Cerca:house

Following 2017's 'Path of Ruin', DJ Richard returns to Dial with his much-anticipated sophomore LP, 'Dies Iræ Xerox'. Undoubtedly one of the most distinctive and fully-formed electronic producers in recent memory, DJ Richard imprinted the sound of a bubbling US underground with his label, White Material, founded in 2012 alongside Young Male. His first solo LP for Dial, 2015's 'Grind', found DJ Richard delicately establishing a discipline between his East Coast noise heritage and a physical, emotive tradition of house music, mastered during an extended stay in Berlin. Now firmly settled once more in his hometown of Providence, 'Dies Iræ Xerox' is a personal and uncompromising journey that finds the Rhode Island native in reflective form, journeying without compromise into both his creative influences and personal psyche. In part adapting its title from the Latin hymn 'Dies irae', otherwise known as 'Day of Wrath', 'Dies Iræ Xerox' melds the physical and psychological aspects of DJ Richard's production ethos in sharper, more widescreen vision than before; the oceanic swells of ambience yet more powerful, and the rigid basslines sharper still. With the chaos of the Berlin club scene an increasingly distant memory, the album is enriched with a contemplative, even brittle tone, as informed by film soundtracks and literature as the pulse of city living. Still, this is new material from DJ Richard, a touring DJ as distinctive as any other to be found behind the decks at some of the world's finest clubs and festivals. On 'Dies Iræ Xerox', the artist finds the space to write 'the records I really want to play', and each suggests a template for genuine dancefloor transcendence, beginning with the electrifying 'Vanguard' . The sludgy yet sophisticated crawl of 'Tunnel Stalker' sets the tone for the menacing yet somehow melancholy EBM of 'In Broad Daylight', while the record draws to a breathless close with the affecting, drum machine lethargy of 'Gate of Roses'. Drawing little distinction between his more physically rousing material and searching soundscapes, 'Dies Iræ Xerox' instead finds a passage of catharsis throughout both. 'Dissolving World', the album's breathtaking centerpiece, is a choral feature hypnotically overwhelmed by walls of electronic feedback, forging a dramatic link between old ways and new. On the bold and near-beatless 'Ancestral Helm' and 'Final Mercy', DJ Richard seems to grant both music and raw emotion the ability to simply float in the air, brilliantly, poignantly unresolved. If 'Grind,' inspired by the weathered coastlines of Rhode Island, was a record concerning "the border between civilization and the ocean," then 'Dies Iræ Xerox' is an unapologetic follow-up concerning that between macabre obsessions and fear of death. Produced during a murky, transitional period, DJ Richard found himself particularly drawn to Medieval European art and mysticism, fascinated by depictions and philosophies of the antichrist and end-times. Greatly influencing the uncompromising, apocalyptic tone of the album, these investigations have created an engaging and personal vision of the 'Day of Wrath.'

Love Over Entropy returns to Lossless in joyful anticipation of his new 'Marka EP'. LL1217 assembles four versatile pieces of shimmering and floating pieces of modern house music. These cuts will certainly move and rapture dancers under the open skies or under the roofs of sweaty nightclubs alike.

LB aka LABAT is a regular cat in the french circuit with releases on Disques Solaires, DKO or recently WOLF Music. This ep highlights once again his unique style with an all inside MPC production blending samples with sharp signature beats. The opener is stone cold disco house jam in the deep Parrish tradition. Nothing New is a spacey hip hop joint taking you a ride to destination Spice Go- a detroish hip house beat. On flipside, CELESTIAL PLAN is a special party break with deep jazz samples mixed with a mpc signature that gives this track a very uncommon signature and groove. Better be ready for this one before landing to STICKY GREEN countryside.

Archie Hamilton touches down on Fuse once more for the 'Mercury Rising EP'. Right Hook kicks things off in typical Archie style with a snaking groove, resplendent with another one of his trademark catchy b-lines. 'Limbo' is the EPs VINYL ONLY track and delves a slightly deeper furrow with a headier vibe whilst 'Mercury' rounds off the package; a brisk tech-houser with warm attitude via blissed out pads and a charmingly understated synth riff.

