Suche:hard frequency

Germany's iconic deep funk collective digs into a new soundscape: "A Higher Frequency" was recorded with a nine-piece live to tape at legendary MPS studio in the Black Forest, adding an airy, jazzy flavour to their trademark raw and breaks-heavy funk. Ten tracks full of spiritual grooves, soulful themes, loose funkiness and organic interplay, captured with state-of-the-art 1960s gear in a super-vibey room - but the title A Higher Frequency is not just about the pristine analogue sound quality of the recording, it is also a reference to a trancendant wavelength where minds meet and music connects.

Together with long-time friends and collaborators Daniel Kimaz on flute and Guillame Métenier, who worked his magic on the studio's historic Bösendörfer grand piano and Hammond organ, the group spent a week in the Black Forest, with full focus on the mission to capture the live energy and togetherness of the ensemble.

The result is an album bursting with positive energy and power, rooted in a universal funk groove with excursions into many colourful branches like outernational, cinematic, soulful jazz, psychedelic & disco.

The common thread is a propulsive, driving-forward feel: "Open The Gate" welcomes us with hard-hitting breakbeats and dramatic crime brass, followed by the cool groovin' piano-led soul jazz of "Get Loose", while "Spinning" takes us on a ride through cinematic horn choruses and folky-psych flute and guitars. "Back And Better" is Nichola Richards' time to shine, laying her sweet vocals over the sparse hiphop-infused soul beat to tell a comeback story. "Sweet Company" is a lighthearted uptempo tune inspired by TV and library themes of the 1960s. The swampy groove of "Sparks Of Joy" best reflects the fun of the band playing together and "Phantom Power" combines a trademark Mocambo breakin' theme with an unusual instrument, an electric phin from Thailand – a nod to the many so-called "world music jazz" recordings that the MPS studio gave birth to. On "Can't Stop This Fire", soul singer Carlton Jumel Smith from New York City takes over the mic as a special guest and brings the house down with a heavy funk delivery. "When We Roll" builds another highlight where bouncy drums play off disco-jazz horn themes and finally, the gospel-flavoured cine-soul epic "Homebound" drives it all home.

The vinyl record comes in a limited first edition in hand-made tip-on sleeve.

Mastered by Matthew Lutthans at The Mastering Lab from flat copies of the original U.K. and U.S. analogue master tapes Third studio album featured advanced studio recording techniques Featuring original U.S. tracklisting with bonus track "Alive And Well And Living In" from U.K. release Plated and pressed at Quality Record Pressings Gatefold old-style tip-on jacket by Stoughton Printing Jethro Tull's 1970 classic Benefit was their third studio album in as many years, following the successes of This Was (1968) and Stand Up (1969). For Benefit, Ian Anderson (flute, guitars, vocals), Martin Barre (guitars), Glenn Cornick (bass), and Clive Bunker (drums) were joined by John Evan on piano and organ.

Evan would go on to play on all of Jethro Tull's albums throughout the '70s. It was also the last to include Cornick, who was fired from the band upon completion of touring for the album. Recorded at Morgan Studios, where the band recorded Stand Up, the album featured more advanced studio techniques, such as a backward-recorded flute on "With You There To Help Me" and a sped-up guitar on "Play In Time." Frontman Ian Anderson said Evan had changed the band's style: "John has added a new dimension musically and I can write more freely now.

In fact anything is possible with him at the keyboard." Compared to Stand Up, although containing a similar mix of bluesy hard-rockers and melodic acoustic numbers, Benefit had, as Ian Anderson put it, a "harder, slightly darker feel" compared to previous material. The eclectic fusion of folk, rock, and progressive elements creates a sonic tapestry unlike any other. Anderson's virtuosic flute playing intertwines with Barre's electrifying guitar work, weaving intricate melodies that transport listeners to a world of introspection and imagination. From the hauntingly beautiful "With You There to Help Me" to the whimsical energy of "To Cry You a Song," each track invites exploration of both the inner self and the world beyond.

