Buscar:will b

Weorus is back. This time with four deeply minimalistic tracks.
The opening track comes with Andrea Ferlin’s masterpiece “TRK”. The evolution of the sound rising in it uplifts the sense of a deeper inner self. Perfect meditative notes bound together with miscellaneous hi-hats and organic tones.

The journey continues with Neem’s “Joke or serious”. Master Neem knows well how to touch souls and push the right buttons. The track is an evolution of a higher time space perspective. Listen carefully, it will change you.

Fabrizio Siano’s “L’erosione monometrica” flips the vinyl of the B side. Constant evolutionary and revolutionary sound design brought together with majestic writing. The micro minimalistic approach stands out in front of a constant kick and bass roll. The background piano gives the right atmosphere for a newer meaning of the track.
To close the 12” is Dragosh’s “Kardiomomo”, a one shot production that brings out drum based percussion throughout the track. Vocals and drifting concepts melt together with the less electronic touch of a piano. Perfect for afters and sophisticated mixes.
Weorus strikes again.

Watch out for its (r)evolution

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!

Our dubby ‘detective’ Axel Larsen is back for another 10 inch on the « Special » series (MMS), establishing the « Criminal Music » genre for good !

You will find in this EP a concentrate of foggy atmospheres, heavy basslines, tension rhythms and dark melodies that will fit perfectly in your next Cluedo night. It can also be used during a GTA session, but be sure that its maximum effect will be in a dark room full of crazy motherf****rz 

Limited to 300 copies, don’t snooze !!

Dear listener,

On behalf of re:discovery records, it is with great excitement that we announce the release of Stryke – The Introspection Trilogy (1994-2022). rd011 features a track that is very close to my heart. My senior year in high school. I was heavily into chill-out music at the time. Labels like FAX, Instinct Ambient, Reflective, Astralwerks, em:t, Silent, Moonshine, Rising High, Warp, Exist Dance, Visible, Eye Q and others were giving me such a wide array of beautiful sounds of more subdued techno and rhythmic ambient music. I was buying every compilation I could at the time that looked remotely different based on the artwork, the unusual artist names or the tracks. I was soaking in everything I could under the chill-out style. That year 1994 I picked up the 2nd edition of Moonshine's 'United State of Ambience 2'.

It has so many good tracks on it. One track that always held a special place in my heart was Stryke's 'Introspection pt.1'. The simple but catchy melody layering. The easy atmosphere made me feel like I was floating in the ocean. The deep 808 bass notes (I hope one day you and I will hear this on an amazing sound system). The amazing strings reach a crescendo nearing the end. This track has so many simple but beautiful sounds on it. It's a great example of what I call sequencer-styled electronic music. At a time when producers layered tracks in more of a sequence then building or placing sounds. In 2021 I was able to get a hold of Greg Chin to see if he was interested in putting the track on my label and letting it breathe freely on its own side alone as the highlight of an EP. Greg was enthusiastic about the opportunity and told me that he always wanted to complete the trilogy he had in mind of a part 2 and 3. The ominous and eerie part 2 adds a terrific tension to the finale of part 3. The last being almost an updated part 1 really concluded the trilogy for me. Both parts melded together on side B pushing near 17 minutes. I want to thank Greg for letting us be a home to complete his journey.