With Their 5th Release Ourselves Remain True To The Passion Of House Music Containing 4 Groovy Tracks Full Of Warm Sounds, Onward Going Drums, Massive Basslines And Bright Chords Pressed On Black Gold That We Love So Much.
There Is No Emulation Of A Trend Or Hype, Time Just Does Not Matter. In A Very Detailed Way The Two Producers Siggatunez And Sello Show You What Their Musical Roots And Influences Are Without Claiming An A-side Titletrack But Creating Timeless Clubmusic For Every Situation On The Floor Which Also Could Be Classics From Tomorrow.

Building On Over A Decade Of Work, Drums & Drones Ii Follows Master Drummer And Composer Brian Chase (yeah Yeah Yeahs) Into Unchartered Sonic Realms. All Of The Pieces Are Based On The Acoustic Resonance Of A Single Drum With Each Track Designed To Emphasize A Different Method Of Sonic Investigation.

The Project Draws Inspiration From Brian's Time Working At La Monte Young And Marian Zazeela's Dream House In Tribeca, Nyc. As He Spent More Time Immersed Within The Installation, Its Complexity And Beauty Started To Reveal Itself In Its Magnitude. On The Technical Side, This Was Partly Due To The Distinct Tuning System - Just Intonation - That Was Used To Create The Sound And The Way It 'plays With' The Listening Process. Brian Grew Intent On Finding Ways To Adapt This Approach To His Primary Instruments Of Drums And Percussion.

The Album Was Recorded Over A Four Week Period As Artist-in-residence At Headlands Center For The Arts In Northern California. Spending Day And Night In A Secluded Barn At The Top Of A Hill, The Residency Provided The Opportunity To Live And Work Immersed In The Creative Process. This Focus Very Much Relates To The Way In Which The Music Functions: As The Listener Tunes Into The Sonic Characteristics And Pace Of Each Track, Its Meditative Properties Are Gradually Revealed.

Crosstown Rebels celebrate their fifteenth year with their monumental 200th release. American DJ and producer Arthur Baker reunites with Rockers Revenge for the first time in thirty years. To complete the package, dance music heavyweights Francois K and Michael Mayer take on remix duties.

On A Mission is exactly that, 'a mission of love, a mission of peace'. The positive vocals hark back to those of early 90s house tracks, which created unity through music and clubbing. The rhythmic beat of the drum is determined, as percussive layers build and the vocals bleed into the synths. Francois K provides two variations of the track. His remix features more prominent drumbeats driven by a growling bassline. On his rockers dub version, Francois goes all out and dubs us into the stratosphere. Up next is the Michael Mayer remix, with a more electronic take on the original with driving synths and a whirring, throbbing bass-line.

Created in 1982, Rockers Revenge was the brainchild of Arthur Baker and Donnie Calvin. Donnie provided lead vocals with Baker's wife, Tina B, Dwight Hawkes and Adrienne Dupree Johnson on backing vocals. Their most prominent track, Walking On Sunshine, was a post-disco hit reaching #1 in the US dance charts and #4 in the UK charts.

Three years ago Baker and Hawkes reconnected through social media with Baker sending through his original Mission idea. Baker is known for his work with hip hop artists like Afrika Bambaataa, Planet Patrol, and New Order whilst also remixing the Pet Shop Boys' 1986 hit In The Night. Fast forward to 2018 and the group performed a monumental live show at Get Lost Miami, and are currently in the studio working on new material. This Summer they will shoot a new documentary and perform live at various events.

Miss Kittin & The Hacker are the Electro duo of Caroline Hervé and Michel Amato from Grenoble, France. The pair met during the early 90s at a rave and soon after bought turntables and began DJing. In 1996, they started writing music heavily influenced by 1980s synthpop and post-punk bands like Fad Gadget, DAF, Liaisons Dangeuresues, and Yazoo, as well as Italo Disco. Bored by the techno scene at the time, they set out out to lighten the serious tone and bring a campy sexiness to the dour musical landscape. Upon hearing their demos DJ Hell signed them to his Munich-based International DJ Gigolo label and released their first 2 EPs in 1998 and 1999. Their debut album 'First Album" was released in 2001 followed by . in .

Lost Tracks Vol. 2' contains 4 previously unreleased demos recorded between 1997 and 1999. The duo fused 80's European New Wave/Italo Disco with 90's Detroit Electro acts like Le Car and Dopplereffekt. By utilizing verse-chorus structures, they playfully shook up the loop based hard techno and electro that was popular at the time. Their studio set up at the time was a Korg MS-20, Roland SH-101, TR-606, TR-808, Siel DK80, and Boss DR-660 drum machine. The songs are direct, spontaneous, seemingly improvised in places. Miss Kittin sings about falling in love in the new millennium, snuff movies and controlling the unknown trip to death, all in her cheekily derisive French accent.

