Cerca:memo

Young East London producer Sam 'Palace' Walker has been part of DJ Haus's trusted inner circle for some time, having released on both Unknown 2 The Unknown and Hot Haus Records. Here he unreleased two more retro-futurist house gems - the kind of kaleidoscopic, rave-inspired tracks that evoke memories of early '90s pirate radio stations and illegal parties full of smiling dancers in bad long sleeve t-shirts. Choose between the bouncy stabs, hazy vocal cuts, bleep-era bass and snappy, cheap-sounding beats of "Codex", and "NRG", a piano-laden banger that makes great use of some familiar samples that were once a staple of breakbeat hardcore and bouncy house records. Oh, and the unmistakable rhythmic swing of UK garage.

Banging restless Nederland Acid Style, coming from the Aum records crew... Notice A2 is a dark sinister hardcore minimalistic sound, with a old school PCP Doom background... A bonus track goes on B2 : Storytelling.

For our next release we have called upon Sideways. Two artists who's relationship with Watergate dates back to the clubs beginning nearly twelve years ago. It was in the early 90's when Marcus Kaye and Lee Ching worked at two of the most influential record shops in the UK resulting in a mutual friendship born out of an eternal hunt for new and exciting music. Soon both were at the forefront of a progressive Drum and Bass movement under their Marcus Intalex and Dj Lee monikers performing on a global scale and contributing some of the most influential music of the genre but never actually collaborating. As Kaye broadened his horizons creating the Trevino alias to critical acclaim and Ching went the mundane route of 9 to 5 normality the duo's still weekly conversations about the nuances of modern house and techno turned into Sideways. Finally, after more than a decade, the two have joined forces to bring us the truly unique and exciting EP, Retraced". Although all the tracks on Retraced' are rooted heavily in a techno aesthetic, they all possess parts spanning across a wide range of genres from drum and bass to deep and soulful house. With the title track Retraced' the two take a euphoric journey laced with rich strings laid over a hefty bassline while Minor Difference' holds no punches and goes straight for the four to the floor approach ripe for the strobe lights on a crowded, dark dance floor. The final cut on the EP is PJ's Groove' and of all the three, it's the throwback. With crisp open hi hats, warm organ stabs and big washed out pads it feels like a trip down memory lane, yet with an updated, modern twist. After more than a decade in the making, we think it's the perfect collaboration for us at Watergate and, we think you will feel the same.

* Hospital Records present their latest compilation 'Fast Soul Music' - a welcomed lesson in the art of soul-inspired drum & bass of the high-speed variety. After nineteen years spent building upon it's lounge-core esthetic their extensive library of smooth-rolling sounds is at the ready, now it's time to get retrospective.

* From the work of thirty artists, a carefully selected forty-six tracks highlight the quintessential sounds of soul music in the Hospital Records back catalogue. Not only effortlessly blending classics from Hospital mainstays London Elektricity, High Contrast, Danny Byrd, Nu:Tone, S.P.Y and Logistics but also showcasing the fresh wave of talent that's reached our ears in recent years. The work of Fred V & Grafix, Hugh Hardie, Keeno, Etherwood, Anile, Tokyo Prose and Technimatic showcasing just how prominent soul music is in drum & bass today.

* Accompanying this two-CD collectors item is a perfectly polished mix by longstanding practitioner and newest member of the Hospital A+R team, Nu:Tone. With over two hours of soul-inspired sounds that effortlessly create the ideal soundtrack for any daydream-filled afternoon.

* With a nod back to London Elektricity's '03 classic 'Fast Soul Music' and a look forward to the fresh influx of talent passing through, Hospital Record's latest compilation provides any drum & bass fan with a chance to rediscover those once forgotten gems and dust off the cobwebs from their favourite nostalgia-fuelling drum & bass anthems.

* Digital Marketing: Youtube upload schedule for music and video content on Hospital Records YouTube channel - (260k subscribers), cross promotion exclusive mix upload with UKF Youtube channel.

