Dj Dogg and Furious Frank are back! Drinking green tea and tripping out making phat trax for UR brain Volume 2. This time taking you on a trip to Acid City 3000, plus remixes by Frank and Dj Fett Burger.
3 otherworldly acid squelchers guaranteed to take the d-floor to that next level and beyond!
Limited to 300, no repress.
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Following on from Calm’s stunning By Your Side album on Hell Yeah late last year, it is now revisited with a series of special remixes. Part 1 finds the Japanese artist himself revisit one track, while Mind Fair also step up with fresh new versions.
First up, Calm reworks his own ‘Mellow Mellow Sadness’ into Mellow Mellow Acid. It's a super slow burning and soothing remix with a gentle acid line drawn out of tumbling drums. Blissful chords ripple out to the horizon and you can really feel the sun on your face with this one.
Golf Channel and International Feel disco duo Mind Fair step up to flip ‘My Home Town’ into a long legged and gorgeously hazy downtempo disco bomb. The chords shimmer and shine and will have people swaying with their eyes shut and is sure to become a huge track this summer.
This is a fantastic, summer ready package once again from Hell Yeah.
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The first set of remixes of Calm’s By Your Side got plenty of props for sound quality as well as their ability to get people grooving. Now the label serves up some more remixes, this time from legendary figures Mark Barrott (International Feel) and My Friend Dario.
Up first is Barrott, the long time slow motion master whose downtempo, ambient, new age and electronic fusions very much set out the Balearic template way back in the nineties. ‘Space Is My Place’ (Mark’s Re Imagination to the Sacred Heart Center) is an enchanting and tropical reworking with exotic percussion and liquid drums that gentle sway to and fro like a raft at sea. It’s another escapist, transportive track from Barrott that takes you to the other side of the world.
My Friend Dario returns to Hell Yeah after his exquisite Calamari Fritti EP late last year with more of his worldly infused sounds. His Etna Vision of ‘Shadows and Lights’ is a glistening affair with loosely jumbled drums and romantic keys that ring out into a balmy night sky. It’s musical and blissful as always with this artist.
Once again here Hell Yeah have come through with your most essential summer sounds.
Supported by Leo Mas, Chris Coco, Pete Gooding, Bobby Beige, Soft Rocks, Calm, Balearic Gabba Sound System, Phat Phil Cooper…
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First release of the Roof Records Label of Isernia. The vinyl, produced by our resident DJ Lucio, is the first of a long series. Inspired by the first techno sounds of the 90s and the most innovative sounds of recent year , Lucio brings out 4 sensational tracks, capable of transporting the listener over this period of time. From high-handed acid rhythms to ambient intramures, from funky / blues melodies to Detroit-style melodies. This is how the record is composed and everything is based on the classic Roland 808 and 909 drum machines. Don't miss it.
Only 200 copies, no reprints.
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Stunning new album from Chicago's finest electronic futurist Hieroglyphic Being, aka Jamal Moss, newly released on Soul Jazz Records. This is his third album for the label, following on from "The Acid Documents" in 2015, and African With Mainframes (w/ Noleian Reusse) "K.M.T." in 2016.
Born and based in Chicago, Moss's music embodies two of the cultural foundation blocks of the city's musical lineage, that of Chicago's original Acid House sound (c. 1986) - Frankie Knuckles, Phuture, Marshall Jefferson et al, alongside a rigorous experimental sound searching that taps into the cosmic musical lineage of pioneering artist Sun Ra whose Arkestra landed and was based in the city from 1946-61, and the equally pioneering work of 'The Art Ensemble' of Chicago in the 1960's and 70's.
The association with Sun Ra is by no means hypothetical, Moss recorded with the Arkestra leader Marshall Allen and a host of free jazz players for the album Hieroglyphic Being & JITU Ahn-Sahm-Buhl's 'We Are Not The First.' in 2015. Similarly, his relationship to Chicago's original acid house pioneers of the late 1980's is no hyperbole. Originally mentored by artist/producers Adonis and Steve Pointdexter, Moss also runs his own Mathematics label, releasing a constant stream of new music by foundation acid house pioneers Lil' Louis, Adonis and many others.
