Hatıralar was Anadol's second album, originally composed between Berlin and Istanbul around 2012 and released years later only in digital form on the Istanbul based label Inverted Spectrum. The title Hatıralar ("Memories") turns out to be a self-fulfilling prophecy. Anadol recalled and revisited the music in 2023, gently editing and mixing the compositions for the newly mastered LP format in which they now see the light of day. Hatıralar represents an early version of the melodic, instrumental synth-pop that Anadol refined on her album Uzun Havalar (2019) before exploring the more free, krautrock-inspired musique concrète of her last album Felicita (2021). Here is the text that accompanied the original 2017 release:
Anadol, named after an old-fashioned Turkish automobile brand, is an instrumental synth-pop project by Gözen Atila, an artist, dj and keyboard player. She records with mini organs manufactured during the 70s and 80s, the built-in rhythms and arpeggios of these machines provide the backbone of her sound, and her melodies are influenced by pop music and soundtracks from France, Italy and Turkey from the same period. The music is awash with allusions to the moods of old Turkish and European cinema, from the erotic to the melodramatic, and with a reminiscence of the sound and spirit of so-called "tavern music" popular in Turkey's urban nightlife in the 1980s, a flexible pop style usually performed by a solo keyboardist-singer. Anadol is a continuation of the tradition of lone synth experimentalists like Bruce Haack and The Space Lady with their childlike curiosity for electronic sounds, and of the keyboardists pushing the boundaries of minimal equipment to entertain middle aged drunk couples in pubs and wedding parties of Istanbul.
Let the celebrations begin, 10 Years of a vision Anané created and called Nulu, her independent label letting the world know about a genre we now know as Afro House, today after many years of dedicated work you'll find it as main stream.
Nulu means 'Nothing Ultimately Leaves Us' and just in time for Winter Music Conference in Miami Nulu presents a special vinyl sampler including 4 tracks representing 'Past, Present & Future' of the labels sound.
Side A includes an elegant and melodic remix of 'Ubatuba (Roots Mix)' by Grammy Award winner Louie Vega & Agev Mungsen feat. Anane, originally produced by Brazilian Soul Crew, where the fusion of Afro House and Soul help to soothe the spirit, followed by the African duo AMRoots aka Filipe Narciso and Fresh Nunas who deliver a fantastic combination of melodies and sounds ready to make dreamers dream with a fresh remix of their original release back in 2009 'Old Times At Barracuda (Cielo Roots 09 Remix)' and was also the first release for Nulu.
Side B includes a superb beat and unmistakable touch of Dj Angelo, bringing you straight to dance floor on a journey you'll wish to never leave and finish this 4 track sampler is the incredible talent of Manoo always setting the contemporary route of Afro House music with his modern style, creativity and authentic sound. The special vinyl sampler will be available exclusively at Winter Music Conference 2019 in Miami, and later for all Nulu followers. Take your time to know the Past, experience the Present and understand the Future of Nulu, a pioneering label of Afro House Music.tti
Fruit Express is here! This is their debut EP and "they" are Roma and Madis. A mellow electronica producer meets multi-instrumentalist and old time guitar hero. The outcome? Funky shit with its roots in dub and what seems like some smoky country music.
The title track is prominently catchy & poppy, while "Harlan County Line" crosses the border jamming away with a heavy spaghetty western feel. "Samurai" jam holds the mystique levels high, all spacey and mushy in its dub sauce.
The 12" is spotlessly sewn together by Tapes who throws the original "No Secret" into a 8-bit blender and out comes... well a sensational 8 bit version "The Secret"."
CLIKNO is thrilled to announce the upcoming release of the highly-anticipated Peripherie Remix EP of four tracks from rand's critically acclaimed album "Peripherie" set to drop on May 26th, 2023.
Featuring remixes by Steevio, Deadbeat, Dr.Nojoke, and Andrea Cichecki, some of the most exciting names in the underground electronic music scene, this limited EP promises to take you on a journey through a spectrum of sounds and emotions.
Steevio kicks off the EP with a groundbreaking remix of "Lucid", marking the first time a remix by this highly regarded artist will appear on vinyl.
With his signature style of intricate modular grooves and atmospheric pads, Steevio's remix takes the original to new heights that we are sure to captivate and move you.
Next up is Deadbeat, a veteran of the dub techno scene, with a stunning drone remix of "San Gimignano".
His signature use of space and bass is on full display, as he crafts a cavernous and immersive soundscape that is sure to take the listener on a journey through the depths of sound, leaving you lost in its mesmerizing drone.
Dr.Nojoke, known for his experimental and genre-defying productions, transforms “Hoola” into a deep and introspective chill-out tune featuring lush pads and intricate percussion.
This remix is perfect for some legendary afterhour sessions.
Rounding out the EP is Andrea Cichecki's ethereal ambient remix of "Siegfried 2.0".
This remix captures the essence of the original track while adding an otherworldly dimension with its haunting and immersive sound design.
With this remix EP, CLIKNO once again showcases its commitment to pushing the boundaries of electronic music.
All four remixes on this EP are a testament to the exceptional talent of these artists, and we're excited to share their unique visions with the world.
We are proud to present the Mr Bongo pressing of Guilherme Coutinho E O Grupo Stalo's self-titled mythical album. Blending lo-fi, Brazilian tropicalia, jazz, funk and MPB with a unique aroma, this record is pure perfection.
It was originally released in 1978 on Erla - Estudio Rauland, an obscure record label from Belém in Brazil, that only released 7” singles, with this album being one of two exceptions. During the 1970s, Belém had a thriving nightclub scene, but it is thousands of miles away from the music industry hubs of Rio de Janeiro and São Paulo, making this record insanely difficult to find, even in Brazil. Added to the scarcity factor is the magical nature of the recording, which has naturally resulted in a hefty price tag to match. Original copies have become a prized, collector’s item.
The elusive Brazilian band leader and keyboard player, Guilherme Coutinho is a true cult artist. He passed away in 1983, at the age of just 41, and during his career he only seems to have appeared on a handful of marvellous records, which makes them all the more special. This album feels individualistic and distinctive from other albums of the day. Listening back to vocalist Elinho’s (aka Hélio Rubens de Oliveira) delivery, it sounds not too dissimilar to some of Belle & Sebastian’s songs. ‘Guilherme Coutinho E O Grupo Stalo’ is rich in charm, quirky and playful. It feels cinematic, soothing and benefits from being heard in its entirety. A proper album experience.