* Press / Promotion: Comprehensive campaign in-house serving all UK music and dance titles as well as national, regional and student press - Mixmag, DJ, Trap, Notion, Music Week, Future Music, Time Out, Metro, London Evening Standard, The Guardian, The Independent, Dazed + Confused, Vice, The Wire, The Fly, Vice Magazine, Clash. Kmag (interview), D&BA (interview). UKF Website and Youtube Channel. Reddit AMA, FACT Mag TV interview.

* Radio / Internet: Comprehensive in house campain from Hospital Records. BBC Radio1 & 1Xtra support from Mistajam, Friction, B Traits, Annie Mac, Andi Durrant (Kiss), Eddy Temple-Morris (X-FM), DJ Hype (Kiss), D&BA TV Takeover, Rinse FM Hospital Records Show, Hospital Podcast Hospital Records Podcast USA series, Kmag Podcast, Ministry of Sound Podcast. D&BA Podcast, Hospital records Website, Hospital Facebook (262K Likes), Twitter (64K Followers), Soundcloud (48k followers), YouTube (238k subscribers), Hospital Records Mailing List (53k Subscribers)






aG CD 1-7 | Logistics feat. Nightshade and Sarah Callander 'Crystal Skies'
















DISC 2

Rich NxT helms the next release on the Fuse London label, with his 'What's In The Box' EP, the 3rd solo EP from one of the parties chief residents. This release brings yet more variety to the NxT stall with a classic feel on the A1 track, 'Defy' where he kicks things off with his trademark, crisp beats and razor sharp percussion riding over the dubby low end, then opening out into lush pads and a vocal that never fail to raise the atmosphere, proving popular with people everywhere.

'Mylove' is the release's vinyl only track and is an understated anthem, once again delving deep with brooding bass, paired with drum snatches echoing that of his early jungle days. When the tripped out male vocal and percussion builds into the drop and counter melody, all the elements align in that unique NxT fashion. Over on the flip, 'Twang' has become another firm favourite with audiences, calling again on memories of old school rave combined with a rolling, edgy groove, whilst 'Cannonball' finishes the EP off in fine style with a slab of atmospheric wonder perfect for those early morning sunlit sessions.

- Living Fields' ist ihr Debüt als Trio und das erste Album auf ihrer neuen Labelheimat Ninja Tune. Vielen noch bekannt als Portico Quartet bewegt sich das neue Werk elegant zwischen Electro, Pop, jazzigen Elementen und Ambient. Mit Jono McCleery, Jamie Woon und Joe Newman von alt-J treten außerdem drei bemerkenswerte Sänger auf. Exklusive Vinyl Edition als LP+CD (Bonus Disc)+MP3 300 EH für den GTG Indie Pool und JPC!

MEM032 is a collaboration between Dan Farserelli & Seb Zito (Fuse), both members of the amazing underground movement in London UK. This EP takes you on a journey from House to Techno and back again.

180gramm Vinyl !

With this release, Anne Arbor's jakbeat man delivers 6 minutes of electronic mania; a piece of repetitious, dance-inducing machine funk with a hook that hits you like a punch in the face with a velvet glove, brooding pads, and a top line like steel drums on acid. D'Marc Cantu twists the sound of Detoit techno and Chicago house with his own visceral production style and makes it his own.

"Sonically I'm reminded of old home videos, a lower quality presentation of a memory. Decay has that quality to it that reminds of a time gone but stills feels familiar and comforting" DMC

"Rival was the first experiment of my first alias, Rival. It was recorded in with a Volca drum machine the first day I got it, no effects and no edits, as is the basis of the alias, unedited analog sessions. One take" DMC

Hubie Davison returns to Leisure System December 1st, 2014 with the Khayyam Grey EP, his second release for the Berlin-based label and one that marks both his and Leisure System's funkiest output to date.Following on his 2013 debut of pastoral electronics and muffled house, Khayyam Grey highlights Davison's vivid production skills, drawing from a deep well of influences varying from Werkdiscs and Sound Signature to Bill Withers and Otis Redding. The three tracks here are also the strongest representative document yet of the 26-year-old Davison's DJing, which incorporates all manner of memorable house and assorted wonkiness and has seen him play in Panorama Bar, Corsica Studios, and Gaité Lyrique in Paris amongst numerous others.The title track takes cues from Daphni's stand-up-and-shout, sample-heavy house, while "Get On" is a comparatively restrained yet incredibly funky mid-tempo number. "Vowels", which first appeared as the opening track on the LSR-LSD1 compilation, appears here in extended and altered form, breaking down vocals on a syllabic level from smooth to percussive.These three tracks of addictive house have been on constant rotation at Leisure System for the past few months - it's high time everyone else joined the party

