Cerca:dj tim

Lazarus Recordings makes its long awaited return with the head honchos new EP, DJ Deluxe – Alive By Default. This EP is full of his fast paced breakbeat goodness that has become synonymous with DJ Deluxe’s production style. He takes that ‘93/’94 breakbeat hardcore sound, adds some 1998/1999 breakbeat style and then amps it up with modern production techniques. You will find all that made the early breakbeat hardcore sound so good but all the dials have been turned up to 12! The only thing that can top Deluxe’s insanity is that of DJ Beeno, and here he really lets lose and unleashes his love of fast paced techno for his remix of Get On Your Knees. This EP isn’t just one thing, it's not old skool, it's not new skool, but it is both and so much more.
Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

Certain Sound Records and DJ Jazz T announce the second in a series of DJ mixtapes from the World-Famous Steel Devils Turntablist Crew.

When he is not touring the world with Jehst or High Focus Records artists or running his own legendary label Boot Records. You will find Jazz T laying down cuts or mastering some of the UK’s finest hip hop releases. So, it was an honour that he wanted to drop a brand-new mixtape for us. Spurred on by his counterparts in the Steel Devil’s crew, Jazz put together this outstanding collection of rarely or never heard beats and collaborations and distilled it into 60 mins of mixtape glory. The track listing says it all.

Label owner Steffi and Sepehr team up!!! Fast banging contemporary electro is what they serve. Fierce Psychedeli(c)a wrapped in timelessness.

In 1997 and 1998, the late great Japanese composer, producer, and DJ Susumu Yokota released two of the most eclectic albums of his decades-long career, Fruits of The Room and Greenpeace. Recorded under his Stevia alias for Tokyo Techno pioneer DJ Miku’s Newstage Records/NS-COM, they were Yokota-san’s homage to the foundational days of club music in Japan.

This year, Glossy Mistakes are proud to present the first official vinyl editions of Fruits of The Room and Greenpeace, originally released on CD during the golden days of the format. Packaged in reimagined cover artwork created by the celebrated Japanese visual artist Masaho Anotani, these two albums perfectly capture the diversity at the heart of Yokota-san’s oeuvre. Across Greenpeace sees Yokota-san conjuring up a heady concoction of dusty loops, sampledelic breaks, kraut-rock and psychedelic downbeat. A remarkable listening experience based on the inspired era of a genius.

When Yokota-san wrote and produced the music on Fruits of The Room and Greenpeace in 1997, he was reflecting on the broader culture that surrounded dance music in Japan in the early to mid-nineties. It was an era when the psychedelic culture of late sixties America, the afterglow of UK acid house/rave, the new age movement and cyberpunk dovetailed together. Within DJ Miku and Yokota-san’s social circles, the thinking of Timothy Leary, Ram Dass, Allen Ginsberg, Jack Kerouac and William S. Burroughs electrified the air.

By 1996, the moment, brilliant and blinding as it was, was over. “We all felt that the rave scene fizzled out,” DJ Miku says. As he puts it, there was a collective feeling around him that it had all become too much. From the calm that followed, DJ Miku, Yokota-san and their open-eared peers made the decision to switch tracks and start from scratch. DJ Miku believes that with his Stevia releases, Fruits of The Room and Greenpeace, Yokota-san wanted to express the sweet and sour nature of the passing of those wild early days and his wish for true peace. “At the time, we saw eye-to-eye, with an implicit understanding of each other,” he explains. “Even now, twenty-five years later, I am confident it was like that.”

As Motorist, LA native Joe Rihn makes music which points in the direction of the soulful, jazz inflections of artists like Wax Doctor and Peshay. Time Is Now White Vol.20 pays testament to his dexterity in creating fully-immersive atmospheres, as well as his penchant for rhythmic experimentation.

The EP's smooth-as-silk opener 'Drip' typifies this, luring you in with the psychedelic-funk tones of wah-pedalled guitar plucks, and the instrumental quality of percussion which cruises along at half-time before Amen breaks pick up the pace. 'Balamb Garden' captures D'n'B's meditative potential, driven by a dynamic syncopation which swings beneath airy pads and piano tinkles before the harder-hitting raw club track 'Caldoria' brings the A-side to a storming close.

'Blast Route' picks things right back up again, together with 'Prism', which nod more to the hardcore proclivities of the likes of DJ Die with distorted drum breaks and warped basslines. 'Rover' strips things back once more, boasting Motorist's capacity for teasing out the slower, more mellow side of 160.

Available for the first time as a Picture Disc! While Edan’s critically acclaimed debut, ‘Primitive Plus’, was a celebration of hip-hop’s golden age and a true throwback, his sophomore album, ‘Beauty And The Beat’, is a vast musical collage that contains many different influences; hip-hop, rock, pop, dusty breaks, hazy loops, luxurious off-kilter samples and curveball tempo changes that are all crafted into one cohesive piece of art. In 2015, FACT placed it at number 30 on the "100 Best Indie Hip-Hop Records of All Time" list. In 2013 NME placed it at number 392 on the "500 Greatest Albums of All Time" list.