- Tim Humphrey aka TIM aka errorsinspace

August Greene culminates years of mutual respect and friendship, channeling the musicians’ various talents into a cohesive project. The perfect marriage of jazz, hip-hop and soul, it’s music that just is. This is black expression the way God intended: earnest, unfiltered, and harmonious. Throughout August Greene, you feel the abundance of Glasper’s rolling keys, the sheer honesty of Com’s lyrics, and the nuanced subtlety of Riggins’ drum work. It’s a fluid sound that’s sorely needed in today’s landscape, and a teachable moment for the next wave of creators. “I feel like we need to set the bar for this generation of musicians and producers,” Riggins says. “There’s a lot of computer-driven music. This is the opposite of that. We’re showing you can still use your creative muscle on an instrument to generate your own sound.” August Greene is a meditative offering that stands tall against the era of “fake news.” “They body snatching black girls in D.C. / Politics and propaganda on the TV,” Common observes on the opening track. On “Nirvana,” the lyricist uses a stuttering percussive loop and faint piano chords to search his inner being: “Thought I was gonna fly when Obama became the king … when it’s all done, will I have heaven’s dress code, and been able to let God and let go.” As Com puts it, Glasper and Riggins’ soundtrack allowed him to open up in ways he hadn’t done previously. Like on “Fly Away,” for instance, where he riffs on the public relationships he’s had. Other songs, like “Black Kennedy,” feel spacious and scenic. “I got to go new places with the music, and it didn’t have to fit within a genre for me to participate on it,” he says. “This gave me an experience I haven’t had in a long time, so I want people to feel that. I want this to be a cleansing of whatever doesn’t feel good or inspiring.” In the end, August Greene speaks to those pushing through the dark for brighter days. It's a masterpiece from which virtue can shine. “I want people to go on the ride and be open,” Glasper says. “We just created and it became a sound. I want people to approach this with an open mind and without expectations.” —Marcus J. Moore

For its first release, Caprices Music relies on Brizman, an Israeli based in Berlin. In a competitive market of international DJs and producers, Brizman's distinctive sound consistently delights the hearts of listeners. He has produced a massive collection of minimal house tracks that have already been released on renowned labels. Now he's hitting his notes on Caprices Music with two original tracks "Mama Shelly feat. Linn Stern" and "Berlin Moment" in tribute to the recent death of his mother. If one is a melancholic and haunting ballad, the other is distinguished by a deep but heavy sound. As for the remixes, Tripmastaz and Silat Beksi deliver two dancefloor bomb. The remix of Silat Beksi will appear only on the vinyl version.

Kavinsky (1968 - 1986)
Rest in peace.

Kavinsky died in 1986 in a car accident, at the wheel of his Testarossa. He reappeared in the skin of a zombie in 2005, for the release of his first EP " Teddy boy " on Record Makers.

Teddy Boy marks the entry of Kavinsky on the French electronic stage. "Testarossa Autodrive" makes the unanimity and forges the artistic print of the artist, Mr Oizo / Quentin Dupieux will make a remix. It follows this EP which Kavinsky will enter into the "French Touch" and will begin to be known, in particular with the amateurs of the worlds.

J Cole Releases the long awaited vinyl for his album K.O.D. which was previously digitally and physically released on CD in April 20th. The album which was released as a surprise on Dreamville Records shot to success and charted at #2 in the UK. The album which is true to J Cole tradition was a solo album with surprise Dreamville feature of kiLL Edward. The vinyl is which is 12 tracks will be released on 20th July in the UK.

Following up on the worldwide success of their new album Education & Recreation, Surprise Chef drops a must have two-sider for those of us who can't get enough 45s. The A side, "Money Music" is a bassline driven mid tempo tune that catches you from the first note and carries you through all the gorgeous changes. Piano, vibraphone, and guitar trade places over a watertight drum track that builds up, drops down, builds up again, and changes to half time to take it all home. The B side "Suburban Breeze" kicks in the door with an intro that is bound to be sampled and will get your blood racing and your head nodding. They lure you in with the neck snapping intro that is bound to be sampled and bring you from mood to mood as they change the energy from tough as nails to floaty and groovy, and back to tough as nails. Also Available From Surprise Chef: Education & Recreation LP / CD, Velodrome b/w Spring's Theme 7”.