All songs have been transferred from the original DAT tapes by the band and remastered for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a glossy jacket featuring a black and white photo of the duo taken in 1996. Each LP includes a postcard with liner notes from Miss Kittin and The Hacker designed by Eloise Leigh. As Miss Kittin says of these demos, We were naive, innocent, adventurous and we didn't expect anything in return'

For our next Excursion, we're off to the library. In search of library records that is - you know the type, the crazy rare records used for soundtracks and such and such. We have a sick selection of synthed-up beats and pieces chopped together by one Earl Jeffers, making the most out of his international library digging card* (*not a real thing).

For those that don't know, Cardiff's Earl Jeffers is one half of Darkhouse Family, regular family at our sister label, First Word, on which they released their debut album 'The Offering' late last year. Earl is a prolific producer in his own right, also releasing over the years under the aliases Chesus and Metabeats on labels like MCDE, Fat City and Local Talk, collaborating with artists like Byron The Aquarius, Action Bronson and Kamaal Williams / Henry Wu, turning his hand ably to house, hip hop, jungle, jazz and more. All this in addition to running his own label, Mélange Records.

A dedicated digger and record collector first and foremost, Earl has provided us with a quadruple set of heavyweight stuttery sci-fi boom bap. In Earl's words: "This record was mostly inspired by my penchant for the more electronic / synthesized jams, mostly replayed from the original compositions then thrust in to 2028 and beyond...."

Pepe continues on the regular Atavisme Catalogue Number Order. And again two classique straight up, longue and 'burning' 4 2 the floor House tracks as only Bradock can do. IS THIS REALLY A PARTY Yes you bet !! or in Pépé ´s unfiltered words: / The legal age of majority and the right to vote. 1<3 : chronology and timing is mandatory to make things happen supposedly.. After the terrible plague of awful doppelgängers, it is time to smoke out the disgusting trolls, using the best ingredients possible, Is this really a party Yes you bet !! Is hunger healthy or unhealthy Moderation is key, Oui guess. But ' À table!'

Dark Matters label head Amirali returns with the expertly crafted Odyssey EP, employing his vital understanding of
space and texture to construct a highly emotive release featuring a remix from Fort Romeau. The three track
package is out digitally on May 14th followed by the vinyl release a few weeks later.
Leading on from his critically acclaimed discography and curatorial work with the inimitable Dark Matters imprint,
Amirali enters 2018 with grand plans for the future. He is currently conceptualising a live stage show whilst
continuing to provide a platform for all manner of weird and wonderful music.
'Odyssey' is a striking example of Amirali's penchant for songwriting, as well as a testament to his sonic identity,
merging memorable harmonies with heartfelt vocals and complex soundscapes. 'Hidden Past' veers more towards
the dancefloor, brandishing vast sonic explorations and levitating pads amongst detailed drum patterns. For the
'Hidden Past' remix, Fort Romeau mutates the delicacy of the original into a spaced out dose of peak time house,
gradually building rich harmonies around a fierce rhythmic motif.
On the creation of this forthcoming EP, Amirali states:
"Nothing is more important than my craft which is the main reason I'm here. There's no better satisfaction than to
create an amazing piece of music, that's my happiest point in life. I don't want my work to just be good or ok and that
takes a lot of effort and sacrifice in life. I got to a point where I said to myself I have to go and disappear for a while,
go be normal and do normal things. Instead of being on the road all the time, stay home, create an environment I
like to write music. There have been many experimentations involved in my upcoming material. I wanted to try and
push myself to the limit and I believe I've succeeded. For me, it's all about evolving and exploring areas I haven't
touched. That's why sometimes it takes a bit longer than expected, I don't just want to meet people's expectations,
sometimes I want to blow them away. There is so much music coming out week in and week out, the music is
evidently becoming more disposable and I would like to stay out of that chaos. When you stay true to your heart and
try to do something different you put yourself in an uncomfortable situation, that's when you grow as an artist and
also as a person, but the satisfaction you get when you finish a work cannot be put into words.