Exciting news for music lovers! We are thrilled to unveil the highly anticipated release of a brand new vinyl by the talented Colombian artist, Lamediscos. This rising star in the Latin American electronic music scene has crafted a unique sound that seamlessly blends vintage synths, funky acid basslines, and broken rhythms, resulting in tracks that are infectious and groovy. Drawing inspiration from classic disco, breaks, and house music, Lamediscos has caught the attention of well-known artists like VTSS who praise his ability to create captivating melodies and irresistible beats.
But that's not all! This vinyl also includes two remixes one by the legendary Eddy C, a Canadian DJ and producer who has been pushing the boundaries of dance music for over three decades. Known for his unparalleled skill in remixing, Eddy C has reimagined Lamediscos' original track, infusing it with his unique style and taking it to a whole new level.
For the second remix for this special release, we also have one by label boss Lega, who gives us his own interpretation of the track, showcasing his production prowess and adding yet another layer of musical depth to the vinyl.
Stay Raw!
The third vinyl release from Seattle/LA imprint Rhizome Records comes from label cofounder Kristijan Risteski aka Kinjo. Previous productions from Kinjo include a single on sublabel Rhizome Forms and a 3-track release on SF’s P.U.N.C.H.I.S. With his first vinyl pressing, Kinjo perfects a signature deep vibe while recruiting the talents of Uruguay’s Z@p and Romanian Dragomir for a pair of remixes.
“Marxian” rolls out a techy percussive architecture along with the alluring yet dissonant call of dystopian synths. The subsurface layers crackle and shift, revealing a never-ending array of sophisticated effects.
Z@p provides the remix on side A, wasting no time to transform the original with his moody yet playful excavation. An expertly crafted electro pulse supercharges the alluring tones of the original to unleash a dance floor ready weapon.
Side B features a long form remix treatment by Romanian minimal technician Dragomir. At over 13 minutes, Dragomir’s interpretation extends the original’s chemistry across a vast landscape, carefully examining each element. A deeply psychedelic gem, the Dragomir remix synthesizes afterhours aesthetics with the dark side of jazz.
Fans of American metal act Iced Earth have long hoped for a new sign of life from their icons. On 28 April 2023, the wait will be over at last: Guitarist and founder member Jon Schaffer has announced the release of two new EPs on ROAR! Rock Of Angels Records. Entitled 'Hellrider' and 'I Walk Among You', these releases will include rare recordings from the transition phase between singer Tim 'Ripper' Owens' and predecessor/successor Matt Barlow in 2007 and 2008, a particularly exciting and eventful period in Iced Earth's band history. The 'Hellrider' EP consists of the songs 'Prophecy', 'Birth Of The Wicked' and 'The Coming Curse', originally from the album 'Something Wicked This Way Comes' (1998), voted one of the best power metal records of all time by Metal Hammer. In late summer 2007, all three tracks were re-recorded, featuring Tim 'Ripper' Owens. Schaffer: "Before now, these releases hadn't been issued on anything other than CD. Now they've been remastered, with new artwork, new mastering, new formats on vinyl, picture disc, and they'll be available for digital download for the first time."
A label synonymous with a distinct flavour of house sweeping Italy in the ‘90s, the prolific Palmares Records discography is a gold mine of goodness from sun-kissed, italo house cuts to rave-channelling raucousness. Axe Corner’s 'Tortuga' four tracker is one such example of that latter direction and with originals trading hands for up to £150 it's high time a remastered, reissue landed.
A classic of the era, balancing breakbeat-laced, rave and hardcore sensibilities with a deft Italian flair. Four tracks produced by a quartet of some of the most masterful minds of the Italo house sound Alex Neri, Marco Baroni, Adriano Dodici and Pietro Pieretti.
‘OUT-SLD’ opens, a warehouse wall shaker, with twisted top lines and a hardcore infused underbelly. ‘IN-SLD’ turns it into a fever pitch, acid-laden warper – atmospheric organs and all.
On the flip ‘BAD-SLD’ has more of the Riviera feel to it, classic keys drenching this in warmer rays, as ‘SLD-EFFECTS’ takes the closing spot - a stripped back, driving groover.
Nigeria is known as ‘The Giant of Africa’. It’s the most populated country in Africa with more then 250 ethnic groups and many different languages and dialects that gives to the country a rich diversity. This diversity also affects music which plays an important role in every aspect of social life. We, at DTW’s stable are happy to announce the reissue of “Narg Funk Machine” an explosive nigerian “black beat” disco originally released on Coconut in 1979. If you are looking for something weird here you’ve found it. Basically these four tracks are well represents the tangle of richness of nigerian music in this period, They are a melting pot of styles and sounds , where afrobeat, funk, highlife, juju, and psych rock are mixed all together in a cozy and captivating sound. Ready to bring some warmth and hypnotic sound to the dancefloor around the world.
Groove Culture and Irma Records teamed up on this beautiful fluorescent green coloured 7'' and provided two of the best house music classics ever made in Italy. Two crazy timeless hits: ‘Found Love’ by Double Dee and ‘Say It Again’ by Jestofunk.
On the A side we find a peak time pumping version of ‘Found Love’ by the one and only maestro Dimitri From Paris, on the back a funk fuelled version of ‘Say It Again’ by Micky More & Andy Tee, who painstakingly reconstructed all the arrangements of the original and added some delicious sax phrases to elevate the track to new heights. A must have for of any true music lover.
Supported by: DJ Spen, Danny Krivit, Mousse T, Simon Dunmore, David Penn, Dr Packer, Dirty Channels, Angelo Ferreri and many others…
Following a massive 2022 which saw releases on three of Lee Burridge’s labels - All Day I Dream, TRYBESof and Tale & Tone - Jim Rider continues to build momentum, releasing his Two More Days EP. This EP showcases Jim’s expertise in crafting uplifting melodies across the four original tracks.
Inspired by a two day long train journey across the United States, the EP’s title track is a lengthy journey through multiple soundscapes. The track features dreamy synth notes, arps, and a wide variety of percussive elements- sounds which were staples of Jim’s DJ sets this past year.
The four chapter of Captea is a solo EP from the label boss Jamahr. Four packed originals, suitable for all dancefloor vibes, from acid to tech. Don't miss it this black inc in your collections.