Samuel L Session and Van Czar drop a four-track techno EP on Unrilis that showcases a deeper and more hypnotic sound with dystopian atmosphere and driving percussion. Rino Cerrone launched the Unrilis record label over 15 years ago, and part of the label's back catalogue is its iconic Rilis series. 2022 sees the relaunch of the Rilis series that has a focus on underground DJ tools with raw analogue sounds. The Rilis series was originally launched in 1999, and was restricted to a concept on only 10 releases, each pressing a limited run of vinyl. It was hugely popular with each one often selling out in only a week and picking up DJ support by people ranging from Jeff Mills to Richie Hawtin. Those first 10 releases were focused on Rino Cerrone's own music, but since his retirement from the industry, the revitalised Rilis series will welcome other artists whose sound matches the label's underground concept.
This latest release in the Rilis series features collaborative tracks by Samuel L Session and Van Czar who have previously teamed up for releases on other imprints ranging from Marco Bailey's MB Elektronics to Ben Sims' Hardgrooves. Both are also successful solo artists, Sweden's Samuel L Session being well-known for his headline DJ sets at clubs around the world, along with the music he has released via iconic imprints such as Slam's Soma, Shlomi Aber's Be As One, Len Faki's Figure and Emmanuel's ARTS plus his own imprints SLS, Cycle, New Soil, and Klap Klap Belgium's Van Czar is also an accomplished DJ who is well-established across Europe and he has also released music on respected record labels ranging from Kevin Saunderson's KMS Records as well as the classic imprint, Yin Yang.
'Air Raid' opens the release with its eerie pads, spine-tingling melody loop and machine-driven percussion. It's got a raw aesthetic with dramatic claps and snare fills that add to the building suspense.
'18-022' is a dark and stripped back track with modulating synth textures layered with fast-flowing high-end percussion. Its pounding kick drum and clap rhythms add rigid structure to its expansive atmosphere and dance floor focused groove.
'Route 200' has thrashing cymbals punishing claps and rippling pads that create a stripped back groove submerged in deep atmosphere. Rich with analogue textures and gritty sound design, its relentless energy is tailor made for club sound systems.
'Objectivism' closes out the release with it's funky bassline and bleeping melody. Whirling textures and fluttering percussion maintain an unrelenting tension that's driven forward by the pounding kick drum.

One thing that is written in stone even in these days of near endless uncertainty is that when Topical Disco unleashes one of their vinyl releases they are a no questions asked, must have. For a label which regularly dominates the top spot of the download charts they still consistently manage to up the ante for their vinyl drops. It’s no wonder at all that the previous editions have gone on to become collector’s editions, disappearing from the shelves as quickly as you can say here today, gone tomorrow.

Volume 24 easily keeps this incredible run of club vinyl masterpieces going strong. Packed across two side of black gold are tracks from newcomers and scene heavy hitters alike Toscana, Toby O’Conner, Charly Angelz and Frank Virgilio.

The mysterious Toscana leads the way with the wonderfully enigmatic ‘The Girl With The Red Hair’, a six and a half minute slice of pleasure packed Balearic disco. Incessant, warm and inviting it combines a divine groove heavy bassline, funky guitar licks and a subtle percussive backbone with a rather brilliant stand-out guitar solo. This is a track which is guaranteed to fill those summer dancefloors.

Next up is Toby O’Conner who is returning to Tropical Disco after his lauded ‘The Heist / 1920 EP’ with another high energy slice of disco goodness in the shape of ‘Cave Of Gold’. Again this is classic Tropical Disco, combing both live chops with jazz overtones as throbbing club ready drums provide the framework for a bubbling bassline, subtle keys and sax solo’s aplenty to weave their magic. Expect jazz inspired shapes to be thrown on dancefloors across the globe when this one drops.

Over on the flip is Charly Angelz, another artist who has been making a considerable swirl on the disco scene of late. ‘Mother Phunk’ is very aptly named with an absolute gem of a bassline front and centre as classic funk vocal chops, vibey pads and guitar stabs all combine perfectly with earworm strings for anther sure fire floor filler.

Closing the EP out is scene stalwart Frank Virgilio. Hailing from Napoli Frank has been behind a virtual disco smorgasbord over the five years including regular chart bothering appearances on Tropical disco. ‘What We Love’ tips its hat to the golden era of house music, think 90’s Soulfuric meets MAW. Vibes abound here from the classic drum sounds right through to the divine ethereal percussion which adds that touch of class. This is another track which will sound just perfect on the golden Isle this coming summer, did some-one say Ibizan boat party? We’re onboard!

Following their iconic remix of ‘Space Date’ in 2019, the classic collaborative work of Adam Beyer, Layton Giordani and Green Velvet, we are thrilled to have Pleasurekraft back on Drumcode for their debut solo release on the label.