“A Psychedelic gem. It’s like ‘The Grey Album’ in technicolour” – Vice

“This is a record that exults in the joy of musical creation. It should prove impossible not to love” - The Times

“Perhaps one of the greatest US hip-hop album you’ll hear” – DJ
NME 8/10

Pitchfork 8.8/10

MOJO ****

Uncut ****

Stylus A-

HipHopDX 4.5/5

Entertainment Weekly A-

Available for the first time as a Picture Disc! While Edan’s critically acclaimed debut, ‘Primitive Plus’, was a celebration of hip-hop’s golden age and a true throwback, his sophomore album, ‘Beauty And The Beat’, is a vast musical collage that contains many different influences; hip-hop, rock, pop, dusty breaks, hazy loops, luxurious off-kilter samples and curveball tempo changes that are all crafted into one cohesive piece of art. In 2015, FACT placed it at number 30 on the "100 Best Indie Hip-Hop Records of All Time" list. In 2013 NME placed it at number 392 on the "500 Greatest Albums of All Time" list.

“A Psychedelic gem. It’s like ‘The Grey Album’ in technicolour” – Vice

“This is a record that exults in the joy of musical creation. It should prove impossible not to love” - The Times

“Perhaps one of the greatest US hip-hop album you’ll hear” – DJ
NME 8/10

Pitchfork 8.8/10

MOJO ****

Uncut ****

Stylus A-

HipHopDX 4.5/5

Entertainment Weekly A-

“Whoever gives nothing, has nothing; the greatest misfortune is not to be unloved, but not to love “ - Albert Camus

Cristian Marras - OCD - JoeFarr - Codex Empire

After a massive 30-tracks digital compilation celebrating a decade of existence, Gegen keeps moving forward with the release of their third vinyl record.

Starting it off is Berlin-based Cristian Marras: DJ, Producer and Rebels Conspiracy label founder who plays solid driving Industrial Techno and his track for Gegen is no exception. Opening with ethereal chants like a coven calling to arms, Asymmetric sounds like an existential journey from awakening to action, the switch in state of mind materialized by a menacing acid line immerging halfway through, leading us out of darkness.

Next is UK’s JoeFarr, a versatile and skilled craftsman who recently got music out on Soma followed soon by a release on Rebekah’s Elements. His track for Gegen is the bittersweet Timeless, built on the duality between soft emotional hopeful melodies and raw distorted cutting martial basslines and crushing sound design.

On the B side, Berlin’s OCD’s artist statement centered around the ideology of pain and the battle against anxiety caused by a senseless world with the goal to turn people’s fear and information overload into rage and find pleasure from overwhelming emotions in modern rhythms is in full effect on her track Egoismus. With its mournful pads like heartbroken fairies floating above an army on the move and thumping kicks characteristic of her hard sound, OCD brings you into an oneiric state where everything is out of control and too fast — a metaphor for our ages.

To round it all up is British-born, Vienna-based Codex Empire whose productions you might have heard on aufnahme + wiedergabe or Sacred Court. He brings to Gegen his signature dark and intense techno with Hagane, a track built on heavy rhythmic elements and metallic pounding sounds bouncing off each other for an unstoppable groove.

When Mani Festo isn't designing the artwork for Club Glow - the collective he forms part of alongside Borai, Denham Audio and LMajor - or running his own imprint "Flightpath", he uses his DJ sets and production to pay homage to the soundsystem-oriented music that made him. A real artist of the moment, the past couple of years have seen Mani Festo get the recognition he deserves, with many citing his prowess in capturing the darkly seductive essence of hardcore's antecedents, creating something at once nostalgic and futuristic.

Those searching for this fine balance will not be disappointed by Pathfinder EP, the next instalment of Basement Trax: a series which focuses on club-fuelled Techno and Electro. "Powertriip" is a full-bodied electro slammer, coloured by the metallic textures of an industrial soundscape. The title track continues with the same high-voltage pressure, this time with hi-hats that give it double-time energy.

The B-side is about computer love: "Big Rooms" is driven by a highly-processed acid melody whilst "Auto Sequence" is a dizzying take on breaks with high-pitched arpeggios and deranged vocal chops that add to the track's eeriness.

Truly sensational modern soul double sider. Fantastic group vocals, swirling string arrangement and top notch punchy production. Impossible to find on original format (came out on private press on KickBack Records). Spun only by a handful of deejay around the world, to include George Mahood and our very own Dj Camembert. Recorded at United Artist studio, Beverly & 3rd Street Los Angeles California in 1978. Co-Produced by JJ Wilson who was also the band leader at the time and Bert (Humberto) Agudelo who was also Chief Engineer on this project and is a mastering engineer known to have worked at Liberty/United Artists Recording Studio. He also produced the famous Rocky movie album on United Artist. Executive producer Cecil Lyde Holden from the well known Lyde, Fisher & Giles band, who has cut the classic Serve Me Right to Suffer in 1977 on HAB records. Enjoy and support the venture, and if you like the Starfire too, please bundle up and spare something. One in every home!

Ted K. Kaczynski is notorious for both tragically murdering three people (and wounding an additional 23) via bombs sent in the mail and for his numerous writings on the evils of technology he composed during his primitive residency in the woods of Montana. Film director Tony Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut Calm with Horses. This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with the BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for Best Original Film Score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. Recording during lockdown at his studio in Edinburgh, Scotland, Blanck Mass's Ben Power was in the perfect setting for a musical piece intended to capture the isolation central to Kaczynski's story. Power was also working with a director in a time zone 10 hours behind and thus many sessions required working in the middle of the night, which added a fitting intensity to the composition process. He said of the project "I wanted it to feel like an `epic'" and drew on the legends Sergio Leone and Ennio Morricone for inspiration in encapsulating the energy of the perceived good vs. evil. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art. For Fans of Tim Hecker, Oneohtrix Point Never, DJ Shadow, Coil, Arca, Andy Stott, Fuck Buttons.