Sometimes, there is a certain attention for a new artist and you can actually feel that this one is about to go through the roof. This is exactly the feeling we have with Few Nolder right now. With releases and tracks on Boso, Suol, Cloud Vision and not to forget his little summer hit - IF' on Connaisseur in late August, the Vilnius resident has caught quite some attention over the last months. Now, he completes this successful and busy year with his frst full EP on Connaisseur called - Moli', featuring three new lovely tracks. One of Few Nolder's talents is to compose state-of-the-art music which also has a timeless approach. The a-side - Twin' is one of those tracks. Sounds and melodies which stick in your mind straight away and an on point buildup make - Twin' one of those universal tunes which can be played in every moment. - Sonar' on b1 is a bit more reduced and raw. Played at the right moment it is a heavy hitter, with its memorable break and the big synth theme. On b2 you will fnd the title track and maybe also the hidden hit of the release. The bittersweet - Moli" is a delicate extravaganza with big melodies and emotions.
The artwork is as always by Danish artist Sjulle

Roy Comanchero is a DJ/Producer. He doesn't like modern tool like laptop, but loves cheap and vintage machine instead.

He is traveling and looking for golden shiny beach like Cancun, Miami, Gold Coast and Nice... to make music everyday.

Maybe this is a mirage, an illusion Maybe we are on another planet, or maybe we are in the spaceship going to another planet Maybe we are all insane Possibilities, an infinite number of possibilities. 'We are in the darkness; nameless things with no memory-no knowledge of what went before, no understanding of what is now, no knowledge of what will be.' - this can easily describe what Absys Limited sublabel is offering us soon with Kontext studio album, 'Dispersal'. Kontext is an alias of Stanislav Sevostyanikhin from St. Petersburg, Russia - well acclaimed DJ and producer also known in drum&bass world as Dissident, who was responsible for the one side of our own first 12" vinyl with his track 'Scarecrow' and for numerous releases for such labels as Hospital Records, Subtle Audio, Counter Intelligence, Alphacut and many more.

'Dispersal', first LP since 2009's 'Dissociate' is Kontext at his finest. Ten track album that cannot be classified in genres, full of drifting through space orbits and dimensions, through newest technologies and our own human nature, through some glitched sonic fields and abyss of consciousness. Production level is high as always on Absys, tracks are kept in various tempos, with many layers and glitches to keep you moving places and enriched with quotes from film classics as 'Twighlight Zone' or 'Pi'.

Coming out with unique artwork by Krik, 'Dispersal' will be available on CD Digi Pack and 10" vinyl sampler.

Mathias 'SHOW-B' Schober makes his Pooledmusic debut with the Arps EP. A talented producer & engineer, Schober has been releasing under his SHOW-B alias since 2007, since when he has had EP releases on Poker Flat & Compost Black Label, an exclusive track featured on La Fleur's Watergate 16 compilation, and a release on Delusions of Grandeur with Milton Jackson as Pattern Select. The Arps EP sees SHOW-B blending his various talents in the A side 'Arps To Heaven', a heady deep house track with a swirling melody that recalls the trippier end of Strength Music and Deepblak's respective outputs. On the B1, Ian Pooley follows up his huge Innervisions EP 'Floris' and the Rejected re-issue of his anthem Chord Memory by fusing the original's psychedelic elements with a classic, irresistible Pooley groove. The B2, 'Isifuba', sees Schober focusing on a swinging house beat structure for the early hours dancefloors.

Absys Records is proud to present the labels 7th dnb vinyl outing ! For this release, we have stellar music by our long time Italian comrade, Arp XP backed with a collaborative effort courtesy of Belgian duo Glyph and Canadian veteran, Gremlinz. This release is diverse, showcasing very different aspects within the Drum & Bass spectrum while maintaining the quality and craftsmanship associated with Absys.