Not keen to colour within the lines, the production duo caught Adam Beyer’s ear as they carved out their self-dubbed ‘cosmic techno’ niche within the techno genre. Conceived as a musical vision that attempts to go beyond mere hands-in-the-air moments, Pleasurekraft incorporate a cinematic soundscape as a canvas for philosophical themes regarding humanity's place within the cosmos. Their 2020 album, ‘Love in the Age of Machines’ explored the myriad and often dystopian relationships we have with the ubiquitous technologies that pervade our every interaction.

The new two-tracker ‘Sex and the Machine’, continues this thematic trajectory in considering the role machines will increasingly play in satisfying the more carnal desires of our species. The title track considers questions such as, will machines of the future have the capacity for thoughts and feelings? Will our answers to such questions be forever tainted by our singular perspective, unable and unwilling to grant future silicon entities such capabilities? The EP’s second track, ‘Body Horror’, with its repeating refrain, “You are changing”, considers the manner in which future technologies will continue to merge with biological entities giving rise to all manner of unimagined consequences. Both tracks showcase the tough, yet still melody-driven cosmic techno sound Pleasurekraft has become synonymous with. However, despite the cerebral content that inspired the music – the form is still pure dance floor muscle.

The first album on Girasole Records is from longtime friend William Caycedo. Since his first release on the label he morphed into a bass funky loaded unique sounds machine. He delivers a storytelling adventure on vinyl with this full 9 track album. G Soul it is!

• Gil Scott-Heron’s “Pieces Of A Man” is one of the most important albums in the history of black American music. Although it didn’t set the charts alight, it stands as a masterpiece alongside contemporary works such as Marvin Gaye’s “What’s Going On”, Curtis Mayfield’s debut LP, Funkadelic's “Maggot Brain” and Isaac Hayes’ “Shaft”. All were brilliant in their way, but lyrically Scott-Heron was on a different level from almost every other writer.

• It was a landmark album with its bold, poetic lyrical content allied to progressive and melodic music, and it saw producer Bob Thiele help Gil and his musical partner Brian Jackson paint the picture they needed to get their message across. Thiele put Gil and Brian together with Ron Carter, Hubert Laws and Bernard Purdie, giving them the musical heft they wanted.

• For many years the focus was on ‘The Revolution Will Not Be Televised’, which was included in the Grammy Hall Of Fame in 2014, but this focus sometimes overshadowed the heights which Gil reached throughout the album. Today ‘Home Is Where The Hatred Is’ and ‘Lady Day And John Coltrane’ are also considered standards, whilst the album’s title track is a prescient and heart-breaking warning about the way in which big business dehumanises its workers.

• The album reached its landmark 50th year in 2021 and we decided that we would create this special edition to celebrate its incredible sound. The original master tape was taken to Frank Merritt at The Carvery in London, who cut it as a double disc 2 x 45 RPM record, in an all-analogue chain. The original record - especially side two - was long, and serving it up this way allowed the music a greater level of fidelity.

• The release is packaged in the original album’s gatefold sleeve.

Australian producer Ben Sun joins Phonica’s main label with a solid four track EP of House music in its various forms, from slick Disco loopers to deep ambient tribal rhythms.

The now London-based Ben Davidson has a string of well-received records under his belt, under the aliases Benjamin Sun, Earth Patterns and now as Ben Sun. His regular outings on Delusions Of Grandeur and Voyeurhythm are particularly of note, as well as recent excursions on Utopia and Razor N Tape. We’re delighted to have him as part of the Phonica family now too!

The 12” starts with ‘Trip’, a gradually building filtered Disco teaser, with classy deep House number ‘Mellow Madness’ following up. On the flip is the sumptuously balearic roller ‘Glow’, before the record’s euphoric floor-filler ‘Siren’ rounds out the record in style. We have a feeling this particular earworm will be lingering in records bags (and USB sticks) for some time!

Josh Burke is a guitarist/keyboardist/programmer from Chicago, USA, who specialises in a music that could, perhaps, best be described as an amalgamation of drone, kosmische and ambient, all with a distinctly euphoric flavour, as though these sounds were channelled rather than thoroughly composed.