This Analogue Productions 45 RPM release, plated and pressed at Quality Record Pressings, gives this historic album the rich sonic presentation it deserves. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. Benefit stands as a testament to Jethro Tull's pioneering spirit, pushing the boundaries of musical expression and leaving an indelible mark on the landscape of rock music. This reissue is clean, balanced and richly detailed, the way an Analogue Productions reissue should sound.

"In a world where it is easier than ever to say something, it is actually the hardest time to be heard.
We are constantly bombarded by so much information and/or distractions that people can hardly be blamed for not tuning in.
The box has been constructed to be safe, so why step outside it?

The vibe shift is undeniable but everyone is free to choose which frequency to tap into.
Music can be nourishment for the soul if you have the right ingredients. Even then you need the right chefs to cook it properly to be served.
Meftah and Ideeyah have taken their time to create something that feels complete.
Something intentional. Meditative.
Another piece in the great chain of the African Diaspora.

Where else but Detroit could something like this come from?
A complete concept that is unabashedly of the present but still honors the past. This is Soul music. Crafted with love for community, for heritage, for fulfillment.
There was a method to the madness, a reason for the gradual formation of artistic merit that is presented to you now.
This music contains a universal message if you can open your eyes and mind to it.

Less talking, more doing.
Go out there and be somebody again.
Reclaim your light under the sun.

Swing Low, Sweet Chariot.
For Funk is it’s own reward,
if you want it to be.

- Turtle Bugg"

"One of the most iconic groups of the late 20th century, Dire Straits established their timeless sound from the
moment they first appeared on the London gig circuit, in 1977. With faultless musicianship and memorable songs
that quickly connected with music lovers, it was clear the group would set their own path, proving that, even amid
the new-wave era, classic songwriting would never go out of fashion.
After three years of relentless hard work, touring, writing and recording their music, the group entered the 1980s
well on their way to becoming the biggest-selling band in the world. That year’s Making Movies album would also
make its presence felt on the silver screen, thanks to the inclusion of the UK No.8 single ‘Romeo And Juliet’ – later
used in films such as Empire Records, Hot Fuzz and I, Tonya – and live favourite ‘Tunnel Of Love’, which featured in
the 1982 Richard Gere film, An Officer and a Gentleman. Dire Straits’ frontman, Mark Knopfler, would later explain
to The Times how satisfying it was to write ‘Tunnel Of Love’: “It’s the moment when you know you’re really on to
something,” he said. “There’s a certain part of the song that I call the breakdown and when I got there I could feel
the drums, the piano, all the things that I wanted all the instruments to do. When you get to that state, there’s a
strange sense of one thing following another, of elements falling into place quite naturally.”
Paying extra attention to those elements, this half-speed master of Making Movies has been overseen by Miles
Showell at Abbey Road Studios, in London, resulting in a cut that has a superior high-frequency response (treble)
and very solid and stable stereo images. Pressed on 180g vinyl, it comes with alternative artwork that swaps the
red and the blue of the original album sleeve, plus a printed inner sleeve, a “Half-Speed Master”-branded obi-strip
and an Abbey Road certificate of authenticity.
"

Hardwarez, the third LP by Master Boot Record (aka MBR) on Metal Blade, sees multi-instrumentalist mastermind Vittorio D'Amore (aka Victor Love) aurally exploring the duality of technology and humanity in 9 intense and incandescent tracks. The LP, which follows 2022’s Personal Computer and 2020’s Floppy Disk Overdrive, comes from the expansive mind of Love, an Italian producer who emerged from the underground as an anonymous project in 2016 to create the soundtrack for the cyberpunk point-and-click adventure game VirtuaVerse. The project seamlessly evolved into a standalone entity, releasing over 14 albums in just a few years.
To create Hardwarez, the technologist worked by live streaming his desktop on YouTube while composing new music. Everything is programmed via MIDI. “The very first song I wrote is actually also the first single, “CPU,” he says. “Even though the other songs on the album have a quite different style, the type of riffing and the different melodic section of this track worked as a base to upgrade the sound before moving forward.” “CPU” is also where Love decided to test the real guitar overdubs and was inspired by the results.
“With every album I’ve upgraded bits of the sounds, adding new layers,” he says. “In Hardwarez the core sounds for synth guitars, leads and pads are still those that constitute the trademark MBR sound, but what makes this album very different is the addition of guitar overdubs that play along synth guitars for both the rhythmic and solo sections.”
Intensive touring augmented with live musicians helped Love to make the decision to include real guitars to achieve a massive sound and boost the enhanced frequency spectrum of the instrument. “On this record there are a lot of heavy riffs with palm muting and my lead guitarist Shreddy recorded most of those leads and solos as well playing in unison with synth leads and adding extra energy to them.”

