Suche:sub edits

As Ociya, hardware freaks Tin Man (Johannes Auvinen) and Patricia (Max Ravitz), come together in unholy acid matrimony on a definitive double-album, Powers Of Ten.

We know both sides well. Over a prolific run of records for Acid Test and his own Global A, Auvinen has expounded upon the promise of "Nonneo" (recently named one of Resident Advisor's 2010-19: Tracks Of The Decade), unearthing new, emotional vistas from the Roland TB-303. Ravitz, meanwhile, matches Tin Man in studio ethic, establishing himself as one of North America's hardware masters on records for Ghostly and Opal Tapes.

What we couldn't have predicted is how well the parts merge. Cuts like "Ghost Moons" channel the hazy IDM legacies of the past, while "Hopeful Galaxy" mixes a plaintive Rhodes motif with a hopeful 303 line for the perfect "tears on the dance floor" cut. The track titles on Power Of Ten— a perfect melodic techno LP generously spread across two records—are celestially minded ("Gravity Knots," "Star Scraping") and indeed, the cosmic metaphor is apt or the newly-formed duo. On Powers Of Ten, Tin Man's acid lines rocket through space like brilliant, shooting stars. His signature orchestral acid moments are given the perfect backdrop, the nebula of Patricia's rich atmospherics and melodies.

The album was recorded live to 2 track in Patricia’s studio in New York, no edits.

We Are The Brave boss Alan Fitzpatrick joins Rekids with ‘Step Away’, a euphorically chargedtechno release featuring two remixes from Planetary Assault Systems.

Having performed across the world at the likes of Watergate, fabric, Shelter and DC-10, renowned UKartist Alan Fitzpatrick has continued to bring driving techno to the forefront of electronic music culture since the early 2000s. With a ream of releases on Figure, Unknown To The Unknown, Drumcode, Hotflush and many more, he now launches into 2020 with his debut on Radio Slave’s revered imprint.

Fitzpatrick’s signature, thundering techno cut ‘Step Away’ opens with spacey toms, industrial kicks, delayed claps, pulsing bass and atmospherically sustained keys.

The hailed Mote-Evolver boss and esteemed remixer Luke Slater serves up two propulsive edits under his Planetary Assault Systems alias with the first remix being otherworldly with reverbed stabs, subtle arpeggiated synths, minimalistic drums whilst the second remix goes into overdrive with analogue beat programming, computerised melodies and a harrowing sub-frequency rhythm.

The Galleria is a project from Morgan Geist (Storm Queen, Metro Area) that ripples with echoes of the indigenous music of long-dead suburban New Jersey shopping malls and NYC radio stations: bombastic freestyle, club dubs, razor-edits and bubblegum-pop R&B. The newest single, Stop & Go, is the second release since the 2015 debut, Calling Card/Mezzanine. Vocals are once again provided by Jessy Lanza, whose two solo albums on Hyperdub were met with critical acclaim and were both shortlisted for the Polaris Prize. Stop & Go features a drum-a-pella for creative mixing, plus an extended, dancefloor-friendly dub.

More fun Disco/House Edits from Axe On Wax sub label 'PNP'.
This time on the compilation we have Let’s Play House honcho Jacques Renault and LPH alumni Lovers alongside Axe ‘s affiliates Fede Lng & Kirk The Flirt aka Physical Therapy & rising talent Hyas. As per every other release this will sell out very fast so don’t sleep on it! Limited copies, no repress.

Having returned from a 4-year break in August with its latest release from GW & Henry, A&R Edits follows up with a debut for Moplen.
With a recent remix of Frankie Knuckles ft. Jamie Principle and a Salsoul Reworks EP, Luca Moplen has been gaining new traction of late, so it felt fitting to release two of his evergreen edits on vinyl for the first time. Moplen’s edit of Tavares’ classic disco stomper ‘It Only Takes A Minute’ coupled with Greg Wilson’s edit of Moplen’s edit of Larry Levan’s mix of David Joseph’s ‘You Can’t Hide (Your Love From Me)’, if you can follow all that!