What clearly defines Moss's music is that while sometimes pushing the limits of sound to an ear-splitting dimension of experimentation and DIY-electronics - the music is always clearly a progression of the lineage of black music. In the words of fellow Chicagoans, 'The Art Ensemble' of Chicago, it is simply 'Great Black Music.'
And yet in this uniquely defined sound, Moss somehow manages to draw into this world elements of industrial music, German electronic music (Cluster, Harmonia etc), Detroit's sci-fi techno artists (Atkins, Saunderson, Craig) and more.
'Outsider House' 'Afro-Futurist' 'Rhythmic Cubism', Moss's near indescribable sound plays testament to the notion that he is perhaps the last of the line of producers directly influenced by Ron Hardy at the Music Box, uniquely qualified to write a new chapter of Chicago's rich musical history.
Red Notes is the prolific artists new revelatory and unique project - in his own words 'A homage to the Blue Note Jazz sound of Thelonious Monk, John Coltrane, Herbie Hancock' fused together with the classic Chicago House and Acid sensibilities of Larry Heard, Armando, Adonis et al, into a newly imagined futuristic and barrier-less musical landscape. Featuring organic and synthetic electronic instrument., Hieroglyphic Being here fuses real-time live instrumentation and over-dubbed technologies to dramatic effect, as analog and electronic worlds collide.
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As Ociya, hardware freaks Tin Man (Johannes Auvinen) and Patricia (Max Ravitz), come together in unholy acid matrimony on a definitive double-album, Powers Of Ten.
We know both sides well. Over a prolific run of records for Acid Test and his own Global A, Auvinen has expounded upon the promise of "Nonneo" (recently named one of Resident Advisor's 2010-19: Tracks Of The Decade), unearthing new, emotional vistas from the Roland TB-303. Ravitz, meanwhile, matches Tin Man in studio ethic, establishing himself as one of North America's hardware masters on records for Ghostly and Opal Tapes.
What we couldn't have predicted is how well the parts merge. Cuts like "Ghost Moons" channel the hazy IDM legacies of the past, while "Hopeful Galaxy" mixes a plaintive Rhodes motif with a hopeful 303 line for the perfect "tears on the dance floor" cut. The track titles on Power Of Ten— a perfect melodic techno LP generously spread across two records—are celestially minded ("Gravity Knots," "Star Scraping") and indeed, the cosmic metaphor is apt or the newly-formed duo. On Powers Of Ten, Tin Man's acid lines rocket through space like brilliant, shooting stars. His signature orchestral acid moments are given the perfect backdrop, the nebula of Patricia's rich atmospherics and melodies.
The album was recorded live to 2 track in Patricia’s studio in New York, no edits.
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limited repress !
Kicking off the labels first release Sebastian Gummersbachs "Stay Underground. Stay Raw." EP offers 4 rough house cuts ranging from banging disco house to moody acid excursions. Heavily inspired by the golden age of house and maintaining a raw, no-nonsense
vibe throughout the whole record the EP is a true homage to underground house music.
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After completing his debut 12" for 100% Silk (which saw a release in Feb 2016) Hubert Clarke Jr spent most of 2015 focused on pushing the music of others, through Sydney's newest record store, Outer Time Inner Space.
Owning and being surrounded by a literal shop full of records provided motivation and inspiration but left little time for writing.
It was the incredible talent and passion of DJs and peers in the fertile house/techno scene at home in Sydney that proved to be an undeniably strong motivator. Dancing while local friends, Ben Fester and Andy Webb go ham b2b in support of Soichi Terada (a bill that included Hubert among other local talents) is a perfect example.
Wanting to capture and bottle the palpable energy and diversity of amazing nights like this in Sydney led him to write the tracks that make up this EP.
Taking cues from both Detroit and the UK, there's no set formula here, just a conscious effort to balance a love for sampling with an equally strong passion for musicality and live performance. Translating this through the MPC with the hopeful goal of keeping thighs warm in the disco... or ears cosy on the train home.
