Search:jus just

a fantastic minimal house burner with a nice atmosfear !!! great !!!! slave to the rhythm !! ;o))

THREE DRIVES released GREECE 2000 in 1997 and this huge trance bomb became an instant classic which was & is supported by just about anyone & everyone, ask any trance jock for
his or hers all time top 10 and you defeinitely find GREECE 2000 in it.....no the mention the immense pile of compilations featuring GREECE 2000..... literarily millions of compilations










worldwide incorporates this timeless gem...

great drive !!!

freshly repressed! new version of this pop classic

Kenny Gino and Big Mike a.k.a. the Solid Gold Playaz both started playing records in the late 70's/early 80's. Having family from Chicago, who were DJ's and down with some of the big guys at the time, "heavily influenced our music and production styles" both say. "Living so close to the city, we could go down to all the legendary night spots. The Rainbow and the Warehouse, the Box, the Shelter... places where you could just feel the vibe. And you could hear guys like Farley Funkin' Keith, Ron Hardy, and Jammin' Gerald (the Chicago DJ/producer who is Kenny's cousin) play these incredible records". They both were hooked on the house sound, and would bring it back to their home, a small city named Racine, Wisconsin, located about an hour and half north of Chicago. They continued to develop their DJ and production skills into the 90's, but musically, weren't taking things very seriously until they met Chicago producer Louis Bell. He introduced them to many of the people who were building the mid-90's Chicago sound. "Louis gave us access... access to places we hadn't been before. He took us into the offices of Cajual/Relief Records and Underground Construction, and suddenly we were face to face with guys who were doing what we wanted to do... Cajmere, Paul Johnson, Glenn Underground... showing us that we could do this too. We did a few releases just to get our name out, and soon we had some pretty big named DJ's playing our music. We had DJ's actually looking for our records, and telling us how much they liked our sounds... that just blew us away, especially with very little promotion and in the limited numbers we were pressing... our music just started to build a name for itself."

Are you my conscience Irresistible Freaks-like house using 'Finding Nemo'-samples by Justus K.

album of the year in der de:bug

fette grätsche zwischen house und electro-sounds

Alexander Kowalski comes along with another floor burning piece of vinyl - the pre-single of his same titled 2nd album! After his recently released debut-album "Echoes" Alexander just dropped two more bombs which we couldn't wait to release.

Sunday Money welcomes 'Grusti' to the label - the collaborative effort of Argentinian musician Guti, and Russian producer Roustam. The background of the project and process of creation is described by Roustam: 'This EP was recorded in Guti's legendary loft studio in Barcelona. I was feeling down and out and just flew in for a week to raise my spirits to visit Guti for the first time. We spent a week living together making this EP, just making music non-stop, breaking for awesome tapas and wine and rolling a lot of spliffs. It features a lot of our influences from different sides of the world — Guti's a passionate fiery Argentinian and I'm more of a reserved and calculating Russian from up north but together we make some funky stuff. Also showcases our big love for breakbeat and similar deconstructed 4 x 4 material. Dedicated to the women we love!'

Spinning Plates is back for another long overdue release, and this time it comes in the form of a split EP featuring returning artist Andy Rantzen and Laccy with two tracks each. The vinyl only release comes with very special screen-printed silkscreen artwork and is pressed on meaty 180g vinyl for an extra warm and deep sound. Andy Rantzen is a Sydney based artist who appeared on this label's superb second release. The '98%' track from it was used by Sonja Moonear in her Cocoon Mix CD shared with Carl Craig, and Andy is also well-known as part of the duo Itch-E and Scratch-E along with Paul Mac. He assumes that alias here for a remix of 'The Dial'. Laccy aka Pascal Sturmer is a young but talented artist who regularly finds himself behind the decks at cult clubs like Berlin's Club de Visionaire and the Spaced parties in London. A friend of label A&R Bruno Schmidt, he just released on Francesco del Garda's label Timeless, is a real underground head with a bottomless well of knowledge when it comes to cult sounds and scenes and is signed to the top Crisalida agency.

Farron Gets Back On Shaw Cuts With His Fourth Record, 'invincible Shaolin' - A Tale Of Double-dealing, Rivalry, Royalty And Bad Blood. Manchu General Pu's Evil Quest To Eradicate The Shaolin Tradition Unfolds, Cunningly Pitting North And South Shaolins Against Each Other. 'spring Break Ya Neck' Opens The Clash With Its Rhythmic Shifts And Whirling Synth Pads. The Northern Masters Prevail.
After Pu's Henchmen Secretly Kill The Southern Shaolin, The General Blames The Masters From The North, Unleashing Chaos. 'cosmicaph' Restores Order, Its Pounding Drums And Floating Melodies Giving New Strength To The Southern Shaolin. Revenge Must Be Taken.
To Prepare For Conquer, The Southern Master Sends Three Of His Disciples To Three Masters To Learn Their Secret Weapons. 'sir Hatch' Sets The Pace With Rolling Punches, Dirty Synths And Sharp Percussion As The Three Disciples Transform Into Lethal Fighting Machines.
Just Before The Final Encounter Between The Shaolin, Leibniz Lands On The Scene With His Fresh Interpretation Of 'spring Break Ya Neck', Revealing To Both Schools That They Have Been Deceived. Joining Forces, North And South Battle The General And His Men, Led By Leibniz's Funky Drum Patterns And Turbulent Synth Action.
And The Shaolin Spirit Lives On...