The austrian musician and Live-Act / DJ Lukas Poellauer has been establishing a distinct production style with recent releases and remixes on Luv Shack Records, Fine Coincidence, Fortunea Records and Schönbrunner Perlen, melting classic house with airy, catchy melodies and mature songwriting.

“I Don’t Care” is the name of his first single for an upcoming release on Luv Shack Records and features the austrian funk Band Mary Jane´s Soundgarden and the piano player Valentin Zopp. The vastly featured musical talent of the Band makes the track oscillate between tight, club ready production and earthy, live-jazz café vibes, with the hazy voice of singer Tanja Peinsipp at its core.

For his second track Lukas Poellauer teams up with legendary singer Hubert Tubbs of "Tower of Power" fame. Tubb´s remarkable vocal timbre perfectly contrasts the light footed instrumental, as he sings about "When A Groove Is In Control". The actual groove itself is reduced and rather laid back, but Lukas Poellauer manages to bring in both dramatic and quirky overtones with a plethora of mallet, brass and string melodies.

On the flip, Patrick Pulsinger & Sam Irl deliver a fabulous dub rendition of “I Don’t Care” with a mad wobble bassline and classic reggae stabs, sitting comfortably between Grace Jones’ electronic tango and the hazy studio wizardry of dub emperor Lee Perry.

Luv Shack´s very own Space Echo put their spin on “When A Groove Is In Control”, opting for a cold and eerie vibe with the help of digital bell pads and a tight, stripped down four to the floor groove.

Rounding off the package, we have the Pulsinger & Irl Dub Instrumental which really makes the fantastic arrangement and mix shine even more.

Label favourites Balearic Ensemble return to the fore following last summer's spectacular 'Cachonda' EP, this time with a 12" treasury of wonderful, eclectic dancing music of the highest balearic order. They're joined by Das Komplex, notable for recent excursions on DJ Harvey's Mercury Rising, to round out their five-track excursion for the label: this is the Mediterráneo EP.

Opener 'Pitiusas First' sets the tone with dizzy, downbeat percussions as a bass guitar skates and glissades underfoot; soaring, starry-eyed synth work and Latin organ stabs in concerto. This homage to the islands and islets of Ibiza comes with a note of melancholy, or nostalgia: waking up to find that your best years might have evaded you - and celebrating the fact. It's a maturing of the Residentes sound in a way we haven't heard before; a gorgeous moonlight serenade, the last tango on Formentera, and a tip for orange-tinted sunsets all summer long.

Second track 'Almendros y Drones' takes us deeper into the throes of that distinctive Mediterranean sound with dizzying arpeggios and analogue bass over teetering hihats and fizzing synths; it's an eruptive, volcanic beast of a track that will take liberties with your dancefloor. Over-the-top filter action and driving piano perforations, crashing snares and resonant howls, Almendros, Drones.

The third offering is 'Mojada', taking cues from classic deep house with its deep-set bassline and modular squeaks. It's a slow burner, an aquaplane on Eivissa, cueing 303 squelches and 90s drum machine riffing before its eventual, explosive peak.

After Mojada we enter the chugging, gritty realm of Das Komplex's remixes. He refashions the heady throes of 'Mojada' into a driving, churning unit; percussions, distorted into infinity; basslines bent and buckled into submission; slabs of piano lathered with space echo delay. Wonky late-nite dancing music at its very best.

Extra treat: Das Komplex also left us his 'Pineapple Bonus Mix' of Mojada, which is a more sunset-suited affair altogether. This special mix lasers in on that exuberant piano part, then plays with percussions and dynamics to create a full-on dub version of the original track.

Gemini Wax Records is pleased to present Summer Sample 2022. Our sixth release has a collection of Deep house, Soulful house, Minimal tech and Lo-Fi house from across the globe: Adrien Calvet (FR), Mindbuster (IT), DJ Romain (US), Mr. Pepper (RU), So.young (RU), Arie Mando (NL). “2 Sides of House” – Gemini Wax Records. All tracks written and produced by Adrien Calvet, Mindbuster, DJ Romain, Mr. Pepper, So.young, Arie Mando Mastered by Rob Small Mastering (GB)

Ted K. Kaczynski is notorious for both tragically murdering three people (and wounding an additional 23) via bombs sent in the mail and for his numerous writings on the evils of technology he composed during his primitive residency in the woods of Montana. Film director Tony Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut Calm with Horses. This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with the BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for Best Original Film Score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. Recording during lockdown at his studio in Edinburgh, Scotland, Blanck Mass's Ben Power was in the perfect setting for a musical piece intended to capture the isolation central to Kaczynski's story. Power was also working with a director in a time zone 10 hours behind and thus many sessions required working in the middle of the night, which added a fitting intensity to the composition process. He said of the project "I wanted it to feel like an `epic'" and drew on the legends Sergio Leone and Ennio Morricone for inspiration in encapsulating the energy of the perceived good vs. evil. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art. For Fans of Tim Hecker, Oneohtrix Point Never, DJ Shadow, Coil, Arca, Andy Stott, Fuck Buttons.