There have been many versions of the Ritz Band. The Charleston, WV Night Club opened in 1982 and over the years showcased many of the area's top musicians and vocalist. In 1985 club owner Dick Allen had a vision of releasing a single which led to the recording of the only original music ever recorded by one of the many versions of the Ritz band. There were a couple of different versions of the band in 1985 but the musicians listed below is the version of the group that recorded the single "I Should Have Known" featuring Raye Smith on lead vocal, written and produced by Raye Smith and Steve Johnson and recorded and mastered at Chandler Audio in Ashland Kentucky by Studio owner Denny Chandler.
Loved by parents and children for its heartfelt and funny portrayal of young family life and celebration of play, the season follows Bluey, a six-year-old Blue Heeler dog, who loves to play and turns everyday family life into extraordinary adventures that unfold in unpredictable and hilarious ways, bringing her family, friends and community into her world of fun.
Bluey ‘The Album’ was released in January 2021 in Australia and the US and was a phenomenal success reaching #1 in the Australian ARIA charts and #1 in the US Billboard Kids Album Charts.
The initial pressing of the vinyl exclusive to Australia Record Store Day 2021 sold out.
Now the chart topping album is available on vinyl globally for the first time. Pressed on 140g blue coloured vinyl, the album features 17 songs, all original compositions from Season 1. Housed in the original album artwork this release includes an A3 colour poster of the
family neighbourhood.
Highlights include music from fan favourite episodes such as ‘Keepy Uppy’, ‘Here Come The Grannies!’, ‘Pool’ and ‘The Creek’. Two versions of the catchy theme tune are included – as an
extended version and ‘Instrument Parade’.
Side A features upbeat songs to get the whole family dancing like ‘The Claw’ and ‘Taxi’. Side B takes a tranquil tone with highlights ‘I Know A Place (The Creek Song)’, vocals by Helena Czajka & Jazz D'Arcy, and ‘Camping’. This is the perfect album for Bluey fans of any age.
‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’
BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol
Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and EZ-AL, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.
Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/WBLS/Kiss FM respectively.
Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on WBLS, WKTU and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.
Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his WBLS/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.
In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.
DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.
In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.
Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.
BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound.
«The Rarities» ist eine Zusammenstellung von Fan-Favourites, Raritäten und bisher unveröffentlichten Songs, die alle von Mariah selbst handverlesen wurden. Auf der zweiten CD gibt es als Zugabe die noch nie zuvor in voller Länge veröffentlichte Audioaufnahme von «Live at the Tokyo Dome», Mariahs erstem Konzertauftritt in Japan, welcher anlässlich ihrer Daydream-Welttournee 1996 stattfand
Afterhours. latest release, “Dimensions EP“, is the result of the successful collaboration between Optide and Adar Cohen, showcasing their talents in seamlessly blending Electro, Break Beat, and Minimal genres. In the package, two hefty remixes by Christopher Ledger.
Catering to those with a soft spot for Electro and Breakbeat, A-side’s title track ‘Dimension’ and Christopher Ledger’s Remix are all about driving basslines, robotic percussions and captivating soundscapes. Flip-side’s ‘Hypnagogic’ shifts gears to the Break & Minimal House realm where detailed groves, deep tones and swing are key. Ledger’s remix further develops the deepness of the original tune and expands it over a 4by4 groove.
Jazz music has more than its fair share of overshadowed figures that whilst contributing much to the music have little presence in its collective conscious. One such musician is the talented multi-reedist, Sahib Shihab. Born Edmond Gregory, as he was known before he adopted the Muslim faith in 1946, Sahib Shihab's music background shows a deep and significant evolution, influenced by Thelonious Monk, Dizzie Gillespie (his experience in Dizzie's band marked Sahib's switch to Baritone, the instrument he became most readily associated with), and above all by Charlie Parker's Bop. Had it not been for the post-war migration of many top American jazz musicians to Europe, it is quite likely that the legendary Clarke-Boland Big Band might never come into existence. Sahib, one of this musicians disillusioned with the politics and racism of the United States, accepted to join the band of Quincy Jones for an European tour in 1959. When the tour ended, Shihab he remained in Europe where he joined, in 1961, the Clarke-Boland Big Band. The collection 'Companionship', whose line up consists of seven elements which derives from this original band, spotlights the consummate musicianship and individuality of Sahib Shihab and is testimony to his special musical gifts - not only as a top-rank flautist and baritone saxophone but also as a composer. Furthermore, it provides a welcome reminder of the high quality of the Clarke-Boland Big Band's rhythm section, the lively style of vibraphonist Fats Sadi and the power and personality of two of the C-BBB's horn-playing stalwarts, Benny Bailey and Ake Persson. Here's a real rarity, surely a desert island disc. This double album has it all from frantic banging percussive workouts to modal numbers to beautiful ballads. It's a staggeringly good piece of music and worth every penny of the price tag it commands. Let's have a look to the most significant pieces. Francy Boland's "Om Mani Padme Hum", taken from a Tibetan prayer, shows Shihab in exuberant mood, playing against a vigorous percussion background and making dramatic use of his special technique of combining voice and flute. Boland contributes an incisive, effervescent solo. "Bohemia After Dark", a classic original by bassist Oscar Pettiford which he first recorded back in August 1955, finds Shihab in exultant form on baritone. "Companionship" has a Bossa Nova beat and features Bailey on flugelhorn and Shihab on flute, playing with a limpid, floating sound. Bailey's minor-key original, "Stoned Ghosts" was, he says, inspired by listening to some music written by Bela Bartok before he emigrated to the United States. The piece has an infectious back-beat pulse and showcases the superb walking technique of Jimmy Woode. In "Con Alma" Shihab's mellow flute set against a churning 12/8 beat in this stylish Boland arrangement. Woode's performance of the superb Mei Torme ballad, "Born To Be Blue", reveals his great affection for the song. "lt is the perfect combination," he says, "a beautiful melody married to a great lyric. I really love that tune." It is a song of rueful resignation, putting a brave face on the blues. "Balafon" is an up-tempo Francy Boland original written for the French mime artist, Marcel Marceau. The rhythm section really cooks on this track with Kenny Clarke's cymbal work outstanding. Boland's solo here is notable for its neat, left hand punctuations. "Calypso Blues" has been written by Nat King Cole and Don George. lt tells the wry and wistful tale of a Trinidadian in New York desperately homesick for the land where everything 5 so much cheaper (in New York "a dollar buy, a cup of coffee and a ham on rye") and the girls more natural than the artificial, painted beauties of New York. Woode's composition, "Sconsolato" is a haunting theme in A minor and it brings to a close a truly fascinating album. This is dynamic music played with vigour, verve and vitality - and it is an enormous pleasure to rediscover it. A shadowy fugitive from his home in the land of jazz, Sahib Shihab remains a true unsung figure, worthy of more attention. With his equally expert technique on Baritone, Flute, Alto and Soprano saxophones and his capacity to adapt easily to a variety of musical settings. His warm, individual, singsong sound in improvisation and his unusual and interesting compositions mark him out as a hidden treasure in the dusty corners of jazz archive.