Two of Russian electronic music's rising stars, Phil Gerus and Alexander Lay-Far, invite you to join them at the Solitary High Social Club. While table service is provided, they'd much rather you throw caution to the wind and head to the dancefoor.
Before joining forces in the studio, both Moscow-based musicians have delivered a string of memorable solo productions. Lay-Far has previously released a wealth of material on such labels as Local Talk, City Fly, Lazy Days and 4Lux Black, while synthesizer fetishist Gerus has showcased his electrofunk and disco-fred cuts on Futureboogie Recordings, Sonar Kollektiv, Public Release
and Superior Elevation Records.
The fve tracks that make up Solitary High Social Club deliver a perfect marriage of the two producers' distinctive solo styles, combining the rich musicality of Lay-Far's house productions with the spacey, intergalactic electronics of Gerus's discoid adventures. In many ways, it's a marriage made in heaven - or in Lay-Far's celebrated In-Beat-Ween Studio, at least.
The duo's spacey and melodious musical fusion is arguably best exemplifed by lead cut City 2 City, Star 2 Star', a widescreen, mid-tempo disco epic rich in tactile Rhodes riffs, supernova synth solos, delay-laden drum beats, tumbling melody lines and heavy analogue bass. Fittingly, the track returns in Reprise' form - think sweeping, weightless ambient bliss - to round off the EP.
Elsewhere, the duo provides further proof of their combined musical talents.
Check, for example, the gentle drum machine electro beats, cascading new age melodies and sparkling, stretched-out synthesizer chords of the impeccably beautiful Am I Tripping', or the devilishly percussive, mind-altering brilliance of Love Life', where mutant electro bass, wide-eyed chords and alien melodies rise above a heavy, Afro-infuenced groove. As for Snowfakes On Her Lips', you'll struggle to fnd a more confdent and positive dancefoor workout all year. Blessed with killer piano parts, darting analogue synth-bass and a range of disco-tinged musical fourishes, it's by far and away the most celebratory moment on an already happy-go-lucky EP. It confrms, too, our initial hunch: at the Solitary High Social Club, life is always good.

CHIWAX welcomes Andre Red Hand to the Family!

Dubbed by Igloo Magazine as the 'Romanian Detroit electro/techno pioneer' and by the late Aaron Carl as 'the Romanian Underground Resistance himself', Andrew Red Hand from Romania's spiritual capital of lasi stands up as an unwavering militant of the underground, a true Detroit spirit possessed as Romanian humanoid!

From his early gigs throwing parties as one of the first generation DJs in lasi since 1997, ARH continues to break boundaries as part of the Romanian resistance scene and numerous time portals as they open around Europe. His blistering, mind-bending sets such as at Berlin's Tresor and Griessmuehle see the DJ with the red hand fuse pure Detroit electro and techno with the sounds of techno-bass, raw Chicago acid house, classics and futuristic beats. His mixes for Radio UR (Underground Resistance) and The Grid (Detroit Techno Militia) remain some of the best frequency transmissions to surface to air.

Armed with a Soviet Union reel to reel Majak 203, his scorching raw analogue and searing acid productions have been picked up by foundational Detroit labels such as Twilight 76, Matrix, Detroit Underground, Databass, Detroit Techno Militia, Cratesavers Intl, Visillusion as well as around the world from Holland's iconic M>O>S Recordings to 1Ø Pills Mate (Lobster Theremin), Bass Agenda and Land Of Dance. On his remix list includes work for Scan 7, Santonio Echois, Thomas Barnett, Sean Deason, Niko Marks, Six Foe, T.Linder and more while support from Anthony Shake Shakir, DJ Bone, Dave Clarke, DJ Godfather has been garnered for our sonic warrior... Beware of the Red Hand!

Camea's latest release on her imprint Neverwhere pays homage to her hometown Seattle's original underground rave warehouse, NAF Studios, where she went dancing in the late 90s and began her journey that ultimately landed her in Berlin. Also where Nirvanna's 'Smells Like Teen Spirit' video was filmed (and ironically now a Catholic publishing house), the hedonistic venue is legendary to those who picked up rave flyers scattered on the streets of Seattle and took a chance on an emerging new electronic music scene. Both originals reflect the raw warehouse vibe of this era, and Matrixxman and Markus Suckut have weighed in with heavy remixes. Markus puts his signature on the NAF 97 original with a deep space atmospheric techno banger, and Matrixxman reworks the original 303 recordings in Jack U, sending it into another dimension - and even further.