Hardwarez, the third LP by Master Boot Record (aka MBR) on Metal Blade, sees multi-instrumentalist mastermind Vittorio D'Amore (aka Victor Love) aurally exploring the duality of technology and humanity in 9 intense and incandescent tracks. The LP, which follows 2022’s Personal Computer and 2020’s Floppy Disk Overdrive, comes from the expansive mind of Love, an Italian producer who emerged from the underground as an anonymous project in 2016 to create the soundtrack for the cyberpunk point-and-click adventure game VirtuaVerse. The project seamlessly evolved into a standalone entity, releasing over 14 albums in just a few years.
To create Hardwarez, the technologist worked by live streaming his desktop on YouTube while composing new music. Everything is programmed via MIDI. “The very first song I wrote is actually also the first single, “CPU,” he says. “Even though the other songs on the album have a quite different style, the type of riffing and the different melodic section of this track worked as a base to upgrade the sound before moving forward.” “CPU” is also where Love decided to test the real guitar overdubs and was inspired by the results.
“With every album I’ve upgraded bits of the sounds, adding new layers,” he says. “In Hardwarez the core sounds for synth guitars, leads and pads are still those that constitute the trademark MBR sound, but what makes this album very different is the addition of guitar overdubs that play along synth guitars for both the rhythmic and solo sections.”
Intensive touring augmented with live musicians helped Love to make the decision to include real guitars to achieve a massive sound and boost the enhanced frequency spectrum of the instrument. “On this record there are a lot of heavy riffs with palm muting and my lead guitarist Shreddy recorded most of those leads and solos as well playing in unison with synth leads and adding extra energy to them.”

Speedcore IDM post breakcore flashcore ... in one word Experimental Electronic Hard music !

Unique sound/style !!

Melly's uses striking kicks. Sobre and efficient his sounds are physical and brings a natural born good feeling on the dancefloor. The A side is all about that, a powerfull dancefloor 180 BPM fat confort. His selectas of friends tunes on B side is exactly on the same scale. Format C brings an obsessing hardtek oldschool tune while Zside brings a superb dancefloor track as well. Honestly this is a total sticking 100% to the Peur Bleue sound style... Digging for more collab !

Number 5 of the Network 23 remastered repress series is a split with 2 tracks of Crystal Distortion on the A-Side and 2 tracks of 69db on the B-Side.
This release contains 4 pretty obscure tracks that have been very hard to find in the past but are now finally available.

True audiophile joy — now cut at 45 RPM 2LP for better tracking, exceptional bass!
Remastered by Kevin Gray at Cohearent Audio from the original master tapes
Plated and pressed on 180-gram vinyl at Quality Record Pressings!
Stoughton Printing gatefold tip-on heavyweight cardboard jacket


Praise for the 33 1/3 version of The Smoker You Drink, The Player You Get:

"(Side one) ends with the appropriately titled 'Happy Ways,' a Latin-tinged guitar-fest with lovely chunky bass lines that sounds absolutely glorious on this Analogue Productions pressing. The zing of steel string guitar almost sounds dead on the CD and tired on my ancient vinyl pressing, so this is clearly not one of those remasters that's based on an umpteenth generation copy of the tapes. ... You owe it to yourself to hear this album — and it will not sound any better than this spectacular pressing." — Recording = 8/10; Music 10/10 — Jason Kenedy, Hi-Fi+, Issue 148