The past couple of years have provided an ideal breeding ground for periods of reflection. Of rediscovery. And for the reignition of dwindling flames. Perhaps this is why the meeting of Tom Churchill and 2Sox is the perfect match at the perfect time. A collision of minds stoking a fire that has sizzled away into a 12” slab of choice cuts. Introspective and deep, yet not forgetting what a dancefloor wants.

Tom started making music in the mid-90s, inspired by the house and techno records he was buying as a teenager growing up in Cardiff. Co-founder of cult 90’s label, Headspace Recordings and sister label Emoticon; Tom and partner Raeph Powell were responsible for some faultless releases in the 00’s. More recently, Tom has been one half of The Nuclear Family; a production, label and events project launched with Laurence Hughes in 2013. Much of what Tom has put his hand to over the years has been hot in demand. Incredibly, this is his first physical, solo release under his real name since 2002. Despite the 20 year gap, Tom’s enthuse for all things deep and electronic has arguably never been stronger.

“These tracks have been heavily inspired by two things - reconnecting with my surroundings and rediscovering my record collection - both of which have been made possible by the events over the past couple of years.” Tom says.

“As well as spending more time outdoors around my home on the west coast of Scotland, I recorded a lot of DJ mixes and radio shows during the first lockdown, which meant I spent a lot of time digging through older records. This reignited some creative energy that had been lying dormant for a while.

Before 2020 I’d been sporadically using a rented studio space to make music, but in that Spring I put together a basic, compact setup so I could work at home. My influences are pretty clear with these tracks - I’ve drawn on the palette of classic deep house, 90s techno and electro throughout - but while there are some retro elements and familiar sounds, I’ve tried to put my own twist on things. Being surrounded by nature and working exclusively on headphones has made for a more intimate sound, and these tracks are the most personal I’ve ever done.”

2023 Restock

First ever reissue of one of the most sought after titles in the catalogue of Peruvian's label MAG, in high demand not only among Latin music collectors but also among those interested in the most exotic and experimental psychedelic sounds around. - It includes 'Astronautas a Mercurio', a cosmic descarga full of electronic effects, filtered voices and fierce guitars with wah wah and raw distortion, as well as guarachas, cumbias and descargas. - Details: Hugo Macedo was a member of the first sonora in Peru, directed by his brother: the Sonora de Lucho Macedo. His brothers were the singers of the band while he performed as a timbalero. After nine years he founded the Sonora Casino of Hugo Macedo in 1964, later incorporating his wife, Lucía "Pochita" Rivera as a vocalist. "Trompeteros" was released on the Peruvian record label MAG in 1972. Previously, the Sonora Casino had already recorded several albums for Philips since the mid-60s. At the time their repertoire was fed by rhythms such as cha cha cha, bolero, guaracha... Their MAG period would start in 1970 with the album "Pochita y la Sonora Casino de Hugo Macedo" in which Hugo Macedo's wife was granted with an important visual presence on the front cover, with a similar follow-up on "Trompeteros", creating some confusion since vocalist Pachito Nalmy was the actual main singer on the record. The vocalist, who hails from Callao, demonstrates here a great vocal versatility as captured on songs like 'Guajira del amor', with a heavy rhythm that will surely delight boogaloo lovers, or the bolero number 'Pasa, pasa', being both songs own compositions of the multitalented Nalmy. Guarachas, descargas and cumbias complete the offering of this fantastic album, one of the strongest tropical LPs in the MAG catalogue. But the real banger here is the almost magical 'Astronauts to Mercury', a cosmic descarga full of electronic effects, filtered voices and fierce guitars with wah wah and raw distortion, closer to the sound of any psychedelic recording than the classic tropical sound of La Sonora Casino, and right next to those elements, an impressive brass section that boosts the intensity of the song to the highest levels. It is not surprising that "Trompeteros" has become in recent years a highly sought-after album not only by Latin music collectors but also by those after the most exotic and experimental psychedelic sounds around... Pablo Iglesias aka DJ Bongohead

repress

More Late 70s/early 80s Westcoast Yachtpop you can almost dance to!
Buoyed by the incredible love felt for TSTD Vol. 1 in summer 2014, Berlin's renowned pop archaeologist, that master musical excavator DJ Super-markt, has leapt straight back into the soft-top and been out digging for the lost gems you'll find here on Volume 2. This is another perfect collection of missing-in-action, late-70s/early-80s smooth, singer/songwriter, AOR-paced, yacht-based pop and blue-eyed soul. Every song brims over with that West Coast sunshine, and for Volume 2 we've dug even deeper into obscure corners of LA, London, even Cologne, to create an even more potent soundtrack to that lost world that's somehow always with us. So join us on another sunset trip as we soundtrack summer 2015 in the company of these lost luminaries. Bask in every detail of that glorious over-production, and recall an era when the music industry had the time, money and sheer musical talent to make everything BIG. Pay no mind to the cynics, the cooler-than-thou-erati, or the buzz kills of the sincerity police. These are big tunes that deserve to be hits, even if it's taken 40 years to get there, driving slowly up that winding California coast road in the wonderful warm summer air.

