker, DJ Mo Reese has entertained around the world for over 25 years. Most recently, he performed at Tresor, in Berlin, Germany and Kitsch in Eindhoven, Netherlands. A crowd of over 100,000 was blown away as he performed his special four turntable set at the Detroit Movement Festival. He banged the box at the Cornerstone Event near Chicago before a crowd of 600+. DJ Mo Reese shined at the Winter Music Conference in Miami, and has been featured on stations WGPR, WJLB and won the Mixidome contest on WHYT. As a performer/producer, DJ Mo Reese inspires audiences with his uplifting and soulful style of House music.
For fans of post-Chicago post-"Second Summer of Love" acid; Chris & Cosey, Terekke, Cabaret Voltaire, Anthony Naples, JTC, D.K., Luke Vibert, Khotin. The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: New Standard. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJfriendly muse: "I realized I wanted to make a record where every track could go off in a live setting." These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun." From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.
Alleviated Records is proud to present the Spoken-Word vibes of Sharpsburg, NC's PICCOLO JT and Chicago's RIO LOVE to some lush Larry Heard grooves. 1969: "recollections about the
NYC social & black music/party scenes on top of a driving afro-tribal groove.."
JUKE JOINTS - LIQUOR HOUSES: "insights on early Southern social & black music/party scenes flowing on a moody deep-soulful music-bed.."
MY COUNTRY: "social questions/observations on a slammin' deep Future-Tech flavored vibe.."
I'M NOT TOUGH BUT I'M TIRED: "social questions/observations on a slammin' deep Future-Ragga/Tech flavored vibe.."
Repress!
Since his first Submorphics release on The North Quarter, the Detroit native has tenaciously developed his unique brand of lo-fi, deep drum & bass. With his new six-track EP ‘Verona Highway’, the Den Haag-based producer has created what he calls “a late night Detroit to Chicago road trip aesthetic”. Rooted in the underground, this project is an assemblage of techno, footwork and soulful house influences fused with his own signature earworm melodies, deep minor chords and the modern North Quarter drum & bass sound. The result is an EP that feels emotive and nostalgic while maintaining a modern atmosphere.
'Verona Highway’ marks the return of Submorphics to The North Quarter, just over a year after his critically acclaimed Newport Magnetic EP. Reminiscent of night time drives and peaceful after hours, the EP is a collection of warm, dreamy and sentimental music and is the ultimate soundtrack for serene summer nights.
Reggie Soul real name Reginald Stone is just one of many illusive recording artists who had a very limited recording career for a handful of small independent Chicago labels then disappeared into obscurity, Reggie reputedly left Chicago in the mid 1970’s for the lone star state of Texas never to be seen or heard from again!
Reggie’s recording legacy is the sum total of 3, 45 singles two of which he recorded under the supervision of respected Chicago songwriter and producer Clarence Johnson., firstly the funk outing “I Got Jody” backed with the soulful “I Feel So Bad” for Red Balloon Records, “I Feel So Bad” was composed by Lee Sain who recorded his own version under the title of “Baby Don’t Leave Me” for the Broach label. Reggie Soul’s “I Got Jody” also came out as a B-side on Nation Time Records, the A-side was a version of the James Brown song “Soul Walkin’ but this side was credited under the mis-credited artist name of Reggie Smith?
Finally, Reggie’s third release “My World Of Ecstasy/Mighty Good Loving” was released on the Scott Brothers own Capri Records label in 1968. Both sides of the 45 were written by Reggie with Charles and Walter Scott, arrangements were provided by John Jackson and Bill McFarland who provided the horn section to many of the Scott’s future productions. The Scott Brothers of which there were several (all musicians) had begun their own careers during the late 1950’s recording under the group name of The Masquerades on the Formal label. Often referred to as The Scott Brothers Orchestra with Howard Sephus Scott at the head of their growing musical dynasty they formed their own company Capri Productions circa 1968, their initial recording productions were Fred Johnson (Shi-Lush Records) and the aforementioned Reggie Soul & The Soul Swingers. The Scott’s were also the house band in one of Chicago’s Southside’s most popular night clubs ‘The Bonanza Lounge on 7641, South Halsted. The Scott’s often used the Bonanza as a source of finding future artists for their labels, such as The Soul Majestics, Judson Moore, Bobby Jones & Duke Turner amongst others, they even recorded a live performance on The Bonanza Lounges’ resident comedian Randolph Browner which gained a release on the Shi-Lush label.