"An outstanding new 180gm LP reissue from Analogue Productions, with improved sound thanks to a sparkling new remaster by Kevin Gray at Cohearent Audio, makes it clear that this 1973 release remains — with the possible exception of 1978's But Seriously, Folks . . . — the undisputed highlight of Walsh's solo career. ... Another week, another beautiful-sounding, wonderfully packaged reissue from Analogue Productions." Read the whole review here. — Robert Baird, May 2017

In between his stints with the James Gang and the Eagles, Joe Walsh tackled his second solo studio album The Smoker You Drink The Player You Get which became his most successful solo outing. The 1973 LP continued the heavy and light rock mix of tracks found on his previous release, Barnstorm.

Analogue Productions has done reissue justice to the album that AllMusic decries "features some of the most remembered Joe Walsh tracks, but it's not just these that make the album a success. Each of the nine tracks is a song to be proud of. This is a superb album by anyone's standards."

To obtain the best sound possible we turned to Kevin Gray at Cohearent Audio to remaster this superb album from the original analogue tapes. Next we plated the lacquers and pressed LPs on 180-gram audiophile vinyl at the world's best LP maker, Quality Record Pressings. Top it all off with a deluxe Stoughton Printing gatefold tip-on jacket and you've got the makings for audiophile joy.

But would we stop there? Hardly. Now with our 45 RPM release, the best-sounding version of this rock music gem gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

This amazingly eclectic rock album has Joe's smash "Rocky Mountain Way," his hit "Meadows," plus "Bookends," "Wolf; Dreams" and more! Walsh's ability to swing wildly from one end of the rock scale to the other is unparalleled and makes for an album to suit many tastes.

HAVEN are proud to present the second record in their black label series focused on the crossover between sounds on the UK bass music spectrum and hard techno dynamics. This time UK break-beat maestro Mani Festo joins the label for the first time with an EP of hardcore-
inspired dance-floor weaponry alongside a remix from Swedish experimentalist PederMannerfelt.

The A side kicks off with 'Hunterr' with booming vocal cuts, pounding 4-4 kicks and break-beat rhythms sprinkled throughout for a prime UK hardcore and techno genre crossover slab of club material. This is followed by the Peder Mannerfelt remix where the Swedish legend brings his left-of-field sensibilities to the fore, submerging the vocals in to a ghostly high-frequency spectrum whisper alongside a looping bass-line and sludgy drum rhythms to close out the first side.

The B side starts with 'Swarmm' - a broken beat roller filled with screeching synth zaps and a mammoth break-beat in the second half. Up next comes 'Poison' with its eerie atmospheres and drones sat behind a 4-4 rhythm and charging break-beats in another dance-floor killer. Finally 'Machine' closes the EP with its syncopated electro rhythms and funky UK swing alongside chugging bass plucks and arpeggiated melodies in one more crossover hammer.

Bassmæssage is the heaviest and most consistent bass music night out of Leipzig, operating way over 30 low frequency terrapeutic events since 2007.

Hosting ventral vibrations by the likes of Mungo's Hifi, Moonshine, Rupture, Hardwax and the homies of Jahtari, maintaining strong relations within the local soundsystem culture like Zoumo and Plug Dub and pushing a ton of grass-roots DJs and visual artists, out of doubt it is a sure shot for all who like it low and want it vibrant.

2015 saw the release of the "Volume One" vinyl, blending all kinds of styles and tempi by artists who had played at a Bassmæssage. Dub met Dubstep, Footwork went along some Snailfunk Drum'n'Bass and even Skweee had a cameo. And all this happened on one plate with a warm vibe from start to finish.

It is about time to revive the label with a new vinyl compilation named "Second Drop", following the tradition of a nice roundup across various bass music tearitorries. One side pumps at uplifting 160 BPM, while the flipside is shifting down to relaxing 135 and even 120 speeds.