The A side Seems Like by Arp XP, is a classic, laid back, liquid track flavoured with a touch of Jazz. It is a nod to old school and reminds us of the lightheartedness of summer with its congenial and atmospheric tune progression!

The flip sees newcomers Glyph (who are creating quite a buzz in the scene) team up with acclaimed veteran, Gremlinz, resulting in a beast of a track! Much like the flip, Evolution is touched by an element of Jazz, kicking off with a vibe that will conjure up a sense of being in a dark lit Jazz Cafe. Following a memorable sample referencing the apple in the Garden of Eden, the tune does what the name suggests and evolves into a trippy stomper that will pummel any system, making this one of the highlights of this years Absys releases!

Out soon in all good stores with a digital bonus in the form of Mesmerize by Glyph!

Rick Wilhite delivers a super strong collection of songs & tracks made by producers coming from either New York, Chicago or Detroit. This is part 2 in a 2 volume album.

During the '70s, work days at Umiliani's Sound Workshop Studios were hectic; thousands of sessions were held in order to keep up with a very busy Italian movie industry: Hundreds of soundtracks alongside with music library were recorded and released on vinyl in very limited quantities for TV and film production use only. Those LPs are now proper collectors' items, extremely hard to find.

Filled with hypnotic bass lines, heavy drums and screaming fuzz guitars "Underground", the first LP of the fictitious group known as Braen's Machine, is one of the rarest and the most expensive of them all, always "reaching" sky high prices throughout the second hand vinyl market. A fast-beat jam with hammond scales and a twin lead guitar theme ("Flying") opens the A Side soon followed by "Imphormal", a classicfunk-beat-meetsfender- rhodes-and-psychedelic-guitar number. The music then switch to "thriller territories" with "Murder" which is based on prepared piano swells and a deeply hypnotic walking bass, reminiscent of the best Morricone's soundtracks for Dario Argento's movies. Two highly percussive songs complete the A Side: "Gap" is an improvised song with guitar and keyboards dwelling over an infectious drum rhythm while a marching snare and a vibraslap effect are the special features on "Militar Police".

The mood relaxes slightly on the opening of the B Side with a lazy jazz groove on "New Experience" but the rock influences are soon brought back on the following track "Fall Out". "Obstinacy" is all about keyboards with syncopated rhodes themes and distorted hammond sustained notes whilst the fuzz guitar is back again screaming through the left channel on the last song of the album, "Description". We could happly say that that was the golden age of the Italian music library. But who's behind the name "Braen's Machine" On the original cover the songs are credited to the composers Braen and Gisteri. Braen was a pseudonym often used by Alessandro Alessandroni, an extremely skilled and versatile musician, and one of Umiliani's closestcollaborators. He could write, conduct and arrange, he could sing (ever heard "Mah Na Mah Na"), he could whistle (ever heard Morricone's "For a fistful of dollars") and he could play almost anything: guitar, bass tuba, accordion, sitar and the list grows..... His first album "Alessandro Alessandroni e il suo complesso" (Sermi, 1969), had transformed the Italian library music from orchestral sound beds into the psychedelia we all love; the extremely fuzzy guitars are very "present" on "Underground" too. For a long time Gisteri's real identity was rather mysterious; often wrongly attributed to Umiliani. Gisteri was the pseudonym of Oronzo De Filippi, art name of Rino De Filippi, music supervisor to the Italian public broadcast company (RAI) between the '60s and the '70s. De Filippi composed other notable pieces such as "Riflessi" (Edipan, 1975) and "Nel mondo del lavoro" (Sermi, 1972).

De Filippi passed away few years ago but we were able to contact Alessandroni to talk about this LP. Remembering "Underground" recording session as one of the thousands he took part of, Alessandroni told us that this record was produced very quickly, in two days maximum. This was made possible by a team of wonderfully capable session musicians and the creative genius behind the mixing desk; this incredible combination helped to focus on the mood of each track even more. Unfortunately there are no liner notes but Alessandroni's memories and speculations, based on other music tracked in the same period at Soundworkshop by resident engineer Claudio Batussi, led us to identify this as the most probable lineup: Munari on drums, Majorana on bass, Vannucchi on keyboards and Alessandroni himself on guitar. For this reissue the sound has been restored and the cover art reproduced exactly as it was.