An all brother group hailing from Providence, Rhode Island, Tavares were a band that evolved with the disco sound, hitting their peak in 1976 when both ‘Heaven Must Be Missing An Angel’ and ‘Don’t Take Away The Music’ became huge club favourites. They scored their first R&B #1 in ‘1974 with a cover of Hall & Oates ‘She’s Gone’ and in 1975 they returned to the top of the R&B chart whilst going top 10 pop and scoring a #2 Disco hit with ‘It Only Takes A Minute’.

In 1992 a cover by boy band Take That would gift them their first top 10 entry, many people unaware that this track had first been recorded 17 years earlier. Rising to prominence in Brit-funk band Hi-Tension, David Joseph soon found his footing as a solo artist after they’d split, with his first release being ‘You Can’t Hide (Your Love From Me)’ in February 1983.

That same month, Greg Wilson appeared on The Tube, mixing between two copies of this very record – the first time mixing had been demonstrated on British TV. It would subsequently enter the UK chart, climbing into the top 20. The track would then be remixed by legendary Paradise Garage DJ Larry Levan, resulting in a #2 placing on the Billboard Dance chart.

Upon hearing Moplen’s extended dub edit, Greg worked further into it reintroducing the song – given his history with the track it was unthinkable that he’d play it without the vocal. The result is a unique version where Moplen’s dub sets the vibe during the first half of the edit before the song is finally introduced.

This very special record is a collaboration between Amsterdam based stalwart, and frequent contributor to Young Marco’s Safe-Trip label, Darling, and his extremely talented daughter, Lexi. Here the producer, Darling, crayon proofs his studio and lets his 4r yr old daughter, Lexi run riot on the synths. The resulting submerged grooves, outer worldly melodies & psychedelic nursery rhymes are made up entirely of seqeunces recorded in by the outstandingly creative youngster with Dad making the edits and laying in the beats . This record was powered by Haribo.
BIG TIP!

Comes with insert.

Dutch producers Mindmapper & Fre4knc team up to deliver the 'Martial Manners' EP in celebration of Translation Recordings' tenth vinyl release, which comes on a visually stunning piece of crystal & transparent white vinyl! Up first is 'Collessius,' whose heavy-rolling bassline rushes in with the
force of a tsunami, leaving a wake of dancefloor destruction in its path. 'Shutter Angel' is a futuristic track where tight, snappy breakbeats slingshot back and forth between an electrifying bassline that surges across the airwaves like a beam of focused energy. Mindmapper & Fre4knc
delve into darker territories on 'Fenryr,' whose gritty atmospherics and subterranean low
frequencies deliver a unique and immersive listening experience. They close the EP on a deep, meditative note with 'Mind of Steel' (digital only) where drum edits slice through growling bass riffs with blade-like precision. The 'Martial Manners' EP strikes the perfect balance between dancefloor and experimental to carry on Translation Recordings' ongoing mission to bridge audiences with quality music that can be enjoyed in all listening environments.
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Translation Recordings is proud to unveil its summer 2012 project capturing all moods sublime with the 'Universal Grooves LP'. A limited press on transparent blue vinyl, this special edition 12inch showcases a diverse sampling of Translation's full album that will not disappoint. The A-side brings the thunder showcasing the heavy hitting, rolling and dubby sounds of Loxy and Resound's 'Civil War' and Theory's calculated genius behind the ragga and amen tear-out, 'Final Confrontation.' Flip to a switch in vibe as DBR

Next up on First Word Records, we welcome the return of Don Leisure, with an EP of beats that see his two alter-egos go head-to-head, 'Shaboo vs Halal Cool J'.

Probably best known as 50% of Darkhouse Family, along with Melange label boss Earl Jeffers, they released their acclaimed debut album 'The Offering' in 2017 and subsequent remix project last year, featuring DJ Spinna, Kaidi Tatham and more. The duo are coolly establishing themselves as Cardiff's very own Mizell Brothers, recently producing Kamaal William's latest work, featuring on Kutmah's recent Izwid compilation, and collaborating on the Chicago x London project 'Where We Come From', featuring Makaya McCraven, Joe Armon-Jones, Nubiya Garcia, Theon Cross and First Word label-mate Quiet Dawn, amongst others.