Nuphlo and Bukkha team up for the energetic modern halftime piece "Drip". Nuphlo might ring a bell as part of The Nasha Experience from London and Leeds, connecting asian roots with nowadays UK bass sounds. Bukkha is state-side born and has recently emigrated to Spain, from where this worldwide touring DJ machine is firing a plethora of bass music styles on renowned labels like Moonshine, System and Innamind.

DjBadshape passes the breakbeat driven torch with handsome melodies and subby kickbass on "Drift" to reflect Leipzig's well various scenes. While checking her tracks on Defrostatica and Human, one may also find artworks for Bassmæssage and more.

Sun People is closing the 160 side with the deep but dirty retro 90s jungle bit "Rise Up". Combining Techno, Footwork and UK Hardcore Breakbeats, the Graz based bass buab made it to releases on Exit, Rua and Alphacut.

Flipping sides, Dub Across Borders redefines steppers dub into the dreamy yet rolling "Bass Tree Dream". The project was found by a Copenhagen dubber when living in Colombia, fusing the rural folklore with soundsystem energy into a world-bass music. This can be heard on labels like Basscomesaveme, Translation and 45Seven and is best to be experienced in its live dubbing appearance which premiered at a Bassmæssage in 2015.

Paranoid One grabs these feelings and drops them a bit more sinister, "Glimp" manages to hide a playful 4 to the floor kick as well beyond its smooth soundscapes and percussions. As Paranoid Society these split personalities from Tallinn were delivering to Modern Urban Jazz and Alphacut already since a decade at least.

bhed finishes with the slow far-away dubsteppish "Minerva". Make sure to not only check the releases on Row and Trusik but also the freshly baked Neuburg based live act in between cosy ambient and lush bass music at the next Bassmæssage on 18th November in LeipZig!

Story Of Collapsed Dimention unfold in 4 tracks multi-genres musical accompaniment and 12 frame comics, as artwork. The EP symbolizes a journey of personal transformation, the courage to confront the unknown and fight against circumstances and suffering. In order to become something new, we need to give up what we are now.

The tracks span across various styles, including funky house with a live-band feel, featuring infectious rhythms and vibrant instrumentation. There is a breakbeat track infused with a groovy bassline seized from NBA Live 95 on Sega Genesis, accompanied by turntablism hard drops and scratchy sounds that add an edgy and gritty vibe.

B-side explores psychedelic frequency modulations of polyharmonic intertwined with jungle-oriented breaks, creating a mesmerizing fusion of intricate melodies and rhythmic complexity. Finally, the EP concludes with an electro banger that has been accidentally reinvented with its captivating energy and a profound message.

Overall, the EP showcases a diverse and dynamic musical journey through these genres, offering a rich and immersive listening experience or valuable universal DJ-tool.

The artwork features hand-drawn comics by the talented artist Larisa Shalyapina, script and production by CDA.

The unique texture, blurriness, and overall quality of the illustration are meticulously preserved through a process of manual assembly and duplication, resulting in a visually captivating and tactile experience.

Used gear: Roland MC-808, Roland MC-505, Moog Subphatty, Waldorf Wave XT, MAM33, Volca FM, Volca Bass, Tascam Midistudio 644, Jomox t-resonator II, Boss Digital Delay, Teletron SAQ-206B Amp, KME Sound GBA 80 Bassbox, Culture vulture distortion, Distress compressors. DAW Ableton.

conceptualization:

Tracks are written during frequent relocations, capturing experienced moments and raw emotions. As the physical changes in our living environment are comparable to the collisions and evolving paths within the domain of knowledge reflected in the trials of spiritual awakening.

In Berlin, a city of expats, it has a special relevance to people who came here to find themselves. It also resonates with those who have been brought here by circumstances.

Record id released with all Ukrainian brothers and sisters in heart.