Planet Rhythm is gearing up for the second effort in their PRRUKBLK series. Both Moerbeck and Fanon Flowers have come up with 2 gritty peak-time anthems made out of heavy drum-action, distortion and hazardous percussion. Moerbeck's A-Side is a ferm combination of granular synthesis and vigorous drums. Where "Black Hand" recalls memories of graveyard shifts in soviet coal mines, the A2 track Mode evokes up a more tripped out state of mind.
Fanon Flowers lays down a more ominous ambiance for his B1 track that has the more than suitable title "Vultures Circling Part 3". Closing down the B side we find "Vultures Circling Part 1" which carries that same threatening vibe but with even more energy due to the use of abundant percussion.

Among a thousand projects, Para One is back on the dance floor with 'Club", a new album which was not meant to be one, but believe it or not: it's serious stuff! 'The 'Passion' album is the background for this, as I decided to reshape it for my live act, explains Para One. I've rebuilt the tracks entirely, making live versions for festivals and bigger clubs. Then I found myself with a totally different album. It's not a live album. The tracks have been modified and reinterpreted. It's my tribute to Soulwax's 'Night Versions". Subtlety was not really an option, it had to hit kind of hard. The tracks had to sound real in a club situation and people are now meant to dance to them! It's also a 'treasure hunt' kind of record with many references. It sounds like my DJ sets, when I mix many things and styles, old and new, because that's how a club should sound. It's a place where memories belong.' The pop, melancholic and highly danceable 'Passion", was meant to be listened to at home or on quiet dance floors, but 'Club' only retains the melodies and vocal hooks. It smells like sweat, joy and abandoned bodies. Packed with English acid house piano, huge beats, elegiac vocals, references to UK Garage, EDM filtered french touch and house, 'Club' dives into the heart of dance music. It's a 3.0 rave emblem, a daring record to make people dance without selling out.

Slim Smith is high on the list of great singers that came out of Jamaica.
Although Jamaica was bursting with musical talent, few could match his soulful and heartfelt style.
Sadly he had a very short career but he produced a catalogue of music that still stands the test of time ,like all the great artists his story carries through the songs he left behind.
We have compiled some of his finest moments from his period working alongside the Hit Maker from Jamaica producer Bunny Lee...
A great set of tunes that we hope will keep his memory alive
Keep the Light Shining.....Respect

3rd release on Ilario´s playground - this time with remix support from Massimo Girardi (Memoria Recordings, Kina Music) and Felipe Venegas (Serkal, Cadenza, Drumma).

PRAYMOND is a French Artist and long time record collector. After years of travelling and playing across Europe and America, he decided to release his first EP. This record is not just an elegant DJ tool but it's also a really smart take on how to bring a discrete touch of acoustic in a music usually dominated by analogue and digital sounds. 3 tracks on this EP. Huguette uses a lot of acoustic elements to deliver an epic dancefloor track Chamalowe slows the tempo in order to make the pattern heavier Timeless Memory is a tribute to Dub Techno with an acoustic take, touch of Platon records

'A densely textured, deeply lyrical portrait of life in Long Island City's Queensbridge projects, the record signalled the resurgence of the moribund New York hip-hop scene and helped pave the way for Biggie Smalls, Jay-Z and a new generation of New York rappers.' -NEW YORK TIMES

Marking 20 years since the genre-defining release of Illmatic which sparked decades of inspiration for other young rappers and performers, comes this anniversary vinyl edition.

Nas' lyrical style and storytelling finesse coupled with some of the best beat makers and producers in the game, including Large Professor, DJ Premier and Q-Tip have ensured this release has maintained its influential status 20 years later.

The album launched a lengthy, successful career for Nas with Illmatic still widely applauded as one of the most influential debuts in the world of rap. This package features the original Illmatic release in it's entirety and fully remastered with a second side of additional extras which include Nas' first ever radio performance from 1993 and eight remixes.