''The acts Mermaid Chunky call to mind here tend to lean on a blithe naivete: Animal Collective, Peaking Lights, youthful Norfolkians Let’s Eat Grandma and fuckwitted freak-folkers Cocorosie. This isn’t a fashionable sound in 2020 – venture your own sociopolitical reasoning – and I reckon I’ve found the one record of its type I want to hear this year.''
Mermaid Chunky are an audiovisual duo made up of artists Freya Tate and Moina Moin. Bathing in milkmaid serenity and improvised chaos, the duo boast of pumping trance rhythms, sad Easter time chicks and seriously arousing sax solos. Much of their cultivation has come out of the mossy club culture of Stroud's SVA and London's Total Refreshment Centre, collaborating with the likes of Alabaster DePlume, Danalogue, Donna Thompson, Grove, Snapped Ankles (UK tour support) and Yama Warashi.

Their debut Faith and Industry album VEST (produced by Capitol K at Total Refreshment Centre), was birthed last year out of a history of improvised cheek and club dexterity forefronting their live shows and audiovisual solstice celebrations, recently captured by British Vogue's 2021 PRIDE series. Championing this action is the Mermaid Chunky Mothership, a gang of fellow artists and performers, often clad in nauseous satin frills, swamping the stage with french mime and slut drops (Roundhouse 2021, End Of the Road 2021, SVA Solstice always.) The MC gang just scoured their PRS Woman Make Music funding so who knows what they will be stirring up in the heat of summer soup 2022 (the most ducks in a year we will ever experience.) The only way for you to find out is to join the chunklett buffet and dip your wicked, webbed fingers into something mega.

Mermaid Chunky will perform Camp Bestival (Shropshire), Kite Festival (Oxford) and at Orbury Common’s PrahEP launch (a collaborative audiovisual May Day celebration) at the Brunel Goods Shed, SVA, Stroud 30th April - 1st May.
They will aslo be collaborating with Percolate Music on a series of London based audiovisual events this year focused on experimental, electronic womxn performers, visual artists and DJs. More special announcements to be revealed in the present future of your past.

Faze Action return with a classic original house track "Paradise" managing to seamlessly fuse Italo house with the New York sound of the late 80's early 90's. Finely mixing a cocktail of heavenly piano house riffs with dreamy vocals and dubby bass lines, topped off with some classic breakdown moments to tease the most discerning dancefloors into hysteria.
We have also included two tracks for the first time on vinyl, the classic Rudy's Midnight Machine - "Open to Your Love" and Faze Action's - "I Wanna Dancer" (Old School House Mix) plus we have the floor filling ST House Mix of "Freak for Your Love".

DJ Feedback

Jkriv:
"10/10 - Classic FA vibes! Love it, thanks guys."

Alan Dixon:
"10/10 - Quality, as always :-)"

Grant (Daddy G) Massive Attack:
"8/10 - Takes me back to the sound of Flying Records "

Andy Taylor (We are the Sunset):
"8/10 - Bouncy with plenty of piano power... thinking of Adriatic nights already. Thanks for sending."

John Le Visiteur:
"10/10 - Classic vibes all the way on this, love it and happy to support."

Phil Cooper Phil Cooper Nu Northern Soul Various Ibiza :
"8/10 - Full support. Lovely stuff. House music I understand and dig right here."

Guy Williams Flash Ibiza:
"8/10 - Nice retro bumpy - vibes will be supporting."

Oh my days, what can we say about this amazing EP that hasn’t been said before? Originally released on Remix Records in the mid 90’s, this EP has been lovingly remastered! No matter what way you look at it Rush Hour is an absolute anthem that has torn up dance floors for over 25 years now, with this new remaster, it will continue to do so for many years to come. Then on the other side is probably one of the most under played flip sides of all time, which is just criminal! Take Me Away is a great track that shows that not all happy hardcore was flying at warp factor cheese!

The Mankunku Quartet's 1968 album 'Yakhal' Inkomo’ clocks in at just over 30 minutes of jazz perfection. This compact, and to-the-point, album would sit comfortably in amongst some of the best works in the catalogues of any of the quintessential jazz labels such as Blue Note, Prestige and Impulse. 'Yakhal' Inkomo’, however, was originally released on the South African record label World Record Co., which resulted in it becoming an elusive and sought-after piece for jazz collectors. First press copies sometimes fetch as much as £1,000 on the collectors' market. It has been long regarded as one of the finest South African jazz albums and DJ / broadcaster Gilles Peterson cemented this when he included it in his "best of genre" focussed radio show, 'The 20 - South African Jazz'.

Tenor saxophonist Winston "Mankunku" Ngozi recorded the session on 23rd July 1968 at the Manley van Niekerk Studios, in Johannesburg. It was recorded by Dave Challen and produced by Ray Nkwe. The session is built up of two original works by Mankunku on the A-side, 'Yakhal' Inkomo' & 'Dedication (To Daddy Trane and Brother Shorter)', and on the B-side, the Horace Silver composition 'Doodlin', and a John Coltrane number 'Bessie's Blues'. What is striking is how the Mankunku-penned compositions not only hold their own next to Silver and Coltrane but they are, arguably, the better tracks on the record - a testament to the beautiful writing and playing of Mankunku.

'Yakhal' Inkomo' features the great musicians; Agrippa Magwaza on bass, drummer Early Mabuza, and pianist Lionel Pillay. Pillay was of Indian descent, making this a mixed-race group, thus the very recording of the album was an act of resistance as it broke the apartheid restrictions of the time. The title of 'Yakhal’ Inkomo' means “the bellow of the bull”, the Black audience would have understood this as coded community symbolism and an act of protest but it escaped the attention of the white government.