"Superstar" by Bob Mc Gilpin released in 1978 was a great
success in all around the world’s dance floors.The title
track was the only 12-inches single released from the
album. "Superstar" soon managed to enter the Top Ten of
all dance charts and radio programming. Among these
new versions remixed by Marco Fratty (F.P.I. Project) the
Smooth Paradise Remix is suggested for a relaxing
listening experience and the Extended Remix are noted for
clubs.
Omni AM presents the long-awaited reissue of “Can We Get / Keep Doing That.” This timeless record sent dance music in a new direction. Euphoria Record’s vaults are open and finally, for the first time since 1997, this seminal tech-house classic is available to everyone for the very first time in over 25 years. This 1997 indie record was Euphoria Records second release – and their first international record. Whether you agree with it or not, many people consider this one of the pioneering records of American Tech-House. Both sides and several mysterious alternate versions have graced the decks of DJs like Evil Eddie Richards, Terry Francis, Derrick Carter, Tyler Stadius, and Magda. The list goes on.
We were lucky. Curve Pusher lovingly remastered the original four tracks from the 1997 studio masters. Then, he went a step further, and remastered some previously unreleased versions – including a live version in Chicago that encapsulates what Omni AM was back then: ambient house. There’s a bit of Chicago, a bit of London, a bit of New York, and a bit of Tokyo in every second of these classic, genre-defining tracks.
A1.
“Can We Get” happily sits with the finest works of Ron Trent, Chez Damier, and Mood II Swing – and goes further, as Omni AM has never feared genre definitions. It opens with classic deep house chords, floating synth pads, and sparse vocals. The bassline is deep and warm. Marky Star and Adam Collins expertly work the percussive effects but always keep the theme simple and clear. Everyone knows this is a classic house track because it hypnotizes you.
A2.
“Keep Doing That” continues the theme with another classic late-night killer. However, this one is totally different – almost industrial, yet clearly housey and ambient. It drives deep into a tough groove that just builds and builds. The dub-influenced bass line gives way to a more angular synth riff that both offsets and adds to the track's forward thinking sound design. It’s dark and dirty, yet terribly sexxxy at the same time. It was and always will be mesmerizing. Once again, musical magic by Marky Star and Adam Collins.
B-Sides
The flip side features two remixes of “Keep Doing That” by UK tech-house legend Mark Ambrose. His bubbly, psychedelic take on the track pumps up the percussive Chi-town groove while going in a distinctly London afterhours direction. Trippy, for sure. Fun for all, for sure. These remixes are guaranteed to make your afterhours weird.
Far Out Recordings proudly presents the self-titled debut album by Rio de Janeiro born multi-instrumentalist, composer and arranger Tunico. Honing Brazilian roots rhythms like maracatu, xanadu, and samba, to combine with a global contemporary jazz outlook, the newcomer adds a modern classic to the ever rich vein of Brazilian instrumental music.
Consider it a natural evolution from the legacies of greats like Quarteto Novo, Hermeto Pascoal, Banda Black Rio, Tamba Trio, and Dom Um Romão, Tunico’s debut brings together an eye catching ensemble of talents from the Rio jazz community, with whom he performs on a weekly basis at celebrated live sessions and jam’s at venues like Macuna and Comuna Lapa, which often go on all night.
Released in 2022, the album’s rip-roaring lead single “Galope” features the effervescent vocals of Katerina Assef, as well as consummate solos from all over the band, as Sounds & Colours put it “…it exudes distinction and promise”. “Sambola” calls on the signature swagger of Far Out favourite Antonio Neves, indulging us in irresistible swinging samba-funk, undeniably reminiscent of the aforementioned Banda Black Rio in their late 70s heyday.
Born and raised in an artistic Rio household, Antonio Secchin aka Tunico’s father was the painter Guilherme Secchin, whose original work is lovingly repurposed to create the album’s cover. Antonio learned his trade on guitar from a young age, which remains his primary method for composition, but at the age of eighteen he started to gravitate towards the saxophone, and in particular the soprano sax, from which he now leads bands despite being entirely self taught. He would develop his skills busking on curbsides and metro stations before becoming a mainstay player in venues and clubs around the city.
When the pandemic struck, Antonio retreated to his family home in the Rio countryside. With time and space to breathe and reflect in a natural environment, he set to work at fleshing out the compositions he’d written throughout his musical life into full bodied works. His affinity with his rural surroundings is reflected in the luscious, blossoming feel of this groovy, mystical and poignant instrumental debut album.
Tunico will be released on vinyl, CD and digital platf
CHRIS CLARK
Ms. Clark is often cited as the Dusty Springfield of Motown, a white soul singer with a black Southern voice. And she is no stranger to the Northern Soul scene with songs like “Love’s Gone Bad”, her version of Frank Wilson’s “Do I Love You” and the unreleased “Something’s Wrong”. But Clark’s Motown legacy continues surprise with the 2018 discovery – “Whenever I’m Without You” – originally recorded in 1968. Finally making its vinyl debut 55 years on!
THE TEMPTATIONS
The Temps need no introduction, they were, of course, Motown’s most successul male vocal group scoring 18 No.1 R&B/Hot 100 singles and 3 Grammy’s. “All I Need Is You Love To Me” is another 1968 recording that eluded release at the time and is one their best, how could this slice of Motown magic escape. Finally making its vinyl debut 55 years on!
Free-roaming French techno talent Angioma lands on Lady Tazz's Mind Medizin with a new single that comes remixed by the legendary Kaiser, Fixon and Toru Ikemoto.
Angioma does it all from peak time and hypnotic techno to jacking house, all with his own signature exotic twist. He is currently Berlin-based and has released on Made of Concrete, but also co-runs with BLANKA the Room Trax label and Room Lab, contemporary local art and networking space. With increasingly high-profile sets in clubs like Egg London and Anomalie Berlin, Angioma is an ever more crucial part of the modern techno landscape.
The brilliant 'Unusual Suspect' is darkly seductive with its high-pressure techno rhythms and silky synth lines. Pulsing keys bring late-night hypnosis, and the icy hi-hats draw you in further to this shadowy and tunnelling groove. It's a warm, Mills-inspired sound that is stylish and dynamic.
