Cerca:ô paradis

Villalegre Recordings is back with his second release after an acclaimed debut ep, which is already found in some 'real deejays' " vinyl cases, namely Dj Garth, Stevie Kotey, Timm Sure, Richard Sen and Massimiliano Pagliara.Discómanos ep consists of 4 edits of unknown gems, masterly revisited by collectors and artists as big as Mike Burns, Rayko , the great Sagittarius and Christian Beetz aka Frwctrl. Once again, Jorge Moreira and Crew dig deep down into many underground scenes around the world, to come up with an ep you'll always want to have in your case.
Listen carefully to Jose Rico's mastering work! A unique sound, which brings back reminiscences of Tom Moulton, Larry Levan, Dany Krivit or the very own Ron Hardy's reel to reel edits. Exotic love (Frwctrl mix) The trip starts with a Christian Beetz opus, which edits and extends a wonderful and unknown antique Spanish disco-funk track, with chorus voices flying like eagles to drive the dance floor to a unique climax. Sweat and pleasure lead by a smashing funky guitar, synths which drive you from the beach to the darkest, most hedonist dance floor. For your Love (Rayko edit)
Rayko is an edit master; he has presented his productions on the biggest disco dance floors on the planet, and this work reconfirms him. 'For your Love' tastes like Paradise Garage and nights of freedom and love. An original track with first class drums and a bass guitar, that reaches straight to the heart. The message comes with violins, which create the perfect emotion to wrap up a disco music masterwork that later becomes house. I want your body (Mike Burns Edit)The original track is a treasure that's hard to get, edited by Mike Burns, one of the strongest artists in the European underground disco scene. Mike selects this cut with a killer bass line, crazy synth effects and organs to turn the original track into an extended cut, which not only shakes the dance floor, but also the cloakroom and toilets. Programa Sintético (Sagittarius 1983 Tribute Edit)Sagittarius edits in a sublime way a mysterious track, loaded with energy, synths and effects. A production work, which transforms the original track into a technoid cut with a frequency in tune with Ron Hardy's proto-techno edits and progressive European music.

Alek S offers up another dose of pensive techno vibes in his "Paradise Lost" EP. Side A opens up with "Bold", a slice of laid back while still pounding techno, boasting zippy synths with an unmistakable analog flavour. It's closely followed by Andres Zacco's rework of "Honey Wheat", an apt reconstruction of the original that's aimed squarely at the dancefloor. The Argentinian producer and recent Ilian Tape alumni dives in with a powerful groove, cutting its way through a suspended atmosphere full of spaced out sounds.
Over on the B-side we're greeted with "Paradise Lost", a slow-paced melody that gradually shifts into a dreamy groove filled with spaced out drums and abstract delays.
Last but not least, the original version of "Honey Wheat" is a somewhat atmospheric, yet functional floor warmer that fits a resigned groove.

Berlin based Adam Marshall and Christian Andersen collaborate as Graze. In the latest installment of our UFO series, the Dekmantel Records offshoot dedicated to experimental and futuristic electronic music, the Canadian veteran producers serve up a 50/50 lethal/dreamy drum trax package. Many have applauded the versatility of Graze, and their Xup EP is yet more proof of their original minds.Xup' is an abstract 4/4 jugular, beating out devious percussive patterns and rattling hi-hats over a grizzled and arpeggiated synth mortar-fire. 'Vast' on the other hand is an esoteric slow-burner, a hallucinatory trip to the depths of analog synth paradise and a perfect intro, outro or home listening gem. On the flip, the hyper-lean gearshift of 'Tryptch' pumps energy through off-kilter and plunderphonic basslines, while 'Shadow Play' is a classic piece of breakbeat bliss including a celestial synth arrangement that makes a perfect soundtrack for slow-speed sci-fi rides.