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NEW LABEL FROM THE CHICAGO LEGEND K-ALEXI SHELBY:
DJ AND PRODUCER. ONE OF CHICAGO'S TRUE HEROES AND CITED BY MANY AS A PIONEER THE CITY'S SOUND WITH ONE OF HIS EARLIEST RELEASES ESSENCE OF A DREAM BEING REGARDED A CLASSIC.
AT THE AGE OF 12 HE WAS ALREADY MOVING IN THE RIGHT CIRCLES, BEFRIENDING FRANKIE KNUCKLES AND RON HARDY WHILST FREQUENTING THE FAMOUS WAREHOUSE. HIS UPBRINGING IN CHICAGO IN THE 70S AND 80S MEANT THAT HE WAS EXPOSED TO A RANGE OF GENRES AND DIFFERENT STYLES OF MUSIC INCLUDING STEVIE WONDER, PRINCE, CURTIS MAYFIELD AND DAVID HUFF. THESE SAME NAMES WOULD PROVE TO BE THE ROOTS OF HIS INFLUENCES.
THIS NEW LABEL K KLASSIK IS A PLATFORM TO RELEASE NEW MATERIAL, THE FIRST 12 INCH FEATURES REMIXES FROM GLEN UNDERGROUND AND GERMANY'S IAN POOLEY. WITH A 2ND 12" TO FOLLOW FEATURING REMIXES FROM RON TRENT & JOE SMOOTH.
PRESSED ON LIMITED EDITION GREEN VINYL.
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Kym Sims (The Vocalist / Artist) that brought us hits such as (Too Blind To See It / Take My Advice + Turn It UP) delivers her latest release Dancefloor on (Scott Featherstone's) Jupiter Label.
Along with the original mix the (12" Vinyl) contains a selection of remixes from the likes of (Lee Pennington (Zoo Project (IBIZA) / Riff Raff), Late Nite 'DUB' Addict (DEEP 'N' DOPE RECORDS (UK) / Legands Of House / FANTSY FM / KISS FM) Hall North (Legends Of House), Dez Ford (Rokit Fuel Audio) and (Jupiter Label) Boss (Scott Featherstone. The remixes cover a broad spectrum of House genres, including (Deep / Disco / Classic / Tech + Acid House). The set of remixes ensures there really is something for everyone in this limited Edition releaae. Don't Sleep on this one....
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Posthuman’s cult label reaches number 20 – featuring Luke Vibert’s return to the imprint named after his own iconic track, with a full album of purist acid. Ten tracks over a double album, all written on just three pieces of analogue early 1980’s hardware: Roland’s TB303, TR808, and JX3P. Housed in a gatefold sleeve & black paper inners with artwork by Cat Galcera, featuring the equipment used on the album and nothing more.
Records all hand-stamped, sleeves hand-numbered. Heavyweight 180gram vinyl. No digital. No represses.
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Currently causing a stir with their tracks that sit coquettishly astride the House/Techno divide, Super Rhythm Trax welcomes Black Girl / White Girl to the family.
“5XXXI” will delight fans of stripped back and bleepy, raw minimal funk, sounding like an updated and three dimensional version of Detroit’s DBX whilst oozing it’s own personality.
On remix duties Luca Lozano and DJ Steve step up and twist the track around, creating an ode to Sheffield, channelling bleeps and bass in a manner that could easily have seen this release sitting comfortably alongside purple sleeved classics in 1990.
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After appearing on the well received Chicago Bee Various artists EP Nill Minogue AKA Postelektrik delivers his debut EP on the same label.
This well crafted EP has a mature sound that crosses the boundaries from traditional acid and leans towards deep house and electronica.
Side A delivers what has been to be expected from Chicago Bee. But its the the flip side where Nill Minogue comes into his own. This side blends a shift towards a home listening vibe as well as being suited to a more discerning dance floor. The tracks The Green Strobe and Not Them are slow drifting builders and full of lush pads that float along endlessly. This combined with moody baselines and trademark Roland drums you surely have a well rounded winner.