The A Side also features a heart stopping Detroit infused remix courtesy of Mexican based Fixon (part of the Illegal Alien crew). On the flip and Gianluca Caiati aka Kaiser has been tearing up the techno scene for 15 years. His superb remix pairs things back but the pummeling, rubbery drums remain the focal point as whip-snapping snares lash about up top, incendiary hi-hat pressure grows, and the sleek synths intensify the trip. Finally, Japanese Techno hero Toru Ikemeto delivers an off-kilter slice of driving take on the original.
A lost MPB gem from rural Finland! We Jazz presents the first ever reissue of this rare 1990 local release by Brazilian duo Rosanna & Zelia. 7" EP with inside out 3mm spine sleeve. RIYL: Gilberto Gil, Joyce, Musica Popular Brasileira, bossa nova, bossa jazz
Liner notes by Mikko Mattlar:
"Rosanna & Zélia were a Brazilian duo of singers and musicians Rosanna Guimarães Tavares and Zélia Nogueira da Fonseca. They moved from Minas Gerais, Brazil to Europe in 1988, released five albums in Germany between 1993–2004 and featured vocals on an Ian Pooley house track Coração Tambor before Rosanna died of cancer in 2006. Zélia still continues her career in Germany, touring actively and releasing new music.
The duo's journey from Brazil to Germany also included two brief visits to Finland. In the years 1989–1990, they spent time in the small town of Seinäjoki in Ostrobothnia. Rosanna & Zélia performed Brazilian music in Finnish clubs and festivals and recorded a 7" EP for local label Maumau Music. The record was distributed mostly in the Seinäjoki area, but the three songs are well-performed and authentic Brazilian MPB, so the largely unknown record now gets its first reissue for a wider audience on We Jazz Records.
But how did two Brazilian women find their way to a small Finnish town to record an EP? The main reason for this was music journalist and promoter Risto Vuorinen, who was on a holiday in Albufeira, Portugal, where a friend of his lived. The streets were almost empty that evening, but Vuorinen and his friend heard fine guitar playing and singing from a bar. There were Rosanna and Zélia performing on a small stage, and the two Finnish men happened to be the only customers. When the artists ended their performance, Vuorinen's friend, who spoke Portuguese, went to talk to them. Rosanna and Zélia told him they had recently come from Brazil and are trying to gain ground in Europe with their music.
Because Rosanna and Zélia didn't know where they would head next, and because Vuorinen liked their music, he thought of bringing the duo to his hometown, Seinäjoki. They immediately liked the idea, and in the autumn of 1989 they arrived in Finland. The national Finnish jazz festival was held in Seinäjoki, and Vuorinen thought Rosanna & Zélia's Brazilian music would fit right in. They performed at the festival and in November 1989, also made recordings in a local studio with backing musicians from Seinäjoki.
Music enthusiast Pertti Hakala had a record shop and label Maumau Music in Seinäjoki releasing music from local artists. He released a three-track EP from the sessions. with two tracks written by Rosanna & Zelia themselves and their cover version of Extra (Brazilian Reggae), written and originally performed by Gilberto Gil in 1983. A small pressing was made for the Finnish market, and Hakala also sent a box of records to Brazil, but for some reason it was sent back.
After their first visit to Finland, Rosanna & Zélia headed back to central Europe, but Vuorinen decided to organize more performances for them for the next summer. Maybe he also wanted to show them the beautiful Finnish summer, as Rosanna and Zélia had so far seen the country only during the darkest autumn. The duo came back to Finland for the summer of 1990 and performed at the Womad world music festival organized as a part of local Provinssirock. They also played in Nummirock and Puistoblues, both respected music festivals, and performed on TV in Helsinki.
Rosanna and Zélia lived in a small apartment in Seinäjoki and played two to three gigs per week all summer. Because there were only two of them, even small pubs could afford to book them, and in 1990 the economic situation in Finland was good. It was before a major economic depression hit the country. The duo travelled by bus or train, and because they were an acoustic duo, they could easily carry their instruments in public transport. Vuorinen got excellent feedback from organizers. Rosanna and Zélia were good performers, but also really nice people.
With the income from their summer gigs, Rosanna and Zélia could buy a PA mixer and other musical equipment. When the summer 1990 turned to autumn, they continued their journey from Seinäjoki to Germany where they settled down."
Igziabeher Yi mas gan (Let Jah be Praised!) - as we follow up with the next release forwarding from Ashanti Selah Music; we are proud to present a fresh combination to the label with Iqulah Rastafari who is a true ambassador and master of his faith as well as being a high-caliber artist in his own right; this release delivers the whole roots and nothing but the roots in its full entirety. Hailing from Jamaica and toured the 4 corners of the world with his band 'Giddeon Family' as well as performing many shows in Africa with the 'Azania Band' - Iqulah always brings the spiritual power and most honourable Rasta energy in connection with the music; making it a such an engaging experience when being among the vibration.
The Maxi-single offers two original vocals and two dub mixes per side with strong lyrics and heavy riddims to accompany!
The Cult brings on board a legend. From DMC scratch champion in the late eighties to the missing link between Detroit and Amsterdam in the nineties. Dutch producer Orlando Voorn needs little introduction and with seminal hits like his dancefloor destroying KMS smash ‘Fix’ under his belt, it is no surprise that the ever-innovative producer is as in demand today as he ever was. Having worked alongside techno originators such as Juan Atkins and honed his production skills under an incredible number of monikers over the years, we bring the multi-talented producer into the Cult. Here he produces an EP of techno brimming with the musicality and inventiveness that is regularly stamped all over his productions.
Opener ‘Between the Surface’ rolls along effortlessly with its Detroit house leanings, loose jazz drums and buoyant walking bass line driving the groove onwards. Hitting hard, ‘Dazed’ is up next with its jackin’ DX style bass and deep evolving arpeggios, that hark back to the glory days of early house music. Finally, ‘Immortal’ ventures into deeper territory for a twisted journey of discordant synths, electro bleeps and haunting synth melodies. His debut on Rhythm Cult is rich with ideas and showcases the creativity that has made Voorn a force to be reckoned for nearly three decades in the game. Joining the dots between Amsterdam and Detroit this new EP brings fresh inspiration with every listen.
Zurich’s Elvis Cassetta delivers a dazzling four-track debut EP to his brand-new WhyNot imprint. Complete with a refined deep house sound, this is an expertly crafted body of silky smooth grooves to get floors shaking.