'Halal Cool J' appeared originally in early 2017 with 'An Ottoman Excursion' on our sister-label, Excursions. A series of edits born out of a decade-long love of Turkish music, and some record-digging expeditions in Istanbul, something Don Leisure did the very day after 'The Offering' release party, prompting another series of beats. Ahead of an all-new full-length Halal Cool J album, here we have two tracks to give you a taste, 'Kazakh Honey' and 'Kaymak'.

'Shaboo Strikes Back' on the flip-side, with a track of the same name, and 'Mango Season'. 'Shaboo' was the name of a beat album that came out on First Word in 2017, inspired largely by Don's Bollywood actor Uncle, Nasser 'Shaboo' Bharwani, and by memories of journey's with headphones hurling out Hip Hop, fused with the sonics of his Mum's interruptions, and her favourite Asian radio station. 'Shaboo' featured in several end-of-year album lists, with Piccadilly Records calling it "the best album of it's kind since Dilla's 'Donuts'. Unmissable."

Both prior projects got love from DJs and selectors far & wide, including Tom Ravenscroft, Lefto, Huey Morgan, Rob Da Bank, Om Unit, Simbad & Mr Thing. A truly global affair, the beat battle of 'Shaboo vs Halal Cool J' takes us on several short, sweet hikes across a variety of Eastern climes.

Join in the journey once again on 7" vinyl and digital on April 5th.

'Garage bands suddenly obtain cult status and become the antithesis of their initial appeal'

Garage Class were a group of reluctant outliers who produced one of the finest contributions to the wave of UK DIY music that emerged during the late 70s and early to mid-80s.

Hailing from Alsager in North West England and comprised of Tim Shutt (vocals) Phil Murphy (lead guitar) Clive Williams (guitar) Lynne Sanders (bass) and Phil Bourne (drums / bass on studio recordings) Garage Class originally went by the name of The Pits before their then manager Steve Hurt imposed an alias which, though unpopular within their ranks, would nevertheless reflect the shambolic art they would eventually capture on their first and only single.

As The Pits the group offered a loutish inflection on glam-punk flamboyance, evoking Johnny Thunder hitting the north and remaining disowned yet undeterred in a dreary old boozer. But as Garage Class the group distilled a roughcast and homespun primitivism that felt quintessentially their own. In this they proved too unruly to be assimilated into any wider scene. Early gigs descended into acrimony and recognition proved elusive. Yet what they managed to make back then now sounds like an extraordinary article of underdog ambition.

Released in 1984, four years after it was originally recorded, the Terminal Tokyo single is an unlikely triumph of exceptional messthetic punk. Though raw and unpolished the songs here are precariously pop-minded and indisputably anthemic. The titular A-side reveals the dry and detached drawl of Shutt aka The Subliminal Kid, a sharp, jaded and poetic voice that has some of the most iconic lines never heard in punk. Accompanied by second-hand guitars, on-the-fly handclaps and a chorus like a terrace chant this is the cult hit that never was, a heroically artless masterpiece that has all the ragged character and misfit euphoria of Swell Maps and The Buzzcocks if they were more impulsive and boisterous, and left to their own devices in the remote margins of a Cheshire town. The original B-side is here substituted for I Got Standards, a track that, until now, has somehow remained unreleased. An ideal twin to Terminal Tokyo there's the same brusque and dog-eared quality to the band's delivery, as well as the same upfront emphasis on strong hooks and insistent momentum. Yet again, Shutt is on impeccable form, perfecting an inflated, adolescent antagonism that has all the sardonic, malcontented charm of similarly 'shirty' buggers like Dan Treacy (Television Personalities), Patrik Fitzgerald and Mark Perry (Alternative TV).