While we find comfort in our safe spaces, it is inevitable that some stress will eventually provoke us to take action. We may long for that period of comfort and feel a sense of anger or sadness for what once was. Once the truth is revealed, much like the unveiling of light, there is no turning back — a path to enlightenment shall be accepted.

Within the EP, each track serves as a chapter for this path.

A1

First track encapsulates escapism by chasing a feel-good sense in the run from responsibilities into fantasy-land. In the moment of careless life in careless time, where the future is sacrificed in the name of immediate pleasure.

A2

Robotboy incorporates a superficial state of mind with a reactive personality rooted in a narcissistic ego, dishonestly denying the righteous path. Subconscious struggle from hedonistic lifestyle with no relief.

B1

A deeply intimate and personal, embodied introspective sentiment kept hidden from the world, revealing when we’re alone and usually stifled with distraction and entertainment. Nostalgic feeling of loss follows us during the abandonment of a beloved place. Overwhelming weight of regret in presents.

B2

Taking action of the first step makes us unstoppable and disclosure of knowledge leads to destruction of the illusory world. Finding out the truth, same as seeing the light, excludes the retreat into darkness. As comprehension is the way to enlightenment.

HERTZ marks a change in perspective for Geneve, informed by major life changes and intense growth brought to life with her signature brutally honest lyricism The release of the singer/songwriter's debut album, the AMP-nominated Learn To Like It, coincided with the pandemic resulting in the quiet months that followed spent conceptualising and writing her second LP. "My experience had broadened - I'd been touring and working so hard for so long and then I finally had a chance to do not much at all. I was also diagnosed with bipolar at that time. Understanding the implications of that diagnosis is a big part of this album," she explains. As a result this new release is very much a concept album, an incredibly vulnerable documentation of Geneve processing her experience with bipolar disorder. She plotted the progress of songs to reflect the ups and downs of a mood cycle forming a frequency, hence the album title HERTZ. Geneve is a record-breaking seven-time winner of WAM Song of the Year, and has honed her live chops on the stages of Falls Festival, Laneway, Party in the Paddock alongside bills supporting Cat Power, Kurt Vile, Julia Jacklin, Belle & Sebastian, Fred Armisen, Gareth Liddiard and more. Her debut North America tour was supporting San Cisco in 2019, and she was invited to showcase at 2020s SXSW and The Great Escape.

blue repress !

It's been nearly 15 years since this originally hit the shelves, which literally took the immersive atmospheric sound of Echospace and brought it right to the floor. With cv313's "Sailingstars" the spirit continues as they go on to preach the gospel of deep with a rippling exercise in space and bass.

A sort of slow motion movement in tone and 38 hz sub frequency which nearly verges on the disturbing, a sonic threshold quite hard to achieve in a vinyl cut. The power of repetition and subtle atmosphere are clearly demonstrated here by bringing the listener to an almost hypnotic state within its melodic spatial grooves.

The B side offers two immense reductions, equally effective providing a low end throb, analog spirit and organic textures captured in zero gravity, it's like truly sailing among the stars. Lovingly remastered and mixed down from the original analog 1/4" reel to reel tape, strictly limited to 300 copies for the world.

Run-D.M.C.'s Raising Hell remains the turning point at which hip-hop crashed through mainstream barriers and never left. Anchored by the crossover smash "Walk This Way," the 1986 blockbuster still sounds like a revolution unfolding in real time. It has everything – hard-rock riffs, turntable scratching, itchy rhythms, hit singles – not the least of which are the trio's invigorating raps and inseparable chemistry. And now it's the first rap record afforded audiophile treatment, courtesy of Mobile Fidelity.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, the reissue label's numbered-edition 180g 33RPM SuperVinyl LP elevates Raising Hell to sonic heights on par with its musical and cultural significance. Ranked the 123rd Greatest Album of All Time by Rolling Stone, 43rd on Pitchfork's Greatest Albums of the 1980s, one of the Top 100 Albums of All Time by TIME – and included on "Best of" lists by Spin, Paste, XXL, Entertainment Weekly, and basically every other significant media outlet – the triple-platinum effort rocks the house.