Many supporting this EP so far including DeepChord, Placid (I Love Acid) , Damo B (Outer Limits radio show) Colin Dale, Jerome Hill , Rennie Foster and Type 303.
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Do or Die has already made an impression on Nicolas Lutz's My Own Jupiter and now makes a sideways step to Binh's Time Passages, another label associated with a deep digging selection of underground DJs who are some of the most revered of the moment. Opener "90s" makes you wanna scream "aciiiiiiiiid" at the top of your voice, "EBM" channels some old school rave, breakbeat and techno vibes with its energetic drum patterns and bleeping synths. The title track is the most unusual of the lot, pairing withering synth lines with metallic drums and distorted drones that all add up to some powerful, warehouse-ready sounds.
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This new one on Art Of Dark comes from two sureshot producers with oodles of idiosyncratic flair folded into their sound. First up is Santiago Uribe, whose "This Is Only A Test" works some cheeky samples in amongst a massive rubbery bassline and some acidic stabs. "Momento Tenso" switches things up with a crisp break and some more melancholic synth work. Z@p then presides over the B side with some freaky, sharply executed techno spiced up with a melodic twist. "Phenomenology" brings the kind of weirdo groove Z@p is best known for, all wonky bleep lines and erratic synth wriggles over a solid rhythm section.
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Andras’Joyful is a cornucopic vision rooted in the decay of dance music from one of Australia’s most distinct yet understated voices. Cutting a path through an overgrowth of nostalgia around 70's acid folk and 90's acid house, Joyful is an invitation to till a n old garden in a glistening new light.
A thirteen year old Andrew Wilson sits in the back of his parents’ sedan, driving down the coast from Melbourne. Headphones covering his awkwardly aged ears and connected to a jam-packed mp3 player, he experiences an intense synchronicity when the car careens over a mountain crest in the Otway Ranges right as the track in his ears peaks. A momentary vision of a “first rave rush,” in which Australia’s lauded party history dances tellingly with this dreamer’s destiny.
Not so much later but perhaps more worldly and certainly more aware, Wilson returns home from touring, now a “veteran” of the dance world, to realize a different synchronicity in his record collection. Finding Ian Van Dahl nestled next to John Fahey, William Orbit spine-to-spine with Shira Small, the harmony between folk music of the early 70's and dance music from the 90s becomes perfectly audible in unimaginable ways.
Through an afterglow from both summers of love seeped in shared sonic soil, on Joyful, Wilson cultivates melodic drama and tenderness, memorable hooks and rapturous arpeggios; sentimental strings summon both joyful aspirations and the shadows of faded dreams. Using folk songs as fodder—lyrics, samples, note progressions—each entry of Wilson’s debut album under his Andras moniker is a return to a different springtime of the mind.
Many artists working in Australia can relate to the feeling of “not quite being there,” as Wilson describes it. Always a couple years behind trend. Turning up at the party as it’s winding down. Fearing that in many ways the culture is looking backwards, confirming the narrow outlook of a parochialism that many have worked tirelessly to disprove. Using this disconnect as an invitation to dream another dream, Joyful becomes the soundtrack of early teen Andrew’s fantasy of Utopic parties past, specifically the late discovery of a bygone warehouse rave scene, as well as a return to a guileless chapter of personal history as heard through plain, sane, and simple folk melodies. Joyful is a homecoming, a testament to the evolving euphoria of a flower garden rooted in earth’s tender rot, of birds and bees flying free but not without a changing landscape in sight.
Andras’Joyful is available on LP and digital formats on January 31, 2020 via Beats In Space. On behalf of Andras, a portion of proceeds from this release will benefit the Invasive Species Council on the recommendation of Tim Low, author of the book Feral Future and Where Song Began.
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From the chaos of our rapidly changing world, Swiftness was born to provide a constant in our lives: timeless agile music from the hidden corners of Bucharest's electronic scene.
For its first release, Swiftness is proud to announce STUFFZ - the debut EP of rising local talent FILIPP. Comprised of 3 spacey house tracks, STUFFZ will make any turtle put on its fastest dance moves in no time.