'Down With Us' instantly displays Cassetta’s effortless ability to create a hot house swing using just a handful of elements – subtle groove, skittish percussion and a sultry vocal sample. The whole track is thrown out wide in the breakdown, but then as the bassline is brought back in, Cassetta draws it all back in close for an intimate dancefloor moment. Definitely one of those hands-in-the-air peak-time scenes.
Dreamy synth pads steadily build under a thunderous kick drum pattern on the EP’s second track, 'Focals Finest', which takes the tempo up a notch for a real sweat inducer.
Finally, it’s all about a raw bassline on the metallic and techy 'Jupiter Groove'. Contorted slices of spoken word dip in and out throughout to create another level of leftfield, danceable percussion. While the low end is the main focus on the original, in Silat Beksi’s remix, we hear a brighter take on the deep groove. There’s a swirling sample, more prominent key stabs, eerie vocals and a teasing smattering of melody. Percussive elements are thrown from all angles, and they pulsate up into the rafters of the lofty house track, leading you further into a state of hypnosis.
Overall, these are house tracks made right – a classy release fit for warming in crowds in style.
Time to welcome Session Victim back to Delusions Of Grandeur following some heavyweight releases on Toytonics and Rhythm Section International. The German duo show absolutely no signs of slowing down continuing to impress with their unique sound which combines organic live elements, fat, floor-filling beats and a deep, musical approach. Here on The Intangibles EP we’re treated to three original tracks spanning high energy jazz disco meets techno, soulful uplifting house and downtempo blunted beats.
Opener Motivation features spoken word from Ras Stimulant backed by urgent looping Rhodes stabs and an uptempo disco groove. An instant Session Victim dance-floor shaker if ever there was one, the energy cranked up to the maximum without losing sight of that all important groove.
Next up we have Dromedary Twist which keeps up the pace but goes deeper on the jazzy organ chords and lays down a heavy syncopated bass- line which ensures the funk factor remains present and correct.
Rounding out the EP in fine style, Green Run drops the BPM’s as we head into lazy, hazy, blissed-out jazzed-up beats territory. Lush strings and layers of analogue synths come together on this simple yet enchanting little tune which compliments the other tracks perfectly and will appeal to fans of SV’s more home-listening output from their 2020 LP Needledrop.
The next issue in the on-going Mastermix series features a centerpiece of Frankfurt’s club history: Wild Pitch Club.
A predecessor to the esteemed Robert Johnson and a stepping stone for Panorama Bar’s very own nd_baumecker.
Founded by Playhouse masterminds Ata and the late Heiko M/S/O it was a Thursday club night that heavily featured house music as a prescription to the ongoing techno fever. Enamored with the US-American roots of it and all things deep, it not only presented the right records, but also their creators and protagonists. With a string of guest DJs from Robert Hood and Claude Young to Kerri Chandler and Theo Parrish as well as talent from the UK and Europe, it was one of the culture’s hubs at the time.
Here you have its testimony. Selected and mixed by Ata and nd_baumecker, it’s an authentic snapshot of the club’s vibe and spirit, spread over two 2x12” volumes, a collectable tape (download included) and a pleasant streaming version, it’s the full dosage. Like Roach Motel confessed: Wild Pitch, I love you.
Most Excellent Unlimited teams up with Giant Step Records for this special release of a U.K. jazz-dance classic's Twentieth Anniversary.
Voted Track of the Year at Gilles Peterson’s 2003 Worldwide awards, RSL’s “Wesley Music” was an instant anthem on its release, combining a jazzy sensibility with heavy percussion, catchy brass riffs, and a building, hands-in-the-air chorus hook. The Manchester, UK-based band first released the single on their own label, but as the tune took off it was quickly released in the U.S. by Giant Step Records, long a pipeline for the freshest British new music. Most Excellent Unlimited has collaborated with Giant Step Records for this exclusive re-release to celebrate the twentieth anniversary of the original record. The A side swaps out the original mix with a never-released Danny Krivit “Part 1” mix, a slightly more extended and direct to-the-point punch of Latin percussion and chants. The B side features Krivit’s “Part 2” mix that lets the tune unfold in all its building-anticipation glory, gradually elevating to a thunderous pinnacle of an almost spiritual nature.
With RSL recently finding favor in the sets of Chicago deep disco don Rahaan and NYC’s globetrotting Ge-Ology, remaster & pressed on an attention to quality vinyl, ideal to celebrate the twentieth anniversary of this timeless iconic track.
Autumn of 2022 marked 20 years since the initial release of Metro Area's first and only album, Metro Area. Environ had already remastered and re-released this essential LP for its 15th anniversary. So this time around, we're doing something a bit different.
To celebrate two decades of Metro Area, Environ has partnered with renowned mastering engineer Matt Colton (Metropolis Studios) to remaster and recut the first four Metro Area 12"s: Metro Area, Metro Area 2, Metro Area 3 and Metro Area 4. Unlike the album reissue, these records include the original, extended 12" versions of all songs, including some which have never been re-released.
Metro Area 2 is the duo's second 12" EP, originally released in 2000.
The 11th release on "CCR - Club Culture Rarities" SUEÑO LATINO Derrick May Remix originally released on Creative Label 1992
Built around Manuel Göttsching’s astral classic E2-E4, Sueño Latino is, with no doubts, one of the most iconic records of the late 80's electronic music. Several remixes have followed the 1989 original release, but above all stands up Derrick May’s “Illusion First Mix” that adds his typical tribal motifs to the euphoric carpet of stars, tropical birds and cowbells. This reissue of Detroit genius’ version of Sueño Latino gives wings to our imagination making us fly on the most joyful nights of Ibiza.
Utter presents the extraordinary audio-visual project 'SuperEverything*' by multi-media artists The Light Surgeons.
'SuperEverything*' is a live cinema performance piece that explores identity, ritual and place in relation to Malaysia’s past, present and future. Commissioned by The British Council in 2011, it was created in collaboration with a group of Malaysian audio and visual artists. Over the past decade, the project has toured to various film and new media arts festivals internationally.
'SuperEverything*' is a fusion of music, field recordings, documentary filmmaking and real-time moving image manipulation that together transports its audiences through a series of universal narratives; exploring themes of tradition and modernity, globalisation and development, race and national identity, to consumer culture and belief.