Benefitting from the ultra-low noise floor and groove definition of SuperVinyl, Raising Hell unleashes a torrent of massive dynamics and tsunami of frequency-plumbing details underlined by Rick Rubin's taut, crisp, albeit raw and streetwise production. Just as the Queens-based group both defined what hip-hop could represent – and displayed just how big it could get – Rubin's work melded ear-worm hooks, savvy drum loops, metal-leaning guitars, and, of course, Run and D.M.C.'s cross-fire lyrical interplay into watertight frameworks bursting with ideas, tones, samples, and beats. Heard anew on Mobile Fidelity vinyl, Raising Hell is in every regard the aural equivalent of a direct-to-console 1970s classic. And it sounds as fresh as hell.

As for the music, it ranks among the most influential, inventive, and invigorating ever released – rap or otherwise. Vanguard artists such as Ice-T, Eminem, Jay-Z, and Public Enemy's Chuck D – who declared it his all-time favorite and "the first record that made me realize this was an album-oriented genre" – have testified on behalf of its brilliance. And never mind the presence of the Top 5 single "Walk This Way," whose power helped make Aerosmith's Steven Tyler and Joe Perry relevant for the first time in nearly a decade – and literally put Run-D.M.C. in bedrooms ranging from the Bronx to Bartlett to Bad Axe.

Look instead to the rest of the entirely filler-free set, be it the corkscrew turns, slippery wordplay, and "My Sharona"-meets-"Mickey" mixology of the boisterous "It's Tricky," the fat-but-minimized bass grooves and warped turntable wobble of the hysterical "You Be Illin'," chimes-accented inertia and boombox-on- shoulder thunder of the now-iconic "Peter Piper," or voice-as-percussion attack of the funky "Is It Live." With Raising Hell, the answer to the question is always affirmative – a sensation bolstered by the fact the group always had something to say.

The definition of Golden Age Hip-Hop in every way, Run-D.M.C. avoids the negativity and misogyny that later plagued the style, spinning assertive tales about identity (the biographical and culture-changing "My Adidas"), work ethics ("Perfection"), and, most notably, pride (the Harriet Tubman- and Malcom X.-referencing "Proud to Be Black"). Pavement-packed inner cities, tree-lined suburbs, and cornfield-rimmed rural areas would never again be the same. And rocking a rhyme that's right on time would become trickier than ever.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 3 is packed with in-demand tracks and hard-to-find gems, including a previously CD-only cut from Dutch techno originator Orlando Voorn (1999’s ‘Still’), a genuine rave classic from The Hague by hardcore DJ Charly Lownoise as Fluxland, and a killer cut from prolific producer – and genuinely influential pioneer – Aad De Mooy AKA D-Shake. He’s represented on this volume by Paradise 3001 cut ‘Surfin The Cuban Waves’, which first appeared on ESP Records in 1993.

Other highlights include Direct Movement’s ‘Natural Chemistry’, a sought-after slow house cut produced by Dennis Buné, who had an enormous impact on the Dutch house scene as Jaimy, and ‘Delphi (Rewaxed)’ by NYX, a highly regarded and hard to find single from former new wave and synth-pop producer Bart Barten, and occasional studio partner Hanz Meyer.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 3 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Happycore Tribe dancelfoor, Les Musclés remix... Party time baby !!!

Detroit's Rebecca Goldberg, aka 313 Acid Queen, releases 5 techno bangers incl. Mark Broom remix on Phoq U.

Phoq U Phonogrammen, the rebellious U-TRAX sublabel, returns after 26 years with its eight release, produced and manufactured in Detroit. Detroit native Rebecca Goldberg, who has previously released music and performed live under her 313 Acid Queen alias, will present her brand new People Mover EP at the Detroit Movement festival, on May 26, 2023.