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A great strong man with a brush in his hand once said: everything you can imagine is real and art washes away from the soul the dust of everyday life. So is making music just another form of keeping a diary In terms of Ana Helder, the Argentinian girl with the special twist, the answer is: maybe. More than two years after her last release on Co´meme she is back with a hand full of tracks. Five to be precise. She got more, but this is what the Mu¨stique's received. They are mean, dirty, harmful, amorevolous, seductive and addictive. Surrender tunes from a producer and DJ that does not think in boxes. Her three Eps El Groove De Tu Corazo´n', Fiebre De Marte' and Beating PC' mark some warped grooving heights in the edgy catalogue of Matias Aguayo's label Co´meme. Also on the French label Astro Lab she already dropped the 12inch Soy Canalla' with a playful psyche tune, that additionally got remixed by folks like Les Disques De La Mort seducer Ivan Smagghe or the mysterious West-German ghost-(w)rid(t)er Frank West. Furthermore, she re-tuned tunes from Chilean friends like Alejandro Paz or Mama- cita and sang on songs of colleagues. For Mu¨stique she now looked into her always-growing production crate and found some post-punk waving funk odes, which want more than just to dance this mess around. They bring soulful LSD-melodies for Jazz lovers with techno legs that like to get high on Liquid Liquid. They are electronic but yet so organic. And they move deeply while spreading the feel of a meditative rest. When Diagnose heard them first, he came to the idea of writing a script for a flick that tells the story of a music-making machine, which has more to offer than answers. It forms sound with no traces of reality, but is so human that humans fear it. Why did he think that way Only because of what Ana Helder recently got to say Well, let the music play...
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Second release from the promotional edits label La Bestiole Records. Loony saxophone, frenetic TR beats and love advice: everything you need to make people dance together and love each other.
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We are proud to present the second record on Axces, which comes from our close friend Frits Caroe aka Popmix. Recorded in 2017 in the Nordvest Auto facilities, the three tracks on his debut give a sense of Frits' mastery of effective, simplistic melodies.
The A-side kicks off with Funtema, a candy like IDM tune whose strong melodic core will be stuck in your head for days. Next up is Klub Frimis, a Detroit meets Mario Kart DJ tool that we guarantee will rock any party. Finally on the B-side we have Teenage Club Fantasy, whose acidic bassline and dubby stabs will help ease that comedown.
Welcome to the world of Popmix!
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Repress
It would be a waltz to call ìSalty Daysî just a treaty of deep house. But it is much more than
just that. The co-owners of Hamburgís most gentle record store and label Smallville - Just
von Ahlefeld and Julius Steinhoff aka Smallpeople (please see Discogs for ramifactions and
further reference) ñ wouldnít be the romanticists they are, if it would be that simple. The
debut album of these two young lads with baseball hats not only honours and delves into a
sound that already peaked some fifteen years ago, it also hones and elevates it, without ever
falling into the Reynoldsmania trap (please see Retromania for further reference) or being old
gold retold.
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For our second foray into the vinyl world, Sprechen label head Massey joins forces with Sir Horatio, 'a certain' band from Manchester on collaboration cut 'Music Control'.
The result is a meeting of musical minds that blends together both parties favoured sounds to create a squelchy sandwich of post-disco/ proto-house with a healthy helping of acid & punk-funk which should appeal to fans of mucky basements and mature mosh-pits as well as those cosmic ALFOS astronauts.
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Pressed on 180g vinyl and comes with a 10 minute acid disco banger on the A-side & two cosmic oddities on B + a locked groove...TIP!
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Parisian cinema composer Jean-Gabriel Becker is best known for idiosyncratic soundscapes, has worked alongside Massive Attack on acclaimed film soundtracks and recorded with John Foxx. Susumu Mukai, originally from Osaka, Japan, is one of London’s most sought after musicians, whose list of collaborators includes Floating Points, Vanishing Twin, Alexis Taylor and Fimber Bravo.