Although never accepted in their own time both tracks represent a brief but inspired moment of fervent imperfection, one that epitomized the best of a diffuse and autonomous underground movement spearheaded by The Desperate Bicycles and built upon by the likes of Amos & Sara, The Homosexuals, The Cleaners From Venus and Family Fodder. Like them Garage Class were situated at a point where punk, art, humour and a sense of stubborn independence all intersected.

In the years since Terminal Tokyo has accumulated a retrospective appeal among certain trusted circles, with Jon Dale celebrating the single in his exhaustive and essential Story of UK DIY for Fact Magazine, and original copies regularly changing hands for a foolish forty quid or so. With this inaugural release on the Outer Reaches label Terminal Tokyo is not only restored for the very first time but given a worthy expansion courtesy of JD Twitch (Optimo).

Continuing his own fascination with the fringe history of UK DIY - documented on his own outstanding compilation Cease & Desist: DIY! (Cult Classics From The Post Punk Era 1978-1982) and in his re-edits of Crass Records classics for an early release on RVNG INTL - Twitch reinterprets I Got Standards as an incisive, dubwise outing that pictures Jaki Liebezeit and Muslimgauze on a bender in England's provinces, tasked with remixing the raw product of local punks. A new slant on Garage Class' crude magnificence, built to play loud on contemporary soundsystems.

Although the latter part of 1980 spelled the end for Garage Class with members moving on to other projects (Bourne fell in with The Colours Out of Time, Murphy went on to front The Regular Guys and Shutt eventually left to form Happy Refugees) this reissue attempts to give their fleeting time together and the unique single statement they made the treatment it deserves. If this means Garage Class have obtained cult status, their initial appeal remains. Just listen for yourself.

Next up on the ever-eclectic XVI Records, a shadowy figure steps into the spotlight: enter the mysterious Captain Over, whose dark yet soulful bruk-infused tracks soundtrack the next stage of their voyage towards the sun. For his debut outing, Captain Over calls on the abstract vocal stylings of the legendary Trim (Roll Deep, 1800 Dinosaur) on opening track 'SICK'.

Showcasing why he's one of the most iconic and forward-thinking MC's to grace the mic, Trim's dulcet tones twist through a jungle of shuffled beats and subterranean sub-bass, an eerie child-like melody drifting overhead.

Clack Clack and No One Ever Really Flies inhabit a more dancefloor friendly space, their unique syncopation, fierce instrumentation and relentless energy open up the dancefloor for some real get loose moments.

On the remix, they hand the controls over to XVI homestay Books (following on from the success of his previous 'Feel It In My Bones' and 'High Praise Edits Vol 1' releases which won praise from the likes of The Black Madonna, Moodymann, Gilles Peterson and Seven Davis Jr) Books expertly crafts a cosmic footwork jam, full of his trademark soulful chords and eerie midnight saxophone licks.

As he prepares to launch his forthcoming EP 'No-One Every Really Flies' into the cosmos ; Captain Over is beginning to cement his place as one to watch in the UK underground - a sequel EP featuring grime upstart Nico Lindsay is scheduled for release later in the year, with several more collaborative works in progress.
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Hello Sailor Recordings 5th release features two edits by Tom Noble and label's captain Renata do Valle.

On this collaboration we navigate through West Africa, exploring sounds from Cameroonian singer Marthe Zambo - 'Alu' and Nigerian musician Sonny Okosuns - 'My Ancestors'.
These edits are subtle works and an homage to these artists, keeping the music true to its originals.
Do Valle often likes to explore African sounds on her HS releases which are a big influence on Brazilian music, it's origins and roots.
Tom Noble is an avid collector, selector, producer and the man behind the great Superior Elevation Records in NY

Scottish producer & DJ Graeme Clark AKA The Revenge releases his second album 'When The Thrill Comes' on his own Roar Groove imprint on 11th May 2018.

'When The Thrill Comes' is a demonstration of a producer achieving a point of maturity in their work, able to exercise a sense of restraint, to allow for their sound to have space. It is also the opportunity for The Revenge to explore his own electronic music roots with a deeper pared-back sound more in touch with his earliest production experiences in house and techno.