He has over 30 solo releases to his name as well as splits with Jeffrey Astin (of Xiphiidae), Spirals and Body Morph, and also - like most of his peers - operates under several additional aliases - Ocean Diamond, Futuresport, The Masque, Silk Fountain, 56K, Sky Limousine and Nehal Shah - as well as ensemble and collaborative projects including Bermuda Link, Cartoon Drips, White Prism, Practical Applications Of The Chaossphere, Starfox, Camp Crystal Lake and Holographic Communications Of The Third Sky.

Freude am Tanzen is back for a very special occasion. In 2022, three Various Artists EPs will be released, celebrating the 24th anniversary of the label from Thuringia. Whilst occasions like this would
normally be celebrated on the quarter century, this release makes sense not only on the mathematical level. 3 compilations with 4 tracks provide the half of 24.
The release however also makes sense in terms of history. Freude am Tanzen is showcasing a broad range of electronic music, never neglecting their history but also looking into the future.
The second Edition of the Compilation features tracks from Caldera, Freund der Familie, Gathaspar and Front Left. The A-Side focusses on Dub-House. Calderas Track ‚30 Friends‘ gets a smooth yet groovy vibe across. Freund der Familie contributes a hypnotic production, which would suit well incorporated in a warm up or on the home speakers.
The flip side goes deeper into the minimalistic region of electronic music. Gathaspar has produced a trippy journey, featuring the vocals of Anna Partini. One for the morning hours on the dance floor.
Front Left praises the groove with his track ‚AM3N‘. Very playful and delicate and a lovely selection of percussion. Do not miss!5.

Soulful sounds from the South of Italy, coming courtesy of Soul Departure Recordings label head Kikko Esse. Four dynamic, emotive, and downright delectable house cuts that will have you dreaming of Italian coastlines and Campari’s. Produced to perfection, laced with feeling and driven by groove, it’s house that hits you in the heart.

If the ideal greatest hits collection captures the fundamental truth about an artist, Eric Kupper’s – 'A Lifetime In Dance Music' highlights an envious catalogue, extraordinary production skills and ultimately reveals a passionate maven of house music.

The 24-track compilation celebrates the vast work and revered career of Eric Kupper and is a collectable occasion to re-acknowledge his influence and golden touch as a remixer for over five decades.

Within this first volume you’ll find signature and standout remixes for all-time greats such as Diana Ross, Depeche Mode and Degrees of Motion alongside Kupper classics both new and old under his own name and the legendary K-Scope alias.

'A Lifetime In Dance Music' will be available across three separate vinyl and digital release packages including a full collectors CD release in 2023.

Emblematic of an iconic nightlife and reflecting on the sheer scale of his work for seminal artists including Curtis Mayfield, Diana Ross, Earth Wind & Fire, Gloria Gaynor and Donna Summer, this ultimate collection serves as a reminder of Kupper’s astounding blend of studio power, control, and agility as a producer and remixer. As the writing and production partner of the late godfather of house music, Frankie Knuckles, Kupper is a true musician and multi-instrumentalist who has played on, remixed, produced or engineered over 2,000 records spanning a wide range of contemporary musical genres.

Having worked on over 100 Billboard #1 ‘Dance’ records and mixed two records that have received the ‘Dance Record of the Year’ Grammy award, it is safe to say Eric Kupper’s hugely successful career underpins house music.

Berlin-based Brizman is launching his label, Silvi. He is keeping the theme personal as a tribute to his dear mother, who sadly passed away recently. Roy has contributed two original cuts to this EP called The First Year.

On the A-side, the title track "The First Year" is featured a 12-minute implacable groove followed by a grand piano line that will ring in your head for days.

In contrast, the B side "Feels Like Home" is a classic morning glory moment track with a euphoric yet melancholic melody that will undoubtedly warm your club nights indoors or outside.

The EP comes to a satisfying conclusion with a well-crafted remix by Vid.

After our last release titled “jazz Baileys” we are back with House Experience Vol.2., this time in Ep format, presented by Bs As deep.
The previous volume was clearly dedicated to being a various artists, also with the participation of Bs As deep.

We have been working since vinyl number 4 with musicians, who have a participation in almost all the tracks released.

When we talk about musicians, we are including keyboardists, saxophonists, percussionists, guitarists or bassists.