The EP features 5 dancefloor fillers, including the Detroit-style remix by Mark Broom of the opening track Automated. The EP is inspired by transportation, industry and travel, as well as the city of Detroit of course, paying homage to the original minimal techno music and the evolution of technology and industry.

All tracks are live jams, recorded in one take on all hardware instruments. Rebecca tries to do as little post-work as possible, with just a little bit of final arrangement. Her work often incorporates field recorded sounds, and for this EP she used samples recorded while riding on the Detroit People Mover itself, the elevated automated light rail system in downtown Detroit. Goldberg started a sound walk group called Detroit Frequency and the recordings were taken on during the first event last summer.

The EP kicks off with the fast-paced Automated, that echoes the hypnotic minimal techno sound of Robert Hood. Mark Broom added an extra dose of 909 funk in his Mark Broom remix, which provides the track with even more pumping rhythms and making it sound even more 'classic Detroit'.

The B-side opens with Elevated, that features industrial-ish DPM sounds on a bed of pure acid, as if Goldberg wants us to remember why she is named the 313 Acid Queen.
Staying On meanwhile, puts a repeating DPM announcer's voice central stage, making it a fascinating piece of minimal techno. The closing track Linear Motion creates a dark atmosphere, with eerie, down-pitched DPM sounds that makes this a spooky techno trip that we believe many people will love.

Orpheu the Wizard has a magic touch at finding records that fall between the gaps in music - oddities, curios, the weird, the wonderful. But that's just half the trick. It takes a sensitive and selective ear to construct a coherent, accessible narrative from them. So you get DJs who can play for the crowd and "selectors" adept at mining the black gold. In Orpheu, you've got yourself someone who can do both. On a festival main stage, he can keep it weird enough for the heads. In an audiophile setting, he'll keep the flow.

These skill sets come into play on the fifth The Sound of Love International compilation. Jumping between genres, decades, continents, the truly rare, and many B-side cuts that passed you by. But never eclecticism for its own sake; this collection makes sense. Orpheu never loses sight of the listener - he's a friendly and knowledgeable guide to the cosmic outer reaches.

He opens his account with the warm, psychedelic electronics of Drawing Future Life, with ‘1969’. Tucked away on the B-side of an LP of ambient/trance hailing from Fukuoka, this is a very pretty piece of music on a truly rare piece of wax. Then, leapfrogging a couple of decades and timezones, we have Rutuu Poiss' "IHATSIN." Off-kilter, experimental sounds with an endearing melodic hook, followed up by the with lethargic ambient breakbeat of Digital Distortion's "Mellow Bug".

On the B-side, things start to get lively. French Audacity featuring Valerie's "That Fine One" is Gallic garage that has simultaneously got it hugely wrong and mas­sively right. Owing as much to new wave as New York house, this is propulsive and quirky dance music at its finest. Next, we're on a ferry over the channel for DJ Spike and "Gaps In Space." Up-tempo electro with a fondness for sampled vocal cut-ups, like its predecessor.

lnterdance's "Kurz" (another B-side) is the perfect segway - house from 1990 with that sweet, slightly goofy naivete. Things move toward the gnarly with Bad Behaviour and "Living on Smoke," a lesser-known cut on the legendary Atmosphere records. The tempo edges upward on "Systematic Input" by Frequency, hectic hardcore techno that still retains a lightness of touch.

"Lushes" by Diffusion spins us off into space, filigree techno with an emotive trance edge. The chiming intro of "Blue to Be Happy" by MFA lulls us into a sense of false security before massively putting the boot in with a pounding kick drum, bassline, and arpeggiation. From there, it's a sharp left turn into the urban psychedelic dub of R.I.P's "E.O Pan" on cult label Digi Dub.

Sticking with UK sound system music but taking it down a notch, Orpheu closes proceedings with a leftfield reggae excursion from the master of the mixing desk, Mad Professor’s"Oh Hell".

It's a compilation as varied as the many moods and grooves of Love International itself - from sun-dappled olive groves to moments deep in the strobes. This is serious music for party freaks or party music for serious freaks. Tisno is calling.