“My World Of Ecstasy” like several Capri 45 releases were heavily imported into the UK, often sold in soul packs before finding favour with aficionados of the Crossover Scene in the late 1980’s with it’s popularity still remaining high to the present day.
Soul Junction through their licensing deal with Scot-Tees Publishing would like to present the first release of their Capri Records series.
12" / Vinyl made with 100% CO2 Reduced / 100% recycable / ISCC PLUS-certified "BioVinyl"
Two accomplished house mainstays come together on Get Physical Music as James Curd joins forces with the legendary Osunlade for superb new single 'Chocolate Puddin'' while FNX Omar and Kai Alcé step up with their own remixes.
Curd came up as a DJ in Chicago and has gone on to become a mainstay of the scene. He is also credited with inventing G-Swing, a house sound infused with swing. He has run various labels over the years while releasing on some of the world's finest imprints and serving up his magical sets everywhere from fabric in London to The Avalon in Los Angeles and The Arches in Glasgow. American Osunlade meanwhile has deep spiritual roots in Yoruba traditions that are also reflected in the name of his record label. He makes music with a rare spirituality as proven once again here.
The superb 'Chocolate Puddin'' is silky smooth deep and Afro-tinged house with gorgeous percussive melodies and soft shakers. It's full of soul and warmth with meaningful leads that bring plenty of uplifting emotions next to a bluesy vocal.
Atlanta's house mainstay and a long-time underground favourite Kai Alcé then remixes. His version is more pacey but no less deep - the jazzy chords are seductively draped over the cuddly deep drums and the vocal has a more soulful edge. Osunlade also offers his own Yoruba Soul mix which is a hi-tek sound with futuristic synth chords and uplifting house drums. Last to remix is Moroccan mainstay and label regular FNX Omar. He flips the track into something that is richly layered with percussion and nimble bass, organic hand claps and hypnotic drum lines that all sink you in deep.
This package is as delicious as its name suggests.
Remastered in 2022 by Bob Weston at Chicago Mastering Studio. Recorded in 1995 at Water Music in Hoboken, NJ, with producer Ted Niceley at the helm, House of GVSB captures Girls Against Boys at the zenith of their musical prowess. The album has a simmering anxiety throughout, a kind of vertigo, a taste of what the band was actually experiencing at the time. Released in 1998, on House of GVSB, Girls Against Boys hit their stride. "Super-Fire" leads off the album with more of a swagger than a bang. Follow that up with songs like "Click Click," "Zodiac Love Team," and "Disco Six Six Six," among others, and you've got the recipe for love, destiny, and straight up gin. No going awry with a song like "Crash 17 (X-Rated Car)." All together they play "TheKindaMzkYouLike." In 1998, Girls Against Boys left the Touch and Go stable for a run with major label and later with Jade Tree Records (2002). In recent years, apart from select short tours and shows in Europe, Girls Against Boys has remained on official hiatus. House of GVSB remains probably their most favorite album.
