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Alias G is back!! 3 Hot Houz Bangers from Chi Towns original gansta..
Support in the bag from Actress, Delroy Edwards and your mums favourite DJ.


Alias G been out here doing this thing with the likes of Gene Hunt, Marshall Jeferson and Marcus Mixx.. this as reel as chicago gets, real ghetto houz gangsta muzak for the heads dat remember

Alex Font is a serious guy who knows that now is his time. A multi-instrumentalist, as well as a producer and DJ, he can sometimes be seen on stage in trademark shirt and bow tie. He declares himself a lover of vinyl and, above all, what he calls real house. I think that says it all.

'NOW IS MY TIME' is the fifth release on the Oblack label and is available in black vinyl and digital. It is undeniable proof that Alex Font has arrived and is now a permanent force on the House scene, mainly in soul and dance, but who also knows how to reinvent his sound using new tech. Always with an eye on the future of sound innovation, he still manages to keep hold of his roots and respect his great influences. Well, nothing less would do. On this EP you can tell that Alex Font (remember, this is one serious guy) knows what he has in his hands and spinning on his turntable. His knowledge of musical composition, harmony and engineering skills jump out at you as soon as the first beat of 'Now is my time' hits the speakers: darkness, sophistication, soul and groove. There's a perfect command of tempo, of where, when and how. You pick up on the instrumental skills which allow him to do what he wants, when he wants. That's what's so great about this: you're struck by the ease of how such perfect technique and astoundingly good taste come together. Digitally analogical (or is it the other way round), this is the deeply profound vs. the dancefloor. It fascinates and liberates, carrying you off through different dimensions before breaking out of itself, with no need for artificial fanfares as it's so perfectly defined by Chicagoan pianos, hi-hats, funkoid vocals, etc. He's simply extraordinary: Alex Font signed by Oblack 005.

The remix by Martinez gives this track a technical edge and club splendor. Leaving out the more classic elements of house that are present in the original, the Swedish producer slows things down so that it doesn't lose any of its elegance, but at the same time the track gains punch on the dancefloor, and there's no doubt that it works. As cool as it is effective at inciting dance and everything else that comes with gyrating your pelvis in the early hours of the morning.

Finally, the Argentinian Shall Ocin plays the scoundrel here by adding diverse electronic elements that take the track into a new dimension. By giving the vocal more prominence, here it takes centre stage, and over a well-layered tech-house base, it makes the tremendous savoir faire of the original literally surf, while at the same time respecting and completing it.

In the end, it's great that you know that this is your time and that you want to share it, through Oblack and on vinyl, with all of us. Thanks comrade.

Unusually for a record (for me, at least), 'Constants' collects tracks written in four very different moments in time: some are recent - so recent I've only had the opportunity to play them out just a handful of times - while others are over one year old. I really wish the story behind this EP would be a bit more interesting so this text could completely blow your mind but I'm afraid there were no dragons, no sex, no drugs and definitely no rock'n'roll involved. All four were mostly produced by me while sipping coffee and wearing boxer shorts in front of a computer. I could somehow try to describe the music on here but it would probably take less for you to give it a listen. However, if you happen to be one of the humans that prefer reading about music, you might want to wait a little bit longer: hopefully some smart blogger will skip through the SoundCloud previews for you and describe them in detail using words he learned a few minutes prior to posting it on the internet. Anyway, I'm really happy to see these finally out, especially on a label I have always looked up to like Vakant. I really used to think Smoke, Kaden and Ozer were aliens at some point. Hopefully you will enjoy this music as much as I loved writing and playing it out. T PS: I was kidding about the blogger thing. Bloggers, I love you.

i met kirill from spdsc last year at a festival in bucharest called "poolside" and instantly became friends. to be honest i wasnt really aware of his productions at that time but in the end who do i know anyway so one of the first things while keeping in touch was him sending me the demo of "i need it" which he produced with his friend lipelis. instantly i fell in love with this tune and asked if its available to sign for teardrop. it was. and here we go, a few months later with remixes by myself lovebirds and mr iron curtis under his new moniker leaves from the western hemisphere and arsenii and vougal from the eastern!

SK 011, 444, Centralbron, Midsummer Night, Babar, Russian Folksong, Carbon Oxide, I Love Water, all those brilliant Tiga productions... We really don't know what else to say - just try to imagine the history and future of this dance music thing we're all involved in without Jesper Dahlbäck... Nah, rather not, right Being part of Jesper's discography is the greatest thing that has happened to Studio Barnhus up until now and these two tracks, Fransson and DX2 RMX, are up there with all those previously mentioned masterpieces.

It's been 16 years since the guy's debut on Moving Shadow and throughout those years they have recorded for a number of labels such as Reinforced, Good Looking, Hospital, Botchit & Scarper, Southern Fried, Polydor and Mr. Bongo. But their real passion is Passenger, 14 years of pushing out the cutting edge dance music of all genres and things have come near full circle.

Kameezol 2 repress... A picture at a nice price !!! One of the very first hardfloor records... A dry medium kick, changing all the time during the tracks... Loads of fun in da mix... Lots of eyeblink and cheezy cook.... And what a beautyfull Picture Disc ! Woutcha ! You might have noticed that for the 10th years anniversary of Toolbox we decided to produce real loads of special things this year... Expect more soon !

Ltd. 7" Release....

2008 was a heady time for the third wave (or was it the fourth?) of deep house, and this is a tune from Swedish Markus Enochson that was hugely popular at the time, with big dawgs like Dixon, Dean Da Costa and Jimpster all finding ways to work it into their sets. 'These Won't Put Me Down' pairs supple and broad bass with zippy synths that energise and enliven the mix without getting too main room. If you really like things pair back to the most sultry, candlelit essential,s then the Charles Webster Dub is one of his many classics. Marku& Enochson & The Subliminal Kid then combine for a second rework which layers in some filtered vocals for that woozy, blurry late-night vibe.

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