'SuperEverything*' surveys our human condition to reveal what unites and divides us. It weaves together a rich kaleidoscope of stories, sounds, images and smells live on stage. It is a truly immersive, cross disciplinary performative artwork that reflects on how our complex identities are formed through ritual in relation to our rapidly evolving physical and psychological environments.
'SuperEverything*' poses many questions about how people form a sense of identity in a world increasingly dominated by information networks and fast changing social and economic landscapes.
This limited edition vinyl and digital album features the nine original tracks that make up the musical score to this groundbreaking live cinema project, fusing traditional South East Asian instruments with field recordings, electronica and western classical string instruments.
Accompanying the record is a 24 page full colour booklet and double-sided poster, housed in a gatefold sleeve. The booklet contains quotes from the narrative interviewees whose voices are interwoven throughout the performance. These quotes accompany images from the production and performances to help illustrate the musical journey and allow you to contemplate the themes and ideas explored in this work. The poster design features a collection of filmstrips taken from the video material in the show with a single striking album image photo on the reverse.
The release is also accompanied by a previously unavailable film of the full live cinema performance recorded at Hackney Empire in collaboration with The Barbican in 2013.
‘’In the interest of reverse osmosis, instead of entering into a microscopic world, we now enter into a GIGANTIC world. Roope Eronen, of the famed Finnish space rock band Avarus, has now expanded his entertainment of an emotive space lounge to the LARGEST media size know to man, GIANT disk.
Commissioned especially by Pacific City Sound Visions label chief and the creator of Monopoly Child Star Searchers, Spencer Clark, Roope was asked to craft short pop song versions of previously extended space-synth improvisations.
This disk's music has been ENLARGED to such an extreme size that the listener can now slowly float in and around the realms of the outer heavens to freshly reflect on Earth's material originality. The voices of angels are abound to imply the harmony of an over-sized life on XXXXL NATIVITY - an example of the Inflatable Worlds ability to be playful in the sights of the grandeur of heaven.
"Space Walk Rentals" and "Bassmaster Mania" entertain Roope's huge focus on the exotic lounge-ness of Interstellar Musics. The largeness of Roope's vision contends that progress lies in the tranquillity of big thoughts - and enormous essences rather than physical largess. BIG ideas have no threat of gravity, as they are allowed to float into the ether until they are grabbed down by the hands of humans to reflect what they can of their MASSIVE impression of heaven.’’
Meiosistosis is a unique and creative descriptive innerstanding created by DemoDc taken from the scientific terminology of Mitosis - a splitting of one cell to create 2 identical cells and Meiosis - a splitting of 1 cell to create 4 very unique cells. Combining these 2 findings to create its own unique expression of what Demo feels earth herself is potentially going through in what most humans refer to as 'crazy mad' times.
‘Call me mad or crazy yet my artistic take on all this madness of change, coming from a more spiritual aware perspective, I feel its very possible and plausible that earth herself is shifting from an energetical vibrational frequency resonance, shifting from a lower to a higher frequency that has souls who inhabit at this present time on Earth, have choices made available to either shift to these higher frequencies of perception or to chose to remain in the lower frequencies of perception’
….says Demo when explaining the meaning of the titles chosen for his brand new releases. Hence, from this perspective it would give more purpose and meaning with the Earth splitting itself from 1 earth into 2 with the merging of it being identical and unique all at once.
True or not, through creative expression can we all individually make sense in our own rights, which then gives more power to the inner-standing of what co-creating with any greater power outside of ourselves, is. Each track holds its own unique expression to what has been described here and of course gives each listener a chance to give meaning to what is embraced in their own connection made when absorbed in the creations these ep's offer.
Workaday Strangeness: Gyrating Death Throes From a Void Axiom' is the new LP from Glasgow-based music originator Wormhook. The music therein, we understand, emerged for highly personal therapeutic reasons; nevertheless to describe it as ‘idiosyncratic’ would do a disservice both to Wormhook and to the concept of idiosyncrasy. While the record is certainly a profoundly unique, irreplicable creation, its music is nevertheless based on a visceral, breathing human rhythm which is common to all living bodies. It represents a celebration of the act of creation as a means of processing psychic and spiritual conflict, unconscious thought leading to spontaneous musical discovery.
Through something approaching the musical equivalent of automatic writing, Wormhook gives birth to fluid, home-woven spectral incantations and an untutored, backward-masked concrète hymnody. Brittle-as-glass guitar and grainy, hand-processed electronics underpin cantorial, intuitively modal vocals delivering a kind of raw, revelatory yet anti-prophetic ur-poetry, bridging the centuries between Hildegard von Bingen and Lonnie Holley and fixing the solitary star of Wormhook within the hermetic constellation which these visionaries inhabit.
For this uniquely personal retrospective spread over twelve vinyl discs, Sven Väth takes us back to the early days of his DJ career. On What I Used To Play we meet great pioneers of electronic music, gifted percussionists, obscure wave bands, and innovative producers of a bygone 'new electronic' era. Rough beats and irresistible grooves from the identification stage of house, techno, and acid remind us not just how far electronic music has evolved over the past four decades, but how great it was to dance to EBM, techno, and house for the very first time.
If there is one protagonist of the electronic music scene who has remained curious, innovative and at the very cutting edge of music for over four decades, it's Sven Väth. His multi-layered artist albums and Sound of the Season mix compilations have been defining the genre for over two decades, and even today, he is constantly on the lookout for the next top tune to add to the highlights of his next set. At least, that's the case when he's not producing them himself as an artist or remixer. "Actually, it's always been part of my DNA to think ahead," and nothing had been further from his mind than looking back at his past, but when in spring of 2020 the international DJ circuit had to be scaled down to virtually zero, the 'restless traveler' suddenly had time. Time to stop and reflect on "how it actually was back then, at the very beginning of my career..."
"It was a great trip and with every track, beautiful memories came flooding back".
In the London apartment, he had just moved into, Sven has set up a "little music room", where he cocooned himself for several days, "to look way back for the first time and review my musical journey through the eighties, so to speak."
The interim result was six thematically oriented playlists with a grand total of 120 tracks from 'early 80s' to 'Balearic late 80s', together with excursions into afrobeat, European new wave, and EBM sounds and a few epochal techno/house tracks from the USA in between. From these 'Best of Sven Väth's favorites', the project What I Used To Play crystallized. Sven remembers how the Cocoon team reacted to his proposal: "They found the idea of making a compilation out of it MEGA from the beginning and everyone said 'Sven, go for it', but then, of course, the work really started, namely, to clear the rights and to get clean sounding masters of the up to 40-year-old tracks. There was also disappointment, of course. We couldn't clear certain titles because the rights holders in the USA had fallen out with each other or simply disappeared from the scene. In short, it wasn't easy, but now I can safely say we got the most important tracks."