Our goal or common thread has always been to achieve a warm and forceful sound, so that it can be heard in any environment, and at the same time be used at any time of the night, on a dance floor.
With those involved in both past and current releases, we share a common idea, which guides us in the interpretation of each song.
We also base ourselves on house influences from the late 90s (96,97,98,99)

Personally, we are moved by those times in which the sounds become more sophisticated, more elaborated in detail, and that is when we believe that the house that we listen to today with soul and jazz sounds, take on more relevance.

They also promote Afro and Latin percussion, leaning towards that New York and Puerto Rican fusion.

For all this, we like to include classic instruments, such as roland rhodes, the much-loved Juno, or korg packages with their inevitable M1.

Many shots are made live through a session expressed by the musician, who improvises for a while, from there we extract some part, which can be used several times in several tracks.

It is always necessary to do an editing job to adapt and correct any dissonance or variation in time that implies desynchronization in the beat. All this working in the sequencer of the daw to use.
On this album you will be able to hear soulful house sounds strongly impacted by keyboards, flutes and session basses, as well as some perfectly adapted percussion samples.

(Late Nite Tuff Guy & Farley 'Jackmaster' Funk Remixes)

An ‘80s dance classic from the legend John Rocca, gets a fresh new take from Aussie edit king Late Nite Tuff Guy alongside a remastered reissue of Chicago house royalty Farley 'Jackmaster' Funk’s 1987 Hot House Piano Remix.

The main man behind jazz funk favourites, Freeez, John Rocca took to the studio in ’84 and whipped up an electro-fied steamer in the form of ‘I Want It To Be Real’. Tantalizing synthwork, beefed up basslines, gated snares and pure ‘80s vocals, it’s a melting pot of influences with a catchiness that caused a serious stir.

This special double header of remixes kicks off with a brand new mix from Late Nite Tuff Guy. He builds up the brilliance with masterful effect, keeping the vocal in the back pocket till the final frontier whilst adding in some buttery new synth magic and deft filtering to the mix.

On the flip, Chicago house don Farley 'Jackmaster' Funk’s 1987 remix homes in on those blissful piano and vocal stabs for a dubbed out ‘Hot House Piano Mix’. Spiritual keys laid down with passion that will be sure to get any dancefloor hot under the collar.

DJ Feedback:

OPTIMO/ JD TWITCH
Nice! The Farley mix is an all time classic. Lovely version from LNTG.

GERD JANSON
I have love for this.

GRAEME PARK/ THE HACIENDA
I vividly remember playing this record the day it was released while working at Selectadisc in Nottingham like it was yesterday. I played it the same night at The Garage club not long after I started DJing there. It brings back some great memories and this superb remix is just wonderful. Its made me get all bleary eyed and tingly. Absolutely tremendous stuff.

AXEL BOMAN
Love this

KAI ALCE / NDATL
This is a HOT EDIT from Late Nite Tuff Guy!

A LOVE FROM OUTER SPACE/ SEAN JOHNSON
Killer - love it

NORM TALLEY
I love this!

CROSSTOWN REBELS
Nice one!!

JACQUES RENAULT / LETS PLAY HOUSE
LOVE the classic Farley piano mix and the LNTG version is a fun take too!

OSUNLADE/ YORUBA
LOVE THIS!!

DANIELE BALDELLI
Love this classic, and now more love for both new remixes

DANNY TENNAGLIA
I really like this remix

DANNY KRIVIT/ BODY & SOUL
Nice

DJ KEMIT/ ARRESTED DEVELOPMENT
An incredible beefed up edit of an international dance floor classic. 10/10

HELENA STAR / NTS
Amazing record, those chords!!

LOUISE CHEN/ NTS
I’d love to play this.

ERIC DUNCAN/ RUB N TUG
This ones cool.

MAKE A DANCE / BEN
Yes yes yes pease love the original so much.

HOT TODDY/ CRAZY P
The Farley mix is a total winner which is a new one on me, LNTG mix is pretty tasty also

TERRY FARLEY
Yes please. A big early House lesson for me BITD

SUB CLUB HARRI
Realy diigin this.

GROOVE ARMADA / TOM FINDLAY
Love this, production is so good!