Color Vinyl[20,97 €]
In the decade or so that hard-working New York quartet Sunwatchers have operated, the group has steadily & subtly refined their sound - a brain-blasting mixture of jazz, psychedelia, krautrock, punk, noise, & Saharan blues - into something that is avant-leaning enough to appeal to the discerning jazz & experimental music fan & weird & wooly enough to get the true heads' toes tapping. "Music Is Victory Over Time" is the band's 5th album, and fourth for Chicago-based Trouble In Mind Records, seeing the long-running lineup of Peter Kerlin (bass guitar), Jim McHugh (guitars), Jason Robira (drums), and Jeff Tobias (alto saxophone and keyboards) in prime form. Album opener "World People" is a classic Sunwatchers number whose title expresses their Anarcho-Internationalist ideology (and the atypically multi-culti make up of their crowds), with an underlying melodic resonance to New Orleans funeral marches à la Albert Ayler _ a triumphant call to arms to all peoples. Live fave "Too Gary"'s gang vocal shout punctuates a motorik rager named for a phrase often uttered by a badass eight year old skateboarder McHugh knew with a speech impediment (it means "that's too scary"). "T.A.S.C." (or "Theme For Anarchist Sports Center") is inspired by Sonny Sharrock's maligned 80's output & sounds exactly like a wrathful, mutant version of a prime-time athletic show theme, replete with the requisite "sitcom ending." The sun- scorched "Foams" - a longform piece intended to depict natural stuff like tides, nightfall, and time slowly passing, ancient, peaceful and slightly gross all at once - practically jumps out of the speakers, its palpable intensity crackling in your eardrums. The title of "Tumulus" might reference an ancient burial mound, but the music itself might be the group's most high-tech song to date, complimented by an arpeggiating sequencer, three different forms of tape delay and an electric saxophone; ecstatic, fiery & deeply spiritual. "There Goes Ol' Ooze" is a smoky creeper that lets Tobias & Kerlin take a walk for a while, with respectful nods to the Stones and Steve Reich. "Song For The Gone" closes out the album, showcasing a sincerely tender moment for the gang, as an expression of love and resolve for dear friends who had recently, tragically died. Its cascading, bluesy melody attuning itself to our own collective unconscious grief. Having the distinct pleasure of being the first band to record in John Dwyer 's new LA-based recording studio Discount Mirrors, "Music Is Victory Over Time" boasts a beefed up sound. The band worked closely with in-house engineer Eric Bauer - facilitator, troubleshooter, sonic obsessive, a legendary freak and a DIY lifer. The band also had full access to the studio's epic armory of gear: amps, axes (it's Dwyer's Eddie Harris model electric sax), synths, a bass guitar once belonging to Klaus Flouride of the Dead Kennedys. Crucial for the sounds and the vibe. The album art was created by Josh MacPhee, the activist artist, author, archivist and founding member of both the radical artist collective Just Seeds and Interference Archive, a public collection of materials from social movements based in Brooklyn. MacPhee's participation in the project works as a statement of Sunwatchers' progressive utopian intentionality, and organically underscores their involvement in revolutionary projects within and without of their hometown. Listening to "Music Is Victory Over Time", Sunwatcher's rebellious spirit & unbridled enthusiasm remain fully intact, but the secret sauce is their infectious irreverence in the face of the horrors of this world. Much of our best cultural commentary is Trojan-horsed to the general public via humor & satire & the band has a knack for lacing the ridiculous with the radical. It's good to have them back. "Music Is Victory Over Time" is released worldwide digitally via most DSPs, on CD, black vinyl & a limited "Sunflare" blue/red splatter vinyl while supplies last.