Together they’ve created fresh new music that floats effortlessly above traditional genre delineation, with a dubbed-out and experimental melange of modern acid house, post punk, global grooves and clattering beats. Still not complying to genres,’TimeVery Near’ is their tentacular new album, which gathers sounds and inspiration from an ever-expanding palette of influences, assembled into something amorphously intangible that’s simultaneously refreshing and sharp, meandering and cosmic, futuristic but timelessly vintage.
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Celebrating three decades of KMS-flavored Techno, 'KMS30' demonstrates both the genre's evolution and enduring relevance in today's musical landscape. Comprising three cuts from Kevin Saunderson & KiNK, Dubfire and Marc Houle, this array of club-stomping sounds paves the way for more phenomenal years to come.
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The 10th release on 45 Live Records. For this, we’re going to surprise people with a hip house/acid house 45 from Finnish producer Dan Kaipio aka Type-303. Type-303 is a one-man project based in Tampere, Finland. He creates music for the love of acid and the classic Roland TB-303 sound mixed with various genres.
The sound of Type-303 is inspired by various styles of music from classic 80s acid to 90s rave to the house sound of today. In addition to producing, he is an avid vinyl collector and DJ and can be found spinning vinyl at underground parties across Finland.
45 Live and Type-303 came together due to a post on Facebook about his last record by DJ Food (a fellow acid house collector), we got in touch and managed to buy the last copy of that particular release direct from Dan in Finland. In those communications we dropped the question “would you like to do a 45 for us?”, and he said, “sure, why not!”. So with Dan on board to record for the label we decided that resurrecting the much loved yet fleeting hip-house sound tinged with
ska was the way to go, along with a strictly heavyweight acid tune on the B side.
For ‘Sticky Disko’, we wanted to create a classic late 80’s straight-up party cut, ska acid, a bouncy floor filler. Meanwhile, the B side ‘Analog Acidbath’ had one rule to follow, and that was “make it acid”. So cue up one seriously funky and heavily layered 303 workout aimed directly at the dancefloor, no holds barred.
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M Parent brings us a soundtrack of American dystopia, one that gives a pointed sonic voice to the bubbling frustrations and anxieties of our time. While American politics play out like a circus on the world stage, M Parent responds to the question of what it means to be American through dirty acid riffs
and eerie electro synth stabs. The album opens up with the title track where a deep voice bellows, “The American Dream was a lie,” setting the stage for what comes next. A warped sense of reality bubbles over in Lose Your Mind, as a wailing electric guitar plays a distorted rendition of the Star Spangled Banner. On the track They Gave You What, a glitched out 808 breakbeat unwinds as
psychedelic paranoia sets in over a stiff melodic hook.
But it’s not all doom and gloom, as it wouldn’t be a complete encapsulation of the American dream without a sense of hope. Balancing the LP out are playful tracks and aural details that keep the American tradition of funk alive. Fucked Acid offers a bright acid track with a funky falsetto synth line.
At the album’s cheeky climax, Electric Snake, a reptilian beast is lured out with 808 toms and beat back by unrelenting snare rolls. Maniacal laughter and an acidic bubbly lead race towards the album’s conclusion in the track Get In. The LP finishes with Groovy, an uplifting track that adds a fragile sense
of optimism.
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Traceless, the new collaborative release by Sinfol and Octual, the two artists who shaped the sound of the label with their distinct grooves. The 6th installment is an EP full of warm, spiraling and acid-tinged lines, spherical percussion and foggy rhythms. Mystical and pristine but with a subtle summer funk around the edges.
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30 releases in and Super Rhythm Trax celebrate with this beautiful record by Finnish producer, Type-303 with an EP that faces off the lushest most uplifting Acid music against the rawest and dirtiest end of the genre.
'Delays' sounds almost like an early UR record while 'Code 808' is an absolute masterclass in bliss, complete with it's vocoders, electro drum track and singing 303s. Sandwiched between these two tracks you have the cheeky suggestiveness of 'Kolkki Crush' and the outright sleaze of 'Life In Mono'.