Home is a powerful concept with an abstract definition. This solo album takes those subjective ideas and unifies them under one roof. Evolving from Jerve’s #dailypiano posts in 2019, ‘The Soundtrack of My Home’ relays thoughts and improvisations that trace his journey from childhood home to adult and now, father. Nurturing a mood or feeling, each song begets a sonorous story of someone close to him, expressed through the language of piano playing.

Jerve makes use of his hands as a human step sequencer, often programming two or more motifs of varying lengths in a polymetric fashion. These melodic patterns and arpeggios evolve at varying rates but grow around clear progressions with standard 8-bar forms.

The first track - ‘Kjetil’ enters with an earnest, gentle and endearing character - like a young river near its source. As with such a river, it will grow to varied sizes throughout the album but must begin as a humble expression from the source. The following titles sketch his interpretations of the people that have made up his home.

There is a theme across the album that unites the songs, so much so that differentiating tracks can at times be difficult. Though, Jerve punctuates this overarching mood with a few distinct structures, as found in tracks ‘Karoline’ (wife), ‘Espen’ (brother) and ‘Sven’ (father). ‘Turid’ (daughter) and ‘Jon Eirik’ (brother) seem less directive and welcome more intrigue, reminiscent of a curious child wandering through the dappled light of a forest.

‘Iben’ (daughter) and ‘Eivor’ (daughter) have a hypnotic, three-pointed melodic structure that leaves the listener suspended; transfixed - while ‘Sussi’ (cat) carries unique momentum and suitably feline autonomy. ‘Mette’ (mother) has a mood of ascending, like that of a child's upward gaze at their maternal carer. Utterly nuanced in structure, Jerve leaves ample space for subjective interpretation and allows the listener to weave their own life into the tones.

As expected from the founder of Dugnad rec - this album signifies a deeply personal sentiment. Sometimes we are forced to confront the music and other times, we are left to wonder. Here, we find a balance and unity that allows little thoughts and worries to drift away, bringing us warmly to rest in the present. The LP edition's bonus track features producer/performer extraordinaire Stian Balducci, drawing a line to the next chapter of piano-based music from Dugnad rec: TOKYO TAPES: PIANO RECYCLE.

SAISEI founder Junki Inoue continues his vital archival work uncovering the riches of Japan’s distinctive electronic music scene and bringing them to new audiences around the world. The Sounds Of Transonic compiles six tracks recorded in Tokyo between 1991 and 1995 and released by the pioneering Transonic label, founded in 1994 by Kazunao Nagata and active until 2004.

Transonic’s catalogue is a glittering roll call of the scene’s major players, whose inventive and genre-blending work established forward-thinking house and techno in Japan in a way that would shape the country’s electronic sound for years to come. Transonic was instrumental in giving exposure to the work of these artists with its emblematic series of CD compilations, released over a short couple of years in the mid 90s. Beginning with 970-1450km/h, Feedback and Range, the series also included The Roots Of Transonic, featuring music from parent label Trigger. Alongside these compilations came much sought-after solo albums each packaged with striking cover art that makes the discs a visual treat for collectors to this day.

The Sounds Of Transonic brings together six tracks from the catalogue into one breath-taking package. The influence of hi-tech jazz and machine funk from Detroit is undeniable in ‘Dream Trance’ (Mind Design) and ‘Blasting Soul’ (Interferon), while ‘Under The Ground’ (Palomatic) and ‘Chelsea’ (Suzukiski) are permeated by the artificial intelligence and trip hop emanating from the UK at the time. The compilation is bookended by two tracks by Nagata himself (as Organization): ‘Space Ball’, a Model 500-worthy chase through the cosmos, and ‘Call’, an eerie echo of Kraftwerk’s telephone, transmitting expectantly out into the void and, finally, receiving its celestial answer.

With The Sounds Of Transonic these formative pieces of music will now be available internationally and, for the first time, on vinyl.

SAISEI is a Japanese word which translates to ‘reproduction’ and ‘to play’ (as in playing records). Japanese culture is widely known for its traditional nature just as much as it is for being forward into the future and this label’s concept does justice to exactly that. Having started digging for records as early as 16 years old, Inoue delved into productions from 1990s Japan to uncover these native gems. SAISEI’s core concept is to recapture and reintroduce unique pieces of Japanese electronic music onto vinyl, to an audience it never reached before as most of this music was only released in Japan.