Finally, after two years of research, curation, design, and administrative fine-tuning, the "little retrospective" from 1981 to 1990 is available. The exquisitely packaged, and three-kilo heavy box set is not only physically impressive, WIUTP is also the definitive record of Sven Väth's musical development. On each of the twenty-four sides of vinyl, you can trace track by track, what influenced him during which phase, and how he took off as a DJ from his parents' Queen's Pub straight into the spotlight at Dorian Gray. There and at Vogue (later OMEN), Sven became the style-defining player in the DJ booth that he still is today.
1981 - 1990: Future Sounds of Now
In the early eighties, the crowd in clubs like Vogue and Dorian Gray danced to what nowadays we call 'dance classics' - mainly disco, funk, soul, and chart pop. It was up to a new generation of DJs, including Sven Väth, the youngest protagonist in the Rhine-Main area at the time, to create their own club-ready music mix. Good new tracks and potential floor-fillers were rarities that had to be sought out and found, in order to prove oneself worthy.
Without MP3s, internet streaming, or other digital download possibilities, music didn't just gravitate to the DJ, instead, it had to be tracked down. In well-stocked record stores in Frankfurt and Wiesbaden or even in Amsterdam, London, or New York, Sven and friends sourced the material for countless magical nights. On WIUTP we can follow Sven's very personal journey through this wild, innovative era in which synth-pop, funk, hip-hop, and disco were successively replaced as 'club music' by house, techno, acid, and breakbeat. By the end of the decade, it was clear to see that these once exotic 'fringe' phenomena would soon become 'mass' phenomena.
Early 80s
Dirty Talk by the Italian-American duo Klein & M.B.O. represents the most innovative phase of the Italo-disco genre in the early eighties like no other track. Mario Boncaldo (I) and Tony Carrasco relied entirely on the original synthetic drum and percussion sounds of the Roland TR-808, coupled with the raunchy vocals of Rossana Casale and guitar accents of Davide Piatto. Of course, other tracks from this period were also influential in style, most notably Unit by Logic System, which worked as the perfect soundtrack to the laser lighting system at the legendary Dorian Gray club. With stomping beats and robotic rap interludes, Bostich by Yello also belongs on Sven's eternal playlist - after all, it caught the attention of Afrikaa Bambaataa, who invited the Swiss duo to perform at the Roxy in New York in 1983.
EBM Wave - Mid 80s
From today's point of view, the almost ten-minute-long, downtempo track Giant by Matt Johnson's band project The The, would probably not be considered an obvious club classic. However, a closer (re)listen reveals the rhythmic intricacies of the percussion overdubs by JG Thirlwell (aka Foetus) on Johnson's composition, and it becomes clear why this exceptional piece of music is one of Sven's absolute favorites. Other classics from this phase include Kaw-Liga by the mysterious The Residents, the hypnotic-synthetic Our Darkness by Anne Clark (and David Harrow), and last but not least, the somber, monotonous anthem Where Are You? by 16Bit, one of Sven Väth's projects together with Michael Münzing, Luca Anzilotti from 1986.
US House - Late 80s
You certainly can't talk about Chicago house without mentioning Frankie Knuckles. The resident DJ at the Warehouse not only gave the name to an entire genre, but also produced epochal floor fillers on the Trax label like the timeless Your Love, sung (and moaned) by Jamie Principle. Acid house protagonists Phuture also hail from Chicago, and on We Are Phuture (also released on Trax) we hear the chirping acid sounds of the legendary Roland TB-303 in full effect. Another featured classic is No UFO's by Detroit's Model 500 aka Juan Atkins, who is rightly considered the 'Godfather of Techno' even if the genre-defining track from 1985 still breathes with the spirit of hip-hop and electro from the first breakdance era.
Afrobeat
Le Serpent, by Algerian-born Abdelmadjid Guemguem, is a track that sounds completely different from everything else on WIUTP. Made in 1978, it's a monumental, rousing groove created without bass or synths, just with five congas! Even though Guem sadly passed away in 2021, his immortal, acoustic beats are understood all over the world and will continue to enrich many thousands of DJ sets for years to come. Another classic that not only Sven appreciates beyond measure is Hugh Masekela's Don't Go Lose it, Baby. In addition to being one of the most important jazz pioneers, the trumpeter and freedom fighter from Johannesburg was very experimental, integrating electronic sounds into his music in later years, in a similar vein to Miles Davis and Herbie Hancock. Dutch jazz pianist Jasper van't Hof's afrobeat project Pili Pili has also aged well. The trance-like, almost sixteen-minute-long track of the same name, manages to fill a whole side on the seventh of twelve vinyl discs in the WIUTP box.
UK-US-Euro - Late 80s
Time for a change of scene, in the truest sense of the word, and from a musical perspective, this section is like landing on another planet. First up is Andrew Weatherall's classic remix of Primal Scream's Loaded, featuring the iconic Peter Fonda sample (lifted from the 1966 biker film Wild Angels) that came to personify the mood triggered by the British Second Summer of Love in the late eighties: "We wanna be free to do what we wanna do, and we wanna get loaded...". This period also saw the emergence of M/A/R/R/S whose only single, 1987's Pump Up The Volume, became a club classic with support from DJ legend CJ Mackintosh. In this most eclectic of sections, we also encounter New York house and reggae producer Bobby Konders and his seminal Nervous Acid.
Balearic - Late 80s
Those who know him, know that Sven had already lost his heart to the 'magic island' of Ibiza as a teenager, so with that in mind, the WIUTP project couldn't end without a Balearic chapter. Inspired by Manuel Göttsching's E2-E4, the immortal, eponymously titled Sueño Latino belongs in there without question. Equally popular on the island was, and still is Break 4 Love by Raze, which thinking about it, would also fit perfectly into the house chapter. Last, but not least, there's an overdue reunion with Sven Väth himself, in his role as frontman of the successful Frankfurt trio OFF. Together with Michael Münzing and Luca Anzilotti (later of Snap!) this 'Organization For Fun' created the off-the-wall club hit Electric Salsa in 1986 which incidentally turned into an international chart smash, putting Sven in the enviable position of having to decide between pop stardom and a DJ career. Well, we all know how that decision turned out and the rest, as they say, is history. A not insignificant part of his story is What I Used To Play. Enjoy!