Richy Ahmed launches his new imprint, Four Thirty Two, with a self-produced two-track single, 'Put Me In A Trance', featuring the vocal talents of Gloria Adereti and a collaboration with up and coming producer, Janson.
The new label is a back to basics, analogue vision, directed by Richy, which will include original material, unearthed and undiscovered artist appearances, and remixes from the Richy and Janson alias Love Hurtz, as well as featuring a variety of vocalists from surrounding circles. Each release will have a clear focus on the sound of vinyl and clean-cut imagery presented with each record.
Richy explains; "The first release is from myself, my good friend Janson and Gloria Adereti, all original and new material. I am super happy with the EP and both tracks are sounding really strong, so cant wait for you to hear it. Check the original artwork also done by Will Worrell and myself, each release will have unique and bespoke artwork that we've created and photographed in professional studios. I'm super proud to kick start the label with this release."
Since his debut EP 'The Drums' on Hot Creations in 2013, Richy has continued to pave the way for genre spanning and aspiring artists. Aside from his recording and production ventures, Richy has been at the forefront of UK house music and its surrounding avenues for some years, taking a lead role in programming DC10'S Paradise parties, and a variety of club projects. Richy has forthcoming remixes for the likes of FFRR and Snatch, and has recently had solo singles out on Strictly Rhythm and Rinse Records, as well as a prestigious remix for New Order.
As an extension to the label releases, Four Thirty Two will tour the UK as an operating label party brand, with early shows selling out in record time and forthcoming label nights around the UK and Europe scheduled, all side stepping Richy's usual realms of clubland for smaller and more intimate venues.
Vinyl release date 28th October

After a first release early 2016, the Discomatin crew from Paris returns to their Discomatin Edits series with this second effort, still in the spirit of the afterparty they organize to entertain the early birds, who prefer to dance than catching the worms.

The EP is composed by four tracks, finely picked and slightly edited by the DJ's of the crew. From AOR mellow grooves to French original kitsch and funkyness, they open a wide range of possibilities. It's fresh, it's French, so don't sleep on it!

Marcel Dettmann has mixed the latest edition of the highly respected DJ-Kicks compilation series.
Whilst Dettmann is well-known for his incendiary sets at his residency at Berghain, his DJ-Kicks mix is crafted for listening, and displays a more reflective side of the DJ and producer. The mix explores a wide array of selections from various subgenres; ranging from the a new vocal-led Strictly Rhythm release, to rapping on Clarence G's 1991 release 'Cause I Said It Right', recently reissued by Clone Records.
Over the course of its 1hr 14 duration, Dettmann reveals multiple new original productions; most notably a collaboration with Levon Vincent, 'Can You See It'. The pair have collaborated once in the past, releasing 'Vengeance' on Levon's own Novel Sound label towards the end of 2015 to critical acclaim. 'Can You See It' sees the duo venture into darker territory; a stripped back, sub-bass laden affair, the quality of this production immediately stands out in the early stages of the mix.
Dettmann also collaborates with MDR affiliate Wincent Kunth on 'Possible Step'. In addition to five brand new original Dettmann remixes and edits, there's an unreleased remix of Marcel's 'Let's Do It' from Ostgut Ton labelmate Rolando.
Designed to be enjoyed by both the critics and more casual listeners, this mix is the latest in a long series of lifetime achievements over the course of Dettmann's career - and with so many new unreleased original Marcel Dettmann productions included, this is a landmark release for the producer

Breakbeat Paradise Recordings is pleased to welcome back the Laptop Funkers for another set of high-octane fun & funky breakbeat. This 8-track album is a symphony of samples and breaks designed for you to Feel The Goodness. Following up on the successful vinyl release Ready to Rumble from 2013 the Laptop Funkers is back in better shape than ever!

Almost instantly after Ready to Rumble was sold out and a repress was demanded , tunes started coming in for what quickly turned out to be a full album release. Now after tweaking and perfecting these jams for over 2 years we are ready to present you with Feel The Goodness - a 12" vinyl filled to the limited with the finest beats and breaks this scene has to offer.

The Laptop Funkers ( the alias used by producer and sound designer Nuno Soczka for this breaks project ) is an elusive underground act that only emerges when there are some fresh choons to showcase. The influences are not hard to discover and Laptop Funkers has no problem in taking us back to the glory days of Big Beat with tunes that would make even Fatboy Slim and The Chemical Brothers feel envious!

Some of the biggest grooves you've heard for a while can be found throughout this ruthless funky album : from the soul-gospel flow of the Feel The Goodness tune to the bouncy brass works on Ain´t Nobody Like We , the ghetto drops on Incredible Funk and the contagious funky groove of Soul Power , from the pump up energy on I Can Keep It Going to the laid back soulful vibes on Where The Funkers At , the b-boy banger attitude of Got The Party Rockin and the chemical psychedelics of The Temple.