Bavaria is John Tejada and Kimi Recor. While We'll Take a Dive is the first for the duo's newly cemented partnership they have appeared as guests on each other's releases for nearly a decade. The duo decided to exclude any extraneous instrumentation so that Tejada could focus solely on his modular synth programming while Recor took on the role to provide that all-too-vital human element by way of her silky vocal delivery. In theory We'll Take a Dive might sound like an exercise in minimalism, which couldn't be further from the truth. The album highlights the duo's deftness in getting maximal use from their instruments of choice while creating a superb darkly-hued electronic pop album that showcases its own unique strain of affecting tension and restraint.

The third in the Modular Techno series from live analogue artist and Freerotation organiser Steevio.
After 15 years of producing techno live on hardware, in 2009 Steevio began building a dedicated machine on which he could totally improvise an entire techno performance from a blank canvas that far surpassed anything he could do with his previous setup of drum machines and synthesizers. Steevio's modular is 100% analogue; there is no computer involved, there are no memories to save sounds or sequencing patterns, and everything is improvised in real time..
Volumes 1 and 2 of the series were just a taster of what was to come, and were the early experimentations on Steevio's newly built machine. Steevio records everything he does, especially during the intense practice sessions for live gigs. All the music in the series are out-takes from these practice sessions, and the tracks from Volume 3 and the forthcoming Volume 4 all come from a three day period in practice for a recent live gig at Delete, Bournemouth, UK.
Volume 3 continues from where Volume 2 left off but delivered with more confidence and a deeper more hypnotic feel. Steevio continues to develop his skills and fine tunes his unique instrument in this dedicated 'for life' project.

As promised: after The Cheapers have successfully launched the 'Diary III' Compilation, here comes the best of it on Vinyl. It wasn't easy to pick out four from 17 strong tracks. Chris Wood & Meat have found very fast into the rill with their track 'Slow Down' as well as the cuddle-house sound from Madmotormiquel 'Something Special". Magit Cacoon also screamed to be pressed on the black plastic with 'Winds On Mind". And last but not least, the record is being completed with the title track from The Cheapers 'Memories".

With their debut album on Hamburg's taste making hafendisko, Deo & Z-Man proceed their research in contemporary electronic music beyond stylistic boundaries and present a wide-ranging lucky bag of songs. The Italo-rooted brothers melt influences from modern House music, HipHop, Electronica and even jazzy elements into a fresh and life-affirming total work of art. And here it is in all its glory - 'No Bullshit' . With a healthy dose of tongue-in-cheek humour and a seemingly endless supply of fresh ideas, Deo & Z-Man might have pulled one of the most creative albums of the year. Effortlessly gliding between wigged out house for the dancefloor, synthy space weirdness, hip-hop infused beats and twisted, smoked-out electro pop - 'No Bull-shit' is a rare thing, a collection of esoteric and eclectic influences that hang together perfectly as a proper album. The boys have long since created their own special vibe through their well received singles, live performances and DJ sets - mixing musical knowledge, party rocking skills and a sense of fun that is all too often lacking these days. Even more rare is to capture that magic in the studio over the course of an album. Yet 'No Bullshit', as the name cheekily suggests, nails it. Listening to the album it's easy to see how Deo & Z-Man cut their teeth with HipHop - tracks like 'Tamastar Santini' (feat Janos), 'Two Blue Bros' and 'YRUAG' reveal a background of beats and rhymes that infuses the whole vibe of the album. Equally at home in the club, recent single 'XTC', 'Chopped Memories' and 'Tales of Love' are lessons in leftfield club dynamics - deep, musical grooves that hint at the brothers' leg

Our first release features four talented artists from Frankfurt. "Beignet Chichi" by "House is OK" member Janis is a jazzy & upbeat dancefloor jam, bringing back your best summer memories. Le Rubrique delivers a nice 'n fluffy piano h...

somewhere between New Order, Arthur Baker, and Giorgio Moroder with the benefit of modern ears, Argentine export and Berlin movershaker Nico Purman continues to shape his ever evolving vision of sound with his new label Art of Memory and its debut release AOM001. Carrying the momentum of his recent EP's such as Visions on Vakant (VA036) and Fade Away on Crosstown Rebels (CRM086), Nico drops perhaps his most expansive and melodic work yet drawing on influences from decades past to produce something both new and honest to former eras. With nods to New Wave, Techno, and a dusting of Space Odissey, AOM001's 3 tracks (+1 digital exclusive) bring both the lush musical synth textures of Purman's electronic forefathers with modern low end motivation of deep bass and tight rhythmic production. The resulting tracks that comprise AOM001 express pensive, moving, deep ideas of an electronic yesterday with an unrestricted vision of tomorrow written and shaped by the minds of talent like Nico Purman's.