For its seventh offering, Sol Power Sound taps into the pulse of the French Antilles for Tambours de Martinique, a blistering EP of original and remixed versions of rare, drum-centric dance floor workouts. Licensed directly from the legendary Martiniquan label Hibiscus Records, the EP features cuts by Eugène Mona and Max Ransay, two of Martinique's most storied musicians. With reworks by Spanish DJ and producer Kiko Navarro and the Sol Power All-Stars, this one will be in the record bags of discerning DJs all summer long.

The A side features 'Lizo' by Eugène Mona, an essential figure in the folkloric music of Martinique based on the bamboo flute, bèlè drums, and the island's specific variant of Antillean creole. Lizo was originally released in 1990 on Mona's Blanc Mangé Blan Manjé LP and is anchored by frenetic percussion, a driving bassline, and house-evocative key stabs. Kiko Navarro's remix takes an already dynamic cut to deep Afro-space with thumping drums and a bubbling synth-bass groove that will put dancers through their paces.

With its powerful combo of urgent brass and ensemble vocals, Max Ransay's 1988 recording of the traditional Martiniquan folk song 'Ti Kanno' fills the B-side. 'Ti Kanno' was previously recorded by Ti Émile, Ransay and Mona's legendary forebear. Full of surprises, Ransay's version is a sonic melting pot of hand percussion, horns, unexpected synth lines, and bass. The Sol Power All-Stars edit fills out the low-end thump and teases out the groove for maximum impact.

The third release on the sister label, NEW YORK TRAX Imports, comes from the legendary Dutch producer and founder of one of the most eclectic underground record labels, Vincent Koreman aka Drvg Cvltvre of New York Haunted. Since 2009, Drvg Cvltvre has been working on his own blend of dystopian acid, no wave, and experimental house. Respected in the international underground for his groundbreaking work in experimental techno as RA-X in the 90's on labels like Bunker and KK Records, Drvg Cvltvre comes from a DIY punk background and opts for hard work rather than hollow pose. The 4-track EP for NEW YORK TRAX Imports is an accurate representation of his style: dark and melancholic, but also uncompromisingly intense.

"After a deceptively quite 2017, Especial picks up the pace pace by welcoming back the peroxide, youth filled Fairplay (re)version and a 2nd EP of old-skool-meets-the-new-school flavoured House and Breaks to lock, jock and spin.

After the criminally overlooked 'How Do You Like Me Now' EP - how is Classic Version not a...classic...version - Junior gets back on the (lino) floor. The EP starts with a look north to the 'other city of 7 hills' that birthed a Warp'd British retake on House in his bleep-dub ode, End Of Love. The autobiographical title belies a forward approach with his trademark echobox kick'n'hats underpinning uplifting keys and nodding bleep finger solo.

Who to join the party then, than another man of mystery, Roy Of The Ravers. After his debut EP on sister label Emotional Response became a most played from Aphex et al, it is only right bring him to E'Special. His brooding, hoover rush Remix 1 heightens the vibes with a heads down bleeping half-steppa. Righteous!

The flip is given over to Junior's roots, bringing the hip-hopper back with the anthemic The Shazsquatch Goes Back Into The Woods. No shoc(k) horror here, just more upwardly mobile breakbeat meets UK techno licks. You can hear Fairplay at one with man and machine, pushing a sound that looks back but most definitely goes forward with 'Sunrise' on the mind.

To close is the swagger of EP title cut, Faxes From The Future. Hair of the (black) dog fuses a swinging break with proto-dub-meets-Giallo stylings to rework the senses and say, now is (still) the time!

A return to making the noise while keeping tongue planted firmly in cheek. What are u like Top. Buzz."

Tom Dicicco returns under his newly launched Veyg moniker with four mesmerising house cuts entitled 'My Sweet Soul' arriving on his eponymous vinyl only label Veyg Times.
Run Out Run founder Tom Dicicco's output includes ppearances on labels like Juju & Jordash's Off Minor, John Osborn's Dred Records, Anthony Parasole's The Corner and renowned Dutch techno staple Delsin. The British producer started producing under his Veyg alias earlier this year as a means of exploring more adventurous productions spanning house, techno, disco, and beyond. His second outing once again demonstrates how
versatile he is as a producer.

After a first EP, Chasse is coming back with a new release on Javi Frias label 'Night Shift Records' including 4 groovy tracks. Influenced by the old school sounds of Chicago, the duo offer us a powerful and disco EP, where sampling is at its peak. Their efficient beats mixed with samples from disco to funk make us remember the old times of House music. Once again, the belgian boys got the job done!