Black Vinyl[20,97 €]
In the decade or so that hard-working New York quartet Sunwatchers have operated, the group has steadily & subtly refined their sound - a brain-blasting mixture of jazz, psychedelia, krautrock, punk, noise, & Saharan blues - into something that is avant-leaning enough to appeal to the discerning jazz & experimental music fan & weird & wooly enough to get the true heads' toes tapping. "Music Is Victory Over Time" is the band's 5th album, and fourth for Chicago-based Trouble In Mind Records, seeing the long-running lineup of Peter Kerlin (bass guitar), Jim McHugh (guitars), Jason Robira (drums), and Jeff Tobias (alto saxophone and keyboards) in prime form. Album opener "World People" is a classic Sunwatchers number whose title expresses their Anarcho-Internationalist ideology (and the atypically multi-culti make up of their crowds), with an underlying melodic resonance to New Orleans funeral marches à la Albert Ayler _ a triumphant call to arms to all peoples. Live fave "Too Gary"'s gang vocal shout punctuates a motorik rager named for a phrase often uttered by a badass eight year old skateboarder McHugh knew with a speech impediment (it means "that's too scary"). "T.A.S.C." (or "Theme For Anarchist Sports Center") is inspired by Sonny Sharrock's maligned 80's output & sounds exactly like a wrathful, mutant version of a prime-time athletic show theme, replete with the requisite "sitcom ending." The sun- scorched "Foams" - a longform piece intended to depict natural stuff like tides, nightfall, and time slowly passing, ancient, peaceful and slightly gross all at once - practically jumps out of the speakers, its palpable intensity crackling in your eardrums. The title of "Tumulus" might reference an ancient burial mound, but the music itself might be the group's most high-tech song to date, complimented by an arpeggiating sequencer, three different forms of tape delay and an electric saxophone; ecstatic, fiery & deeply spiritual. "There Goes Ol' Ooze" is a smoky creeper that lets Tobias & Kerlin take a walk for a while, with respectful nods to the Stones and Steve Reich. "Song For The Gone" closes out the album, showcasing a sincerely tender moment for the gang, as an expression of love and resolve for dear friends who had recently, tragically died. Its cascading, bluesy melody attuning itself to our own collective unconscious grief. Having the distinct pleasure of being the first band to record in John Dwyer 's new LA-based recording studio Discount Mirrors, "Music Is Victory Over Time" boasts a beefed up sound. The band worked closely with in-house engineer Eric Bauer - facilitator, troubleshooter, sonic obsessive, a legendary freak and a DIY lifer. The band also had full access to the studio's epic armory of gear: amps, axes (it's Dwyer's Eddie Harris model electric sax), synths, a bass guitar once belonging to Klaus Flouride of the Dead Kennedys. Crucial for the sounds and the vibe. The album art was created by Josh MacPhee, the activist artist, author, archivist and founding member of both the radical artist collective Just Seeds and Interference Archive, a public collection of materials from social movements based in Brooklyn. MacPhee's participation in the project works as a statement of Sunwatchers' progressive utopian intentionality, and organically underscores their involvement in revolutionary projects within and without of their hometown. Listening to "Music Is Victory Over Time", Sunwatcher's rebellious spirit & unbridled enthusiasm remain fully intact, but the secret sauce is their infectious irreverence in the face of the horrors of this world. Much of our best cultural commentary is Trojan-horsed to the general public via humor & satire & the band has a knack for lacing the ridiculous with the radical. It's good to have them back. "Music Is Victory Over Time" is released worldwide digitally via most DSPs, on CD, black vinyl & a limited "Sunflare" blue/red splatter vinyl while supplies last.
2023 Repress
Two lovely House mixes produced by Frankie Knuckles and Brett Wilcotts (Gherkin Jerks). From the mid 80s era when dance music was shaken up between disco, boogie, Italo and the emerging house sounds from Chicago. Claudio Simonetti was a titan of the Italian groove, but his monster jam as Kasso, "One More Round", reached the stratosphere when Windy City godfather Frankie Knuckles gave the track his Midas touch. The Knuckles mix is already worth the pressing, but the flip side contains the overlooked 80s remix by supremo Brett Wilcots. The Chicago master is known for his Gherkin Records and lays his hands on "Walkman" to turn it up to a boogie frenzy of the highest order. Must have!
"Intrinsic Rhythm is proud to welcome and release a new record by Westcoast Goddess. The enigmatic producer provides 4 r&b flecked sample led tracks which borrow and take influence from the classic machine soul from Chicago, Detroit and NY. The EP kicks off with the musically rich " Fallin' " which uses melody and emotive machine and sample programming to welcome you to a brilliantly unique record. The title track " Time 4 Change " takes a classic tactile Chicago groove and concocts a deep hybrid of strings, evocative synth and vocal sample programming to take the listener and dancefloor to a deeper level. " Change Is Comin' " is next and takes influence from classic Gospel house music and uses classic drum machine programming combined with a chord driven lead to create a mesmerising twist on machine soul. Finally "One O' These Days" uses Boogie. New Jack Swing and Deep House variations to bring the listener through a classic song structure which builds from beginning to end. IR005 contains 4 tracks brought through the unique lens of the Westcoast Goddess and is available on limited vinyl