Clark is no novice to the art of production and the sweaty alchemy of animating bodies on dance floors. He has been producing and playing electronic music since 1995, in many forms, though is well known for 'some of finest modern disco dubs and re-edits on the block' (DJ Mag). This passion for dusty disco and deep cuts is reflected in his long-standing collaboration with Craig Smith as 6th Borough Project which has yielded 3 albums and provided the foundation for the influential but now defunct Instruments Of Rapture label.

2015 was a momentous year for Clark with the release of his debut album 'Love That Will Not Die' on his own Roar Groove imprint. The LP picked up 'Best British Album' from DJ Mag, was shortlisted for Scottish Album Of The Year and drew support from leading DJs including Jackmaster, John Talabot, Solomun, Craig Richards, Axel Boman amongst others. Recent production work has both cemented and extended his reputation; with his future-facing remix for Auntie Flo being re-touched by Dixon for the Philomena label and his two EP's for Berlin's Dirt Crew Recordings reinforcing his love for solid club jams

Faitiche releases the album Improvisations And Edits, Tokyo 26.09.2001 on vinyl for the first time. For the original 2002 CD on Soup-Disk and Sub Rosa (Audiosphere), Jan Jelinek and the Japanese trio Computer Soup (Satoru Hori - trumpet, Osamu Okubo - toys & electronics, Kei Ikeda - toys & electronics) presented eight tracks all recorded one afternoon in the trio's living room in Tokyo. They are excerpts from a joint group improvisation that subsequently underwent rudimentary editing, on which Jelinek and Computer Soup worked separately.

Jelinek met the three musicians at his first concert in Japan in 2001, at Tokyo's Yellow club, where Computer Soup performed as the support act. Delighted by their free improvisation on pocket-sized electronic toys, trumpet and oscillators, he arranged to meet Hori, Okubo and Ikeda a few days later for a session at their apartment. The resulting three-hour recording, made on their living room floor, formed the basis for Improvisations and Edits. A few days later, Jelinek returned to Berlin. Over the following months, they separately chose passages from the recording that were then edited and assembled into an album.

Formed in Tokyo in 1996 as a quintet (including Shusaku Hariya and Daisuke Oishi), Computer Soup began by performing with acoustic instruments on the streets of Shibuya. Ikeda und Okubo soon switched instruments, and from then on the group's minimalistic but densely woven sound was defined by electronic toys, oscillators and Satoru Hori's trumpet. Their first album was released in 1997 on the Japanese label Soup Disk. Eight further releases followed.

From the reviews of Improvisations and Edits, Tokyo 26.09.2001 in 2003:

"The mind-blowing first track Straight Life is perhaps the best example of what the album has to offer. Jelinek's trademark smears and washes occupy the midrange, like ghosted images of Joe Zawinul's electric piano floating quietly in the wind. DSP jazz modes are set against a walking bassline (possibly computer generated) and a gently tooted trumpet complete with Harmon mute, a dead ringer for Miles Davis' Prestige-era ballads. The effect is something like a three-dimensional film, with different realities on each layer, images of what jazz was manage to interact with a real-time demonstration of all it could be."
pitchfork, 2003

"Improvisations and Edits is a warm and mellow Ambient release with beautiful glitch fragments, static noise bursts and real trumpet intersections. However, there are times where it is the exact opposite, mainly effect-laden, overdriven and bouncy with a lack of melodies and focus, so be aware of these specific tracks."
ambientexotica, 2003

"Often deliciously dreamy and hazy, Improvisations and Edits is like listening to an exceptional instrumental jazz performance while half-conscious or under some sort of chemical influence. Computerised blips and bleeps, loops and treatments and murky sonic skips curl up around desolate horn notes and scattered instrumental noises that culminate in elegant music."
exclaim.ca, 2003