For this edition, we have enlisted the services of Abbey Road Studios mastering, and lacquer-cutting engineer Miles Showell to cut a special half-speed master from the audio taken off the original master tapes. Miles has previously worked on our Arthur Verocai, Marcos Valle and Ian Carr re-issues, and once again we are blown away by the richness and clarity of Miles' work. We have also presented it as a replica copy using the cover artwork and labels from the primary World Record Co. original version.

On the sleeve notes, Ray Nkwe the producer and the President of the Jazz Appreciation Society of South Africa writes "This is the LP that every jazz fan has been waiting for" and Ray was not wrong, it's a stone-cold timeless jazz classic.


• Half-speed mastering at Abbey Road Studios

• Repressed with an OBI strip as well as a deluxe tip-on sleeve

• One of the finest South African jazz albums

• "This is the LP that every jazz fan has been waiting for" Ray Nkwe

grey marbled vinyl / incl. dl code

"Worthy re-issue of obscure Trouble in Side, which is a one-off studio project entirely written, sung and arranged by Luigi Della Ragione. "Zulu Rap" represented a surprising alternative to the typical Italo-Disco sound perceived in Naples and around in the early 80s. This little-known production has some interesting arrangements, mostly in the short version, where the drum work out raised below, reminiscent of "Love Hangover" by Diana Ross. Actually at that time the Dance Music Report, in its 'Import' column wrote that the "intro" of the 'Alcoholic Version' was reminiscent of Madonna's "Holiday". while the 'Chinese Version' was inspired by a song from the Tears For Fears. Some of this news may pique the curiosity of DJs and collectors and provide enough motivation for the current reissue which faithfully reproduces the three 1984 versions as well as the original noteworthy cover artwork. If that wasn't enough: the B side of the original record had an extra track not listed, with the hand drums on a slower and unrelated "Zulu Rap" drum beat which is around 120 BPM, while the drums of the bonus track is about 113 BPM. A little more inside info... the beautiful Maria Chiara Perugini (aka Clio) is part of the choir vocals. She was part of the Airport label for the recording of her first solo song "Eyes". A historical re-release"

To celebrate two years of release and 1+ million plays, Vice beats’ releases “That Love” on 7” for the first time, featuring a remix from the super talented UK based producer Smoove. That Love is taken from the only UK based official J Dilla tribute album to date - “Dilla - The Timeless Tribute” which reworks Miguel Atwood Ferguson’s “Suite For Ma Dukes”. “That Love” is a detail focused and passion led reworking of Slum Village’s, Dilla produced classic “Fall In Love”. The limited vinyl release sees both a black original 45 version alongside a very limited red version. Having received worldwide praise from tastemakers and pioneers of the scene including DJ Premier and Chuck D of Public Enemy, this is much more than a tribute, it’s a special piece of Hip Hop history, raising money for the James Dewitt Yancey Foundation in Detroit (setup by Dilla’s family). Profits from this vinyl support young musicians to develop their skills and opportunities. With original artwork from Nina Fini, and mastering from Cosmic Trigger, this is a must have for the collection.

To celebrate two years of release and 1+ million plays, Vice beats’ releases “That Love” on 7” for the first time, featuring a remix from the super talented UK based producer Smoove. That Love is taken from the only UK based official J Dilla tribute album to date - “Dilla - The Timeless Tribute” which reworks Miguel Atwood Ferguson’s “Suite For Ma Dukes”. “That Love” is a detail focused and passion led reworking of Slum Village’s, Dilla produced classic “Fall In Love”. The limited vinyl release sees both a black original 45 version alongside a very limited red version. Having received worldwide praise from tastemakers and pioneers of the scene including DJ Premier and Chuck D of Public Enemy, this is much more than a tribute, it’s a special piece of Hip Hop history, raising money for the James Dewitt Yancey Foundation in Detroit (setup by Dilla’s family). Profits from this vinyl support young musicians to develop their skills and opportunities. With original artwork from Nina Fini, and mastering from Cosmic Trigger, this is a must have for the collection.

Rare soul/funk album out of Oakland, CA.
Featuring Marlon Hunter along with the Group The Standards Of Living.
Six songs full of jazz/funk groove and Modern Soul atmospheres.
First time released in 1980 as a private press this rare pearl represents a must have for diggers, djs and collectors

Aim 2 Pleez was a label made primarily for N-Zo & DJ Invincible to have an outlet for jungle in the early days of the genre but they definitely leaned more towards the more musical side of the sound. The label didn’t last that long but the end result is that the few releases on the label are now very sought after, fetching absurd prices on second hand, and this EP is in particular demand. They are two tracks of immense proportions, that not only appeal to the junglists but to breakbeat hardcore lovers alike. A proper crossover EP that has stood the test of time, sounding just as fresh today as it did back in 1994!

Cape Town based DJ & producer Saunter is up next on Chat Noir Tools ! His debut EP is comprised of four bleepy house tunes blending nostalgic feels, peak-time euphoria, spacey and ravey sounds. This toasty four-tracker is unashamedly and sturdily grooved-out, packed with warm depth, and a playful attitude.