imited edition 10" vinyl, serial numbered
Short info: You're going to feel relaxed and ready for summer after listening to fenou #19. On this 2-tracker the Swiss guy Benotmane skillfully combines groovy basslines, melodic synths and carefully adjusted vocal parts. - Somewhere' is one of these tracks that carry you out in the morning sun. Later on when you listen again a melody snippet triggers memories of a perfect moment. The B-side is certainly no less exciting. Although the mood of - Submarine' is more quiet, almost dreamier. Eyes closed, you'll get wrapped in the sounds just to slowly drift away. As usual the 10 vinyl release is again a limited edition and numbered by hand.

Back in stock!

Some friends think that Shihab the man owes the balance of his soul to his beautiful Danish wife. They may be right; for Eros is the very essence of what Shihab plays.Yet Eros is a god with many a face. A tale of tender mournings Shihab's flute is telling in MAUVE - a piece that translates its title into delicately changing colors of sound. In UMA FITA DE TRES CORES he has his instrument wooing with the proud self-reliance of Latin grandezza. Calmly, softly, almost blandishly Shihab blows the solo flute in the Jimmy Woode composition MY KINDA WORLD. Serene and somewhat playful his own title ANOTHER SAMBA comes along - a most uncommon composition by the way: lasting for sixty bars as if growing independent out of itself, with solos that appear to be additional spinnings rather than improvised choruses; and yet; a perfect, self sustaining melody no element of which is superfluous. In the last of the pieces for flute, in Klook Clarke's THE WILD MAN, which is based on a flourish of trumpets, Shihab for the first time reminds of the sombre, the demon-like face of God Eros. He contrasts flawlessly intoned passages with challenging phrases, phrases raucously sung into the flute - really, he is a 'wild man' who is playing like that. This raucous challenging sound prevails throughout the four baritone-titles ('Shihab never withholds long to caress', Campi says). Shihab blows the instrument the same way he speaks: without any delay, directly coming to the point. And he treats it like a voice, not aiming at an artificially homogeneous sound in all the registers, but at their different modes of expression. In the high pitches the horn gains a brilliant tenor-like quality - for instance in PETER'S WALTZ, dedicated to Shihab's son Peter, and in Kenny Clarke's simple drum fills comprising theme JAY-JAY. In the deep register Shihab produces snotty sounds filling lady's ears with horrors like Pan - thus in JAY-JAY and in the boppy blues SET UP . Shihab's sense of a scurrilous humor breaks through in SEEDS (which reminds of the West-African heritage of jazz with its multiple rhythms and its renunciation of harmonious development - only the eight bars of the bridge base on a progression of chords): not only does he omit the notorious bombastic chord by the ensemble after his own final cadenza, he even ends with a minor second above the keynote. Seems as if Shihab now unrestrictedly conveys to his music all the experiences and emotions he formerly did not deal with in a musical way. Shihab the man need not be disturbed so that Shihab the musician may improvise passionate choruses. It would be unjust, however, to forget the choruses of the four other musicians for those by the 'born leader'. Francy Boland, taciturn and always introverted: he plays an extrovert, a masculine piano. Even with spare single note lines he produces a piercing and ringing sound that hitherto nobody except him has discovered, a bluesy sound bespeaking the very element of frustration that lies within the title of the trio number WHO'LL BUY MY DREAM. The unfailing feeling for rhythm the musicians of the CBBB praise with the arranger Boland, becomes manifest in the piano solo on SET UP. Francy's improvisation is rhythmically styled in a Monk-like manner, and yet no accent could be set differently. Maybe this is the secret of the Shihab-Combo. 'Rhythm is our business', this credo of Jimmy Lunceford could be the one of the five musicians as well. Sadi hits his vibes as dryly as if wanting to bring its ancestors to memory, the wooden chimes of West Africa's coastal tribes. To reach the fullest poignancy possible, he intentionally calms down even the resonance in MY KINDA WORLD. In UMA FITA DE TRES CORES Jimmy Woode bears out the crispy jazz beat against Sadi's Bongos and Klook's Latin-American percussion all by himself. Moreover - and that, too, is connected with the school of the Duke who was the first in the history of jazz to discover the instrument's potential as a melody instrument - Woode rips a marvelous counterpoint to the inventions of the other melody instruments, take for example PETER'S WALTZ. And then there is Kenny Clarke. Klook. On the entire record he only uses his brushes. Means by which different drummers only know to bring forward impressionistically blending noises: He drums a vigorous beat with them, fanciful fills, a solo, melodious and at once skillfully playing with cross rhythms in JAY-JAY. The 'born leader', the 'outstanding baritone saxophonist of modern jazz' (Joachim-Ernst Berendt), he could not wish himself different sidemen for this record overdue since some years.