8 golden joints of epic sampling inferno that'll be sure to keep you entertained from start to finish. Comes in a full-color front-and-back cover 12" vinyl package with custom illustrations by the talented Cristiano Suarez.

As so many times before BBP is here to provide the b-boys and girls with some proper breaks to keep the party going...,

Vinylmania: As classic disco came bounding through the late '70s and into the electronically orientated sounds of the '80s, New York was one of the undisputed frontiers for the latest developments in dance music culture, nightclubs and the art of DJing. At the center of this seminal time for vinyl culture was a store called Vinylmania, set up by Charlie Grappone in the heart of Greenwich Village, Manhattan, just as the culture of 12-inch singles and promo copies was taking hold. From supplying Levan, Tony Humphries and many more with the latest imports to championing the emergence of house music in the mid-'80s, Grappone and his staff played a significant role in New York's own dance music story. Through the '90s and up until closing in 2007, Vinylmania was a store that catered to DJs from across the complex mixture of racial, social and sexual demographics that made up New York and its legendary nightlife. Man Friday: As the NYC Peech Boys came to an end, Man Friday became Larry Levan's newest production project. Fronted by Kofi Morny and Brodie Williams, their dubut single 'Love Honey, Love heartache' was released by Vinyl Mania in 1986 with Larry Levan at the helm of the mix. Love Money: In the spirit of most dance music borrowing elements from other sources, 'Love Honey' was heaviliy inpired by another Paradise Garage & Loft classic from 1980 and its remix in 1981 by UK Outfit Funk Masters / TW Funkmasters. A dubbed out track big in the Jazz-Funk scene in the UK, it became a hit among underground Deejays in Both NYC & Chicago. Love Honey: No matter what list you look at. 'Love Honey' is always attached to Larry Levan's tenure at the Paradise Garage. All the elements of a Garage Track are here; Dub Echoes, Synth Basslines, Percussions that linger, FX -that one can only dream of hearing on a Richard Long System- and an Organ, because after all, they say the Garage was like going to Church. Remember when you'd buy a record after hearing it at the Club We miss that. As a result, We are proud to Introduce Get On Down Sound with the aim to bring back our favorite Dance 12's to a new generation of Vinyl-DJs. Re-mastered for optimal club use, these are official re-issues of some of Dance Music's most influential cuts.

Storming into our fifth release from the dirty shores of New Jersey, Green Village is proud to present Village Elders 001, a compilation EP featuring new material from artists who have already flown the flag for GV. The A-side is held down by the Plan B duo of DJ Spider and Dakini9, purveyors of the Metro Area's dirtiest and deepest house sounds. Spider gets toxic a second time, following his 2013 Instruction drop with 'Toxic Trace 2', a thickly layered deep house cut whose seedy percussion underbelly contrasts vividly with the more traditional deep house pads that accompany it. Dakini9's 'Lost Paradise' is dark and mysterious like its title, the hats, trumpets, and vocals emerging in tangled webs of dub effects, a strong follow-up to her dope EP for the label. Disaroen, a duo from Toronto, half of which previously appeared on GV, turns in the most barren of the four tracks, 'Serious Doorman', heads-down techno that crackles to life halfway in and an auspicious debut for a promising new group. Last is NJ heavyweight Nicuri, a rising star whose 'Ripples of Time' closes the EP in his signature searching, melodic style.

British art-rock band No-Man (Tim Bownes & Stewen Wilson w Mick Karn, Richard Barbieri, Steve Jansen, Ben Coleman) recorded Heaven Taste in the studio sessions in summer 1992. It got first released as a complete 21 mins version on Painting Paradise EP on One Little Indian (1993). The track drew attention in the rising ambient techno scene and got played by DJs like Mixmaster Morris.

The track fuses ambient techno with art rock and features a distinctive fretless bass solo by Mick Karn.

This super sound 45rpm 12" features a Steven Wilson edited 11.21 mins version of the original and on B-side Jimi Tenor's rearrange with some solos with flute and keyboard.

Artreform meets Hooved. The one of the interesting Italy producer at the moment. This man has a lot's of great releases on labels like Amam, Time Has Changes, Bouquet Music and other. Please welcome his debut vinyl only release on our label!