Los Angeles-based experimental producer Al Lover will release his new studio album ‘Cosmic Joke’ on May 27th via Fuzz Club Records.
A staple of the global psychedelic scene, Lover has spent nearly a decade fine-tuning a broken, abstracted form of electronica that pools together a tapestry of trip-hop, synthesised krautrock, dub and dark ambient. Utilising an arsenal of samples, drum machine, analogue synths and live instrumentation, Lover’s is a kaleidoscopic sound that’s J-Dilla, DJ Shadow and Lee Scratch Perry by way of Brian Eno, Kraftwerk and Kluster. Central to Lover’s music is a desire to explore the fringes of psychedelic music and the common threads that run through its far-reaching styles, drawing elements from the past and connecting them to the future. Through the years he has released a number of studio albums and beat tapes, remixed the likes of Osees and Night Beats, been resident DJ for the Levitation and Desert Daze festivals and collaborated with the likes of Goat, Anton Newcombe, Cairo Liberation Front and White Fence. Now, Lover returns with his latest studio album, ‘Cosmic Joke’ – a series of synthesised philosophical meditations on modern life, in all its tragicomic absurdity. "'Cosmic Joke' came from observing the rising, compounded absurdity in recent years and seeing structures of normalcy dissolving. It’s my attempt to view these things as part of a higher-order process, through a metaphysical lens rather than an ideological one. It’s been an exercise in holding the paradoxical relationship of comedy and tragedy, joy and pain, growth and decay, scale and decline as part of an interlocked system that, at a deep level, is essential to how we interface with the world.”

Deluxe Edition is on 180g transparent green vinyl, gatefold sleeve, printed inner-sleeve.

Los Angeles-based experimental producer Al Lover will release his new studio album ‘Cosmic Joke’ on May 27th via Fuzz Club Records.
A staple of the global psychedelic scene, Lover has spent nearly a decade fine-tuning a broken, abstracted form of electronica that pools together a tapestry of trip-hop, synthesised krautrock, dub and dark ambient. Utilising an arsenal of samples, drum machine, analogue synths and live instrumentation, Lover’s is a kaleidoscopic sound that’s J-Dilla, DJ Shadow and Lee Scratch Perry by way of Brian Eno, Kraftwerk and Kluster. Central to Lover’s music is a desire to explore the fringes of psychedelic music and the common threads that run through its far-reaching styles, drawing elements from the past and connecting them to the future. Through the years he has released a number of studio albums and beat tapes, remixed the likes of Osees and Night Beats, been resident DJ for the Levitation and Desert Daze festivals and collaborated with the likes of Goat, Anton Newcombe, Cairo Liberation Front and White Fence. Now, Lover returns with his latest studio album, ‘Cosmic Joke’ – a series of synthesised philosophical meditations on modern life, in all its tragicomic absurdity. "'Cosmic Joke' came from observing the rising, compounded absurdity in recent years and seeing structures of normalcy dissolving. It’s my attempt to view these things as part of a higher-order process, through a metaphysical lens rather than an ideological one. It’s been an exercise in holding the paradoxical relationship of comedy and tragedy, joy and pain, growth and decay, scale and decline as part of an interlocked system that, at a deep level, is essential to how we interface with the world.”

'É O Que Ela Quer' is a groovy Brazilian version of The Zombies' classic 'She's Not There' recorded by the obscure Mini Trio in 1970 and released as a 7" only that should be in every DJ record box. First time reissue. Although the appeal of the post-Hair/Beatlesque hippie hook of 'Hare Krishna' on the A side of this rare single, the real gold lies on the flipside. 'É O Que Ela Quer' is a groovy Brazilian version of The Zombies' classic 'She's Not There' recorded by the obscure Mini Trio in 1970 and released as a 7" only. The band was most likely a studio group recording international hits for the local Brazilian market and their take on the 1964 classic adds a terrific dancefloor potential to the Zombies song. Very hard to find, especially in good condition, this record now gets a proper reissue for the first time.

OG deep Miami deep house from 1990 on the repress tip - Essential purchase!

This one should need no intro - it's up there with the all-timers. Moody, sexy, emotive, epic - just some of the words you could use to describe 'Outta Limits'. Never out of style, existing in its own lane and a solid gold classic from day one, 'Outta Limits' takes us on a spiralling bassline journey into our own consciousness with its hypnotic spoken word samples and sultry female vox . Mission Control is Aldo Hernandez & Ralph Falcon, 2 members of the extended Murk / DSR crew out of Miami. They've been responsible for numerous underground and club classics since the very early 90's and their sound continues to be a huge influence on producers and DJs today. Featured here, you have the 2 original slamming mixes of the track, both of which bring a different flavour to the dancefloor. Both essential and still utterly fresh today.

Buy on sight!

REPRESS

Slide into summer with the Numbers repress of Kornél Kovács’ Radio Koko, available in vinyl for the first time since its original release in 2015. Radio Koko revives a dream radio station where music never sleeps and the hits keep coming, a soundtrack for both sweaty nights out and laidback beach BBQs. Listeners will already be familiar with the irresistible curveball house hit Pantálon, the Reese + Mentasm riffs of Gangsta, the jacking Lighthouse and the ecstatic/melancholic soundclash of Malon with Marcus Price. Coming on the heels of Kovács’ solo albums The Bells and Stockholm Marathon, this repress is a timely reminder of the prominent producer and DJ’s festive musicality and party-starting approach.