Rogue Vogue has been making a name for himself as a producer worth keeping an eye on with releases on French Express and remixes on Deep&Disco & French Horn Rebellion. He's finally ready to release his next original EP titled 'Say You Will' on his new home at House of Disco Records.

'Say You Will' includes 2 originals that brim with the joyous side of 90's house backed up with 3 remixes from Dublin Aunts, LeSale and House of Disco's Sixth Avenue Express. The originals are in keeping with each other while each of the 3 remixes bring something new to the table.

First up is the title track, 'Say You Will' which is a hip swaying homage to the sunny side of 90's house with more hooks than a 'Hellraiser' film. Addictive vocal stabs and sax hits are the name of the game as this one will have you digging in your drawer for those stonewashed jeans you'd forgotten about.

The first of the remixes by Dublin Aunts has a day rave written all over it with an epic acid tinged bassline and clever vocal treatments. The second remix by LeSale takes a slower, sexier tip and just grows and grows, leaning heavily on the keys but also introducing some strings into the equation.

Next up is the second original 'More Than Enough' which samples a vocal that many will recognise and makes it his own. A lot of this originals charm is in the lower end and will come to life on the right system. A dreamy breakdown cements this as a track that you'll keep coming back to.

Finally the last remix of the package by Sixth Avenue Express ads a heavy dose of sleaze to the original with a swinging melody line. Choosing to do away with the dreamy breakdown and instead replace it with an dramatic, elongated and memorable dancefloor moment.

Here comes the first release lf the outstanding super disco stars HARD TON on our label! With A-side track RISE UP we have the first track with chart potential on our label we'd say. We love it anyway! : )
B1 track WORK THAT BODY shows off the heavier jacking side of HARD TON and B2 MONOTONE rounds up the EP with its uplifting house chords.
Not our average cup of tea, but we fckng love it.
Instead of boring you to death with just another info text, we copy these words from I-D Magazine about HARD TON:
HARD TON are the Italian duo with the larger than life disco sound and a surprising love of met- al. Fused together in 2008 from the musical loins of DJ Wawashi and heavy metal singer Max. Sylvester-styled falsettos conjure up memories of smoky dancefloors during the heady days of HI-NRG, which combined with a contemporary sound of accelerated beats and screaming acid basslines, shows a nod to the past can result in a slap across the face for the present. Using analogue and vintage gear, from the 303, 606, 707, Oberheim DMX, Korg Monopoly, MS20, Prophet V5, the music is as organic as synthetic music can be, their equipment living and dying by its own unpredictable rules. (i-D Magazine)

Midnight Juggernauts have forged a unique path, refusing to be bound by boundaries of genre, convention, or expectation. The band are now on the verge of releasing a new anticipated album, Uncanny Valley, out on June 17th, their first output for 3 years following their previous albums Dystopia and The Crystal Axis. This EP is the first taste of their new material, which sounds uniquely Midnight Juggernauts. Situated at a self-styled nexus between genre and era, their new output may be described as warm-hearted cold wave, interstellar harmony's, early 1950's house, steeped in the darkness of dusty Giallo soundtracks, audio spomeniks at once futuristic and rustic, a bold musical future envisaged through a soundtrack to a forgotten Eastern Bloc Tarkovsky film, sifting through the ruins of LPs past.