- Printed Inner Sleeve and Heavy Weight Outer

The now legendary ' Abbey Road' version of 'the Isness' was the originally conceived version before last minute wholesale changes resulted in new tracks , different mixes and/or edits appearing in a wholly different order for the commercial release of 'the Isness '  in 2002 . The 'Abbey Rd 'version had been initially promo'd to ecstatic reviews, receiving an unprecedented 6/5 stars from Mixmag 'it's like a beam of white light from heaven'. 
This is the first time the Abbey Road version has been officially and commercially available .The band themselves ' the Amorphous Androgynous ' ( a psychedelic supergroup conceptualized and produced by the Future Sound Of London ) are said to have always regretted the last minute changes to the album ,the creation of which took five years from 1996-2001 post production of the FSOL album ' DEAD CITIES' and marks an important chapter in the production duos history and 5 year disappearance where rumours of madness and disbandment were rife among fans of the band only for them to finally appear with this radical new vision and what is now considered something of a psychedelic masterpiece which along with subsequent albums ' Alice In Ultraland ' ( on Harvest Records ) and their 'A Monstrous Psychedelic Bubble  ( Exploding In Your Mind )' Dj series ( which chronicle and redefine the history of psychedelia from the 60s to the present ) did much to activate a third wave of global psychedelic sonic revolution .
The Isness is a vast samplerdelic sonic galaxy where a huge range of instruments ( from sitars and numerous eastern instruments to flutes, banjos and conventional rock n roll instrumentation)  and countless musicians are employed ,collaged and twisted using the studio as instrument ( much in the tradition and lineage of the Beatles and other 60s exponents) to form a startling new vision of cosmic space music and to redefine the possibilities of what ' the song ' could be in the new millennia with its by turn : cosmic , wildly surreal , absurdist lyrics on epic songs such as ' the Galaxial Pharmaceutical ' ' the Mello Hippo Disco Show ' ' Divinity ' and many others ! 

Its not often you stumble upon a 9 piece soul band, who were so close to signing a deal with mca's new subsidiary Source records. But group politics and other factors got in the way, and the band shelved what music they had recorded. No reels surfaced but fortunately a member had kept some of those 1978 recordings. BETWEEN THE TWO seemed to fuse great soul compositions without the durge of the disco era circa 1978. . With well thought out lyrics, backed by keys, trumpets and a driving bassline we really are pleased to add the group to the Super Disco Edit roster

In recent years Moiré has become an integral figure in re-imagining club music. The enigmatic artist has travelled a note-perfect path and in just a few years has collaborated with fundamental record labels such as R&S, Werk Discs and Rush Hour. After his second and long awaited album "No Future" (Ghostly International, 2017), Moiré's "BBOY EDITS 01" is the first signing on C.E.E. The four track EP is comprised of unreleased material designed for the dance floor and provides continuity to his much prized Neversleep series. Club Excursionista de l'Electrònica (C.E.E.) is a moral, spiritual and cultural entity founded in 1875 in Vall de Camprodon. C.E.E. includes thousands of anonymous members who are organized into subdivisions and enjoy Sunday excursions into nature to end the weekend, where the joys of nightlife give way to clean air and mountain pursuits. C.E.E. can be described as "electronica folklorists", with a select catalogue of sounds from across the continent and beyond that represent an ethnographical journey through the most modern treatments of songs and popular dances practiced in clubs and tents all over the region.