This LP walks among beat outbursts, orchestral tracks and some references to the rock sound of the time. "Psichedelica" contains the first version of Umiliani's most famous composition: "Mah-Nà Mah-Nà", a track that will be a mixed blessing of his artistic life, here appearing as an outtake from the "Svezia Inferno e Paradiso" OST, under the title "Viva la sauna svedese".

This sampler 12" contains a special selection of Prins Thomas edits. Includes tracks by The Mackenzie, A Thunder Orchestra, Zazou Bikaye & CY1, and A Split - Second.
Dear Vinyl Enthusiast,
Thank you for purchasing this individual Paradise Goulash sampler 12".
I've cherrypicked 4 very special songs, edited them slightly where I thought they could benefit from it, quality checked the mastering personally and made sure only the highest quality virgin vinyl was used in the pressing.
All audio has been sourced from the highest quality formats available to use and they can (should) be played loud on both big club rigs as well as on your home stereo.
Prins Thomas, 28th of July 2015

Dear Vinyl Enthusiast / DJ,

The tracks on this 2 X 12" received some special individual treatment which I hope you'll enjoy listening to or playing in your local disco as much as I did making the. Box Saga has been a firm favourite of mine for a good 20 years already and although it's baggy pants and loose groove is exactly why I love it so much I thought it would be fun to do a slightly different take on it.

Ü is a recent fave of mine but as the record is super long and has a very DJ-unfriendly ambient intro, I gave it a couple of chops and hope you're brave enough to bring it to the dancefloor where it belongs. The tracks by Joachim Holm & Alejandro Mosso, Actress, Hieroglyphic Being and Blacknecks are all quite sparse to begin with and with the approval of all involved you can now smile or cringe at these "Versions" where I "join the band" on some of my recent favourite records. Thanks to the artists and labels involved for letting me use their music.

This is France in the Mitterrand years: fashions fleet as fast as governments. In the early eighties, the happy-go-lucky gather the nectar of each and every new release.
Believing in a bright future for videotex, and loosened up by the sexy talks broadcasted on the budding pirate radios, the new generation dreams of dance floors and holiday clubs. French Boogie, which preserves the spirit of these years of boodle and bunkum, is the ideal soundtrack to their dreams.

What the web now refers to as French Boogie is some synthetic funk reflecting the spirit of those days when nothing was impossible, or so it seemed. Its syncopated flow heralded the dawning of French rap. Often considered as some kind of post-disco, inspired as much by black music as by new wave, this carefree pop music with bawdy lyrics indulged in simple pleasures: holidays, swank and sun were recurrent themes. Totally in tune with its time, it incidentally glorified luxury, success, and a certain consumerism embodied, for instance, in Bernard Tapie.

In popular clubs such as La Main Bleue in Montreuil, or L'Echappatoire in Clichy-sous-Bois - where Micky Milan could be seen behind the decks - an enthusiastic audience discovered this new sonic wave, influenced as much by French pop as by Sugar Hill Gang or Kurtis Blow. The artists who first launched the movement engaged in it wholeheartedly, but as often the case with new music trends in France, humour and casualness quickly became a decoy to impose a new style. This explosive mixture, in which startling and typically Frenchy French lyrics go along New-York-style tunes, is sometimes reminiscent of the kinky comedies directed by Max Pécas or Claude Zidi. On this prolific scene, partly originating from the Jewish community, everybody was looking for success, trying to hit the jackpot with what was to hand. Famous media personalities, one-hit wonders or John Does in quest of fame, all had a go at French Boogie - more or less successfully. Apart from « Vacances j'oublie tout » by Elégance, « Un fait divers et rien de plus » by Le Club, or « Chacun fait ce qui lui plaît » by Chagrin d'amour (produced by Patrick Bruel), very few songs became hits: the story of funk in France is that of a half-baked robbery.

In this myriad of new musicians, the very young François Feldman and Phil Barney pioneered a fresh and hybrid style. Other well-known artists like Gérard Blanc from Martin Circus (Attaché Case), Richard de Bordeaux (Ich), or Jean-Pierre Massiera (Anisette, Pirate Scratch Band, Mandrake, Scratch Man...) added an eccentric touch to this sound-wave, making it often entertaining, and sometimes showy.