Red Hot Chili Peppers announce their brand new studio album, Return of the Dream Canteen which will be released October 14th on Warner Records. The surprise announcement was dropped at Denver’s Empower Field to rapturous response as the North American leg of their critically and commercially acclaimed global stadium tour kicked off.

The news of Return of the Dream Canteen's imminent release marks the band’s second album of 2022, hot on the heels of the platinum-selling chart topper Unlimited Love which was released in April debuting at #1 in the UK. It will also be the band's second Rick Rubin produced album of 2022, and reinforces their reputation as a band at their absolute peak, riding the crest of an undeniable creative wave.

Continuing to win over audiences across the generations, the band performed a run of sold-out UK/EU dates earlier this year, including two nights at London Stadium. "A scorching European touch-down from the California legends" – CLASH

We went in search of ourselves as the band that we have somehow always been. Just for the fun of it we jammed and learned some old songs. Before long we started the mysterious process of building new songs. A beautiful bit of chemistry meddling that had befriended us hundreds of times along the way. Once we found that slip stream of sound and vision, we just kept mining. With time turned into an elastic waist band of oversized underwear, we had no reason to stop writing and rocking. It felt like a dream. When all was said and done, our moody love for each other and the magic of music had gifted us with more songs than we knew what to do with. Well we figured it out. 2 double albums released back to back. The second of which is easily as meaningful as the first or should that be reversed. 'Return of the Dream Canteen' is everything we are and ever dreamed of being. It’s packed. Made with the blood of our hearts, yours truly, the Red Hot Chili Peppers.

Force Placement's AEROBICIDE EP is a killer workout of afterhours acid and galaxian breakbeat.

Four hypnotic bangers from Los Angeles with remix support from DJ Manny, D.I.E., and Martyn Bootyspoon

Los Angeles – Following releases on 100% Silk, Clave House, BANK NYC and Lost Soul Enterprises, FORCE PLACEMENT arrives on EVAR Records with four tracks of naughty squelching acid and breakbeat techno hypnotically calling you to the afterhours, backed by a trio of remixes from Martyn Bootyspoon, Detroit In Effect, and DJ Manny, representing North American excellence in techno, electro, and footwork, respectively.

A longtime friend of the EVAR crew from renegade breakcore parties in Santa Barbara to underground experimental electronics happenings in Los Angeles, Into the Woods and The Black Lodge resident Jason "Force Placement" James taps into his love of weird trippy atmospherics, rhythmic complexity and DIY punk/noise aesthetics to create this quartet of mystic, mysterious bangers, crafted with the MPC1000, Elektron's Octatrack sampler, the Korg minilogue, and Ableton.

The AEROBICIDE EP begins its killer workout with "Yeeks," a cabalistic ass-mover driven by a haunted female vocal sample floating atop locomotive bass and shakers – a factory's worth of industrial sounds and eerie accents move in and out of the mix, adding intrigue and interest.

Moving to the main room of the rave, "Balloon Animal" shoots you through an inflatable tube of squelchy acid techno as knives cut the air around you, while "Upsetter" adds a shuffling breakbeat rave bounce into the acid mix. "Quartered" chops it up with Clone-style dark analog electro that gets increasingly deconstructed by dirty, stretched percussion and rivulets of synth reverb raining down the walls.

Rounding out this occult aerobics class, some of North America's most compelling forces in dance music are called in for remix duty. Unsung electro hero Detroit In Effect aka D.I.E. – the man behind such classics as "RU Married" and "Get Up" – leans deep into the classic Motor City palette, pairing lush, spacey pads with that hard-swung Detroit bounce to create a mellow groover that will keep you going all night. Montreal's world-class party starter M. Bootyspoon recalls Substance Abuse-era Hawtin and mid-'90s Midwest techno on his "Balloon Animals" remix, with nasty claps and concentric loops of hard acid bleeps and squelches. And who better to tackle "Upsetter" than Southside Chicago's footwork futurist DJ Manny? The Teklife king eschews the romantic R&B tones of his recent Planet Mu album for a tough-as-nails rework that ups the tension and the tempo to create an otherworldly saga for the dance circle.