Hui Terra. The dreamlike shape of the half-heard word, abstracts with faint impressions of bucolic landscape, or handfuls of translucent and brightly-colored gemstones that hold odd, elusive, asymmetrical form. This enchanting, gently surreal debut album from Alex Cobb's Etelin project explores the power and playfulness of impulsive action diffused through electro-acoustic and ambient sound.

This music was created with digital synthesizers and a sampler in the four months immediately following the birth of his first child, a hazy period marked by a lack of regular sleep and a diet of INA-GRM, Nuno Canavarro's "Plux Quba", and Microstoria's "Init Ding" - records that appeared to produce both stimulating and soothing effects on a newborn's nascent consciousness. Recorded and arranged at all hours, this is an album that reflects on moments of tumult and fragility. Cobb sews small sharpnesses and surprises into its movements to uncover different aspects of each sound source, doubling as hypnic starts cast to advance and variate the narrative in subtle and unexpected ways. Sound and atmosphere manifest in eccentric, alchemical fashion, as though forming in processes of sublimation - solids dissipating into vapor - and deposition - clouds resolving and dropping to the ground in piles - to an obscure and domestic rhythm. There's the purveying sense of moving within the boundaries of small, hermetic ecosystem. This is underscored and doused by a slow, blooming sense of warmth; growing joy without bombast. Even the more startling textures conceal this same truth and emphasis, such as the alien, sour salt-butter electronic babble in "Little Rig", largely sampled from Cobb's son's voice at just a week old. It is emotional music - devoted, affectionate, and playful.

Kaspi & Stride is a new project from Justin Tripp, best known as one half of the Georgia equation. Leanings has its origins in rigorous yet laid back studio sessions, dual personal practice sensibilities that seem to get at Tripp’s creative ethos as well as any descriptors might. The material here was born out of collaborative studio sessions with multi-instrumentalist Jimy Seitang (Conga Square/Stygian Stride) - the “Stride” of K&S. The music from these sessions has been reworked and recontextualized by Tripp to form the eight tracks found on the record. These compositions are heady and diverse, anchored by infectious drum patterns and intricate electronics, capably occupying a somewhat hard to define space between “club ready” and “home listening.”

“Vishing” throbs with a wide-eyed intensity, infused with the type of deceptively rudimentary synth stabs and bass swells that wouldn’t be out of place on an early Hype Williams record. With contributions from Mary Lattimore and Jon Leland, “Kaptoxa” charts a more ethereal, if no less dizzying, course. Indeed, this is an album that navigates dense, tactile passages and airy, celestial planes with aplomb, making a case for Tripp’s prowess as both composer and arranger with equal priority. The most important thing is to keep moving.

“Trash Can Lamb” is a new solo album from Akron, OH-based multi instrumentalist Keith Freund. For the better part of twenty years, Freund has been producing intimate, shape-shifting music on his own and as part of collaborative projects such as Trouble Books, Lemon Quartet, and Aqueduct Ensemble. Here, he concocts a heady, homespun broth of analog synthesis, bit-reduced sampling, piano, standup bass, saxophone, and location recordings, arriving at a loose and evocative set of songs. Throughout the album, we hear 8-bit experimental delays mangling airy acoustic materials, denaturalizing them into primitive loop structures while retaining their golden-hued, melodic cores. The sputters, hisses, and croaks of handmade electronics nuzzle up to wistful piano and saxophone ruminations; the pure pandemonium of chaotic triangle wave patching and filtered noise settles into the serenity of a backyard dusk full of spring peepers (or maybe they’re crickets…). It’s in the space between the ragtag and rough-hewn and the romantic and yearning that Freund situates these compositions; it’s a peek inside a workshop that sits atop the trees, branches scraping on the windows, bluejays who just won’t knock it off, a table fan spinning slower and slower, its cheap blades covered in dust.

All music by Keith Freund, with contributions by Linda Lejsovka, G.S. Schray, Steve Clements, and Corey Farrow.
Mastered by Kassian Troyer at D&M.
Art/design by Alex McCullough and Felix Luke.