Capture d'écran 2015-10-26 à 12.55.43Singers like Agathe (the author of 'La Fourmi' and of the hit song 'Je ne veux pas rentrer chez moi seule') were far more than just window dressing. They even tried to give an ironic and subversive twist to this rather harmless genre. The very vindictive rebel Gérard Vincent shared in this spirit, but as a whole, French Boogie became associated with nonchalance and sauciness. Thus, Stéphane Collaro, Gérard Jugnot, Alain Gillot Pétré and other TV clowns would clumsily contribute to this French variation on funky sounds. In a few but intense years, French Boogie gave all the tips to party with style.

If some hits made it possible for the happy few to get a real house under truly exotic palm trees, the wave actually ebbed away very quickly, leaving quite a few musicians stranded on the shore. Whether they were sincerely motivated, or simply opportunistic, they had failed. In 1984, French Boogie was already breathless, and got merged with other genres: on the one hand, rap and breakdance adapted its flow to a more urban world, especially with Sydney's show, H.I.P.H.O.P, and Dee Nasty's broadcasts on Radio Nova; on the other, italo, new beat and house began to rule over dance floors, even more strongly asserting the will to develop music for clubs.

Squeezed in between the age of disco and that of modern electronic music, French Boogie was a transitional phase, but it remains an amazingly refreshing testimony to the intermingling of pop and underground cultures. The genre was hastily categorized as anecdotal in spite of its pioneering synthetic groove and matchless bass lines. An attentive ear will discover the poetry of the ephemeral beyond the eccentricities of the genre, as well as a certain unexpected avant-gardism. At the origin of major music trends, always cheerful and catchy, French Boogie is what you need to party.

Adam Beyer's Drumcode imprint welcomes wAFF to its roster with two thudding techno tracks. British producer wAFF has been making waves in recent years, reflecting on a diligent 2015 spent playing across the likes of Europe, Africa, Asia and the States, when not making routine appearances at Paradise, Ibiza.
As a producer he's dropped several lauded releases on Jamie Jones' Hot Creations imprint, not to mention Matthias Tanzmann's Moon Harbour and Sven Väth's Cocoon, with his next outing landing on renowned Swedish label Drumcode run by techno titan Adam Beyer. Laying down hard hitting kicks from the off, Holographic churns out an undulating synth combined with shuffling hats and a cavernous low-end, before Vibrationz employs a low-slung groove fashioned from a sultry bassline, floating chords and a sinister vocal..

Tackling the challenge of a second album head-on, COMA
return to the fore with THIS SIDE OF PARADISE, a comprehensive and meticulously arranged collection that
never strays far from the duo's well-established modus operandi: rich in melodic and rhythmic content, these tracks appeal to fans who love their music at home and in the club. Featuring artist contributions from DILLON (vocals on THE WIND) and MIT's EDI WINARNI (cover artwork), THIS SIDE OF PARADISE is truly refined pop music taking its cues from both sides of the musical fence. A further exploration and expansion of the territory initially marked with the first fulllength "In Technicolor" (KOMPAKT 279 CD 106), the new outing shows the artists commanding their craft with confidence and style - a sonic treat for seasoned connoisseurs and recent scholars alike.

Konrad Wehrmeister, known from previous releases on SVS Records / Durr / Paradise Now!, an upcoming release on Public Possessionis, and part of the Günther Lause duo is joining forces with Jakob Hohman for a project called Twoman. Their first offer of this new promising collaboration collides Jungle Grooves with Techno.

Geneve Based Pascal Viscardi bring his rich and sweltering textures to SAFT with his first EP for the Spanish label. The swiss producer's Paradiso EP is already the 9th installment and by no means an odd addition to the family. Strongly rooted in soulful sounds with firm aesthetics and blissful melodies, this release is exactly what SAFT is all about. From the moment the pad in the title track starts riding, Paradiso immediately hints to a deserted paradise.
Tales From The Emax (A2) is a groove laden Anthem that will soothe those that are into soulful but firm sounds. On the B side, we find remix work of both originals. Swiss house stalwart 'Agnes' stirs things up with his thriving rework of Paradiso called 'Agnes' La Charme Chambertin Mixx'. On the B2 cut we find SAFT familiar 'Jefferson Belmondo' with a cracking rework of the title track 'Paradiso' called Jefferson's Beach Mix. 4 strong, groove-laden cuts that celebrate the SAFT sound like never before.