our next vinyl release - the force - comes courtesy of a fantastic collaboration of artists featuring belgian dj and producer van czar, dj and producer dantiez saunderson and uk songstress ann saunderson. van continues to lead the way in deep techno grooves and his tracks are always powerful tools in the mix for many jocks. after he joined dantiez on their back to back set at this years (2015) legacy festival, they decided to get together in the studio and soon after they started working on this fine cut. over the last few years dantiez has taken after his legendary father, kevin saunderson, and released quality cuts on several labels including kevins own kms. the guys then decided to employ the soulful, gospel-esque vocals of dantiezs mother, ann. back in 1992 ann featured as backing vocals on the anthemic pennies from heaven by inner city which was headed up by her husband kevin, and went on to record several high profile tracks over the years. to keep it all in the family we get treated to a wonderful remix by the legend himself, mr kevin saunderson who led the way in the early detroit house and techno scene and gave the world some of the most memorable tunes ever with inner city and others.
parisian dj and producer kiddy smile embodies the lifeblood of house music past and present. his music flashes with nostalgia for those mid-80s new york basements where house music first came alive. ‘teardrops in the box’ pulses with the intoxicating energy of a ball in kiddy’s native paris, with its deep-rooted traditions but its intensely forward-focussing culture. following up on his fearsome debut ‘let a b!tch know’ on defected, kiddy smile has deployed the well-established remixing capabilities of mystic bill, a house champion from the underground schools of detroit and chicago. his ‘jersey dub’ eases back on the tempo for a syncopated strut to the garden state, while the ‘vocal mix’ is a bulkier prospect, emphasising kiddy’s growling vocal with some serious attitude bass. finally, his vinyl-exclusive ‘acid mix’ is specifically designed for getting twisted on dark, underground floors. cowbell and raw synths give ‘teardrops in the box’ unadulterated dancefloor credentials but this is more than a club record, the layers to this track run deep.
repress .... 26 years after its initial release, in the lab ep by language receives a reissue via few & far between, a new imprint out of bristol. founder of few & far between, sam hall, makes the 1992 deep house record the figurehead of his new label, setting the scene for the forthcoming original releases and further reissues in 2018 and beyond. remastered and pressed from the original dats dug out by language members alex swift and mark lewis, in the lab receives a crisp new lease of life with a fresh pressing. swift and lewis have been working closely with few & far between throughout the entire process, digging out the treasure trove of quarter-century old dats that were knocking around in their respective homes. shocked by the sudden interest of music they made 26 years ago, they have both enthusiastically jumped on board for this reissue. in the early 90s swift and lewis crafted in the lab from the deep house sounds coming out of nyc that they were picking up in bristol’s record stores. for kids coming up in 90s south west, the sounds of new york in 1992 formed unverifiable ideas about what club spaces would have looked and sounded like. in the lab is the culmination of these fantasies, embellished with some distinctive “uk” broken beat tropes that were also flowing through bristol’s music scene at the time (and still are). few & far between has made in the lab the blueprint for its first year of releases. as language sought to recreate the influential sounds from a far off place, so too do the signees of few & far between, making references to genres nearly three decades old, in an attempt to bring them into the contemporary. for its time, in the lab is up there with the best produced deep house records of its year and, like the best of them, made on machines by kids attempting to imitate but instead coming up with something that unique and singular.
executive producers: brett wilcots, jim stivers & graham carlton produced and mixed by kevin dixon originally released in 1991 / official repress 2018 groovin recordings licensed courtesy of brett wilcots, thanks to kelly wilcots.
victor simonelli opens up the vaults once more to unlock groove committee s dirty games , the follow up to the seminal i want you to know . taking the blueprint from his timeless house classic, simonelli reworked the bassline for this 92 follow up whilst holding onto that sublimely simple yet powerful chord progression, one that never fails to put a smile on the face. add in a helping of swung hats and crunched up shakers and this is a classic by anyone s standards. the vocals - a charged up, evocative warning to a mistreating lover - fit the nyc garage house rhythm so perfectly and deliver a raw emotion to the track. next up the dubb mix kicks off with the accapella vocals laid bare in all their glory, before that piano progression lays the path for the full force of dirty games to make its impact. there s more space between the vocals in this dub mix, allowing simonelli s production prowess room to breathe. a surefire spine tingler from start to finish. on the b side, simonelli offers up his 1993 re-edit, extending, elongating and beefing up certain elements to captivate audiences all over again. closing out the e.p. is groove committee s 93 track i wana hold you produced in collaboration with glenn sweety g toby - it follows that same garage house shuffling rhythm, with soul-laden organs and paula brion s killer vocals. another much welcomed reissue of some of victor simonelli s most sought after tracks, remastered by the man himself for a new generation of listeners.
new york city house / disco imprint. on a1: well being s remix of detroit jevantte s, mr. piano man is a slamming baseline loop driven groove. next up ari bald and martín miguel, of better listen records fame, bring a summer edit fit for a wbls barbecue. on the b side we have a special filtered out cut with a big low end from tilman. finally on b2, a track from higgins with filtered strings on top of raw house