It started, as it so often does, with two old friends hanging out.

John Shima and C P Smith were joking around one evening in their home city of Sheffield. At some point, Smith challenged Shima that, if the latter could produce a record using nothing more than a small modular synth setup, then Smith would release it on his Central Processing Unit label. As heads will know, while Shima has drops on imprints like FireScope and Subwax Excursions to his name, he had never previously released anything via CPU. Shima accepted, and thus we now have his CPU debut, the four-track EP CPU Modular 1.

The specific setup that Shima worked with for these tracks was Smith's Doepfer A-100P6 Suitcase, a small but mighty combination of modules and programmers. It's no surprise that Shima was able to familiarise himself with the equipment in double-quick time - after all, Shima was an early adopter of the Eurorack modular format back in the day. What emerged from the CPU Modular 1 sessions was a quartet of devastatingly effective DJ tools, mid-set rollers which will get the dance moving something crazy.

Opener '003' kicks the EP off as it means to go on. There's something at once stiff-necked and buoyant about the rhythms here, all thwacking Roland tones and snares which crack like someone whipping a length of sheet metal. While the beat barrels unyieldingly onwards, the programming in the tuned modulars is more exploratory and even trippy, full of delay-laced bleeps and flighty rhythmic motifs. It comes together for a cracking mix in the vein of artists like Jerome Hill and London Modular Alliance. Second A-side cut '010' is no different, the street-beat groove and grumbling low-ends underpinning all manner of modular wizardry.

CPU Modular 1 is really timeless stuff, a set of percussion-heavy, future-focussed beats which recalls Smith's own CPU drop 'DJ Tools Vol.1 - 808 Tracks'. '011' kicks of CPU Modular 1's second-half with a dose of Drexciyan dystopia, playing an atonal loop off of an insistent bass wiggle and neurotic hi-hats. Even when Shima tightens or slackens the modulars here, '011' remains unyielding, a dose of pure 'Wip3out' energy that you could happily groove to all day long. The EP closes out with '005', a gnarled, gurgling production which still retains the dancefloor punch of the rest of the record.

For his Central Processing Unit debut, John Shima was tasked to produce four tracks using a single small modular setup. Unsurprisingly given the pedigree of this seasoned machine-funk pro, Shima aced the assignment.

Eastside Edits is back with its follow up to last year’s massive 001 release. After gaining support from all the top open format DJs and Donut slingers across the globe, we present you the label’s second record - 002. Bringing you a unique niche sound that is upbeat,
dance floor friendly and will get the crowd moving. This record features two stellar veteran artists with impressive discographies, both making significant impact in their respective scenes.

Side A is brought to you by Toronto’s very own Jackin House legend. With his signature hardhitting drums and funky soulful sound, Demuir has taken the music world by storm. Touring globally at some of the most sought-after nightclubs and festivals, as well as releasing music on the hottest labels in dance music. He has been featured as Beatport’s Hype Artist and has been awarded the #1 Jackin House Artist of the year multiple times. He takes one of the top Hip Hop
songs of 2020 and injects his personal signature. This raw, edgy edit is an absolute weapon, not to be missed!

Side B is brought to you by a Canadian native, residing in the USA. When it comes to the 45 community DJ Double A needs no introduction. He continues to drop release after release on the top 45 labels in the game. He’s the man behind Mountain 45s, with releases on Friday’s Funky 45s, Private Stock Records and Heat Rock. Double A premieres on this label with an edit that puts a modern spin on an 80s classic. This rework is guaranteed to have the crowd singing
along and humming the vocal well after the show is done. It’s truly a DJs must have

Brasil Novo is a compilation made up of eight contemporary Afro-Brazillian tracks disseminating the rich and percussive heritage of Brasil and Samba De Coco. The compilation was compiled by Sao Paolo’s DJ Tahira and London’s Tim Garcia and flits between Samba, Candomble, Batuques, Jazz, Folk and beyond, all selected with the dancefloor in mind.

Some of the tracks have never before been released on vinyl like Dona Celia Coquista’s ‘O Bar’ and the live version of Toró Instrumentals ‘Dunas’, and the release also features tracks from Grupo Bongar, Renata Rosa and women’s Afro Bloco, Ilú Obá De Min.

The compilation has so far been supported by the likes of Gilles Peterson and Jamz Supernova (BBC 6 Music) Lopa Kothari (BBC Radio 3) and Zakia (NTS) and many more.

Woo-hoo! Two of the best Italian rare grooves ever are finally back on 7'' for the first time since their original French release on the format! Both are from that most iconic film soundtrack of the Italian 70s (the LP is now a holy grail for collectors), Armando Trovajoli's score to Dino Risi's anthology sex comedy Sessomatto (1973) starring Laura Antonelli and Giancarlo Giannini.

In the title track the influence of Manu Dibango's afro-funk hit "Soul Makossa" is filtered through, and enriched by, an exquisitely Italian approach, with a sweet 'n' groovy funk base (the terrific mid-song drum break has been a DJ favorite for decades) over which Edda Dell'Orso seductively laughs and repeats the words 'sesso' and 'matto' again and again. The wild and fun electronic samba "Kinky Peanuts" on side B is a wonderful example of 'strange incredible music', with infectiously quirky Moog themes and runs.

Pretty irresistible.