ick Lenoir and Larry Thompson aka Black Traxx dropped several volumes of their own brand of chopped up Disco sampling, deeper side of House. From 1991 through to 1994 the Black Traxx EP's were showing up in record stores, obviously giving respectful nods to other Chicago DJ's and producers the tracks included on the EP's contained a DIY spirit and rawness that were key ingredients. Lenoir, with the technical assistance of Gary 'Jackmaster' Wallace has revisited these classic releases for 2017 and the pair have turned in some special, exclusive extended versions of some of the highlights from the series.
This, the second sampler of Black Traxx cuts culled from the various volumes picks up nicely where part 1 left us off. If it's that raw, deep, basement Chicago House sound you're after then these guys have you covered. Kicking off with the 1993 remix of 'Dreamin' which is a sublime late night organ driven groover, this one ticks all the boxes if you dig that NY / NJ Garage sound, but with a Chi-town twist! 'Soul' is up next, lifted from 1993's 'The Soul Package' collection. A stripped back, vocal led jam steeped in atmosphere. This one is for the dancers for sure, no nonsense House music for heads and hips.
Flip it over and the B-side opens with 'Shake', a tough, gritty, percolating banger with a tribal-esque edge. This one's a weapon and almost fits into that Baltimore / Chicago 'ghetto House' mould. A proper club track, no prisoners taken. This one has been gently extended by Rick and Gary for maximum club pressure! EP finisher 'Party' is a much more subdued groove giving a respectful nod to the JB's with that infamous 'Paaaarty' chant. No frills in the best possible way this one's another solid club groove, pure food for hungry turntables and sound-systems. All of the tracks included on these samplers have been carefully selected, arranged, edited and extended for precisely these reasons!
This reissue has been realised with the full involvement of Rick Lenoir and Gary Wallace and is 100% legit! All exclusive extended edits have been made by Rick and Gary specifically for this release. Don't snooze, this one deserves a spot in any self respecting House heads record bag or DJ set, classic material made available again for 2017 - You can't stop it!

Mick has been active in the seedier corners of electronic music for more than 30 years, first immersing himself in the world of hi-NRG and new wave before embracing the house, techno, acid and electro explosion of the late 1980s. Aligned with DJ Hell in the 90s and more recently the Intergalactic FM crew, he's the quintessential selector. A life spent digging in the undergrowth for deviant dance music has given him the edge that makes a truly gifted spinner, without riding on hype or studio productions. However, Mick isn't adverse to the odd outing on vinyl, having previously appeared on International DJ Gigolos both solo and as The Kinky Lovers with sometime partner Isabella Venis, but these moments are few and far between. For this release on Arma, Mick has given us two edits that speak to his distinctive style as a DJ - the original tracks are cult choices re-moulded into deadly, subversive club weapons. The brooding darkwave of 'Himmelfahrt 89' is enough to turn the most indifferent bar crowd into swaying, baying denizens of the night, while 'Stay Silent' pummels out a relentless electro motif that teeters on the edge of destruction for 11 thrilling minutes. These aren't crowd-pleasing DJ tools, and neither are they slick and easy edits of obvious classics. This is a peek into the inner workings of a man with decades of experience working masses of flesh into a sweaty fever pitch using sounds you've never heard before. The mastering on Mick's edits was undertaken by none other than Dutch electro legend Rude 66, while the striking artwork on the sleeve sees Arma reach out for the first time to French artist Judex. The nerve-shredding, broken Op-Art assault was originally found in a book published by cult illustrator Sam Rictus. Cover Artwork by J

Version Galore is a newly found label, deeply rooted into the music culture. We are bringing you the selected reworks / re-edits from the top producers in the game, showing lots of respect and care for the original, but elevating it's spirit and taking it somewhere else. It's all about the dialogue of cultures and the idealistic desire to pass the music legacy on! No half-measures, played-out tunes, lazy cuts, or boring "808-kick boosting" biz!
On the first release of the label we are delighted to bring you the chosen cuts from the man that needs no introduction - Opolopo. He knows a thing or two about making a personal version of a track that can easily overshadow the original, and we guess that's the case with the two cuts he prepared for us on this
records. Things escalate fast. On the A-side you will find originally a midtempo mild jam "Go Get It", which is turned by Opolopo into an effectively-upbeat stomper that will inject true feeling and groove in any house or disco set alike.
It's one of those rare occasions when a soulful tune turns out to be super dance-floor efficient no matter what!
The B-side is all about the raw and emotional funky madness of "American Promise". It's infectious groove, pinpointed with growling sub-bass is just devastating. Epithets are irrelevant here - just play it loud, but with caution! "Version Galore - play some more!"

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.