Type-303 has previously released on underground favourite labels such as Chicago Bee, Downfall and I Love Acid
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Seemingly unstoppable, Palermo Traxx Vol 2 is the third release from The Home Current for Castles in Space during 2019. Following the polished industrialisms and eighties inspired grooves of LP “Civilian Leather” and an immediately sold-out 7”, Martin Jensen returns with his final record of the year recorded in praise of a long deceased nightclub called Candy Junction. Recalling the euphoria and positivity of a club night, this towering work shift gears from “Civilian Leather” to full on, futuristic, air cooled dance floor assault. The original plan for this record was to release a white label promo with a facsimile DJ feedback sheet. Straight from 1991 with love. However, as the music developed, it was agreed that this needed a full official release with all the tinsel and trimmings.
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Presenting another fully legit, remastered and repackaged reissue from the WD vaults! Brand new style for 2020.
Londons "Warriors Dance" Label was a unique operation + pioneering London label during the late 80's acid house phenomena. Home to an assortment of DJs, MCs and soundmen, they went on to make their own original and indelible mark on the rave scene from the infamous 'Addis Ababa' studio on Harrow Road on the North-West side of the city.
A former reggae and soul studio that was instrumental to the output of influential artists like Soul II Soul and more, a steady diet of reggae, bass, hip-hop, house and techno kept their edgy, and diehard UK sound and style right at the cutting edge of the dance music underground across the globe with the top DJs and producers of the day celebrating the label. The studio, helmed by label owner Tony ‘Addis’, acted as an incubator for artists whose names would go down in the history books.
No Smoke was one of the main and best known outfits on this cult label. Their mammoth worldwide, cult club smash 'Koro Koro' is still in DJ bags across the galaxy today! 'Righteous Rule' is another tuffy from this crew, some heavyweight bassline madness for the dance.
All the elements of the WD sound are here, a perfect mix-up of Reggae vibes, jacking house and tribal badness rolled into one. A proper record, to be played on a proper system! This one's become a rare catch out in the wild, and is fetching some P's on the web among the collectors. Here's a nice 2020 repress for you, done the right way!
No Smoke 'Righteous Rule' is the pure unadulterated WD vibe, featuring original label artwork tweaked by Atelier Superplus and lovingly remastered by Curvepusher, UK. Special thanks to Nicky Trax & Tony Addis. Proudly distributed by Above Board distribution. 2020.
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Die erste Veröffentlichung auf Ellen Alliens BPitch Label in 2020 kommt von Sunil Sharpe, einem herausragenden irischen DJ und Produzenten, der seit den frühen 2000er Jahren für seinen rohen, individualistischen Techno bekannt ist.
Der Titeltrack gibt mit seinen kraftvollen Beats und einprägsam nagenden Sequenzen den Ton vor: funky, extrem physisch und mit seinem “Just A Dream” Vocal, das sich wie ein Schleier über eine quietschende Acid-Schraube legt, im richtigen Maß psychedelisch. Das A2-Stück “Timber” nimmt dieses Thema auf und marschiert mit säuselnden Acidlines, Stimmen aus dem Geisterhaus und funky Chicago-House-Reminiszensen in Richtung Break, bei dem eine verwunschene Melodie, Vogelzwitschern und einsetzende Chöre das Ganze in Richtung rituelle Kult-Musik schieben. Auf B1 “Amun” moduliert Sunil Sharpe sinistre Sequenzen, bei dem Synth Stabs vereinzelt Licht ins Dunkel schießen – für die speziellen Monente auf dem Dancefloor, die extatisch und in sich verschlossen gleichzeitig sind. Die B2-Nummer “Ukkin” schließlich sendet Morsecodes aus den 90er Jahre Chicago Basements, extrem funky und unbedingt zeitgemäß.
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Vinyl Only, dedicated to my family, my supporters and all the music lovers. The fifth chapter come directly from burbi’s studios made by Lapucci as M47714. Fresh retrò futuristic sounds, melancholic melodies join rays of happiness, straight and break beats join 80’ spacey synths to begin the jorney thru the mediatic forms of communication that invaded our life. Beware of medias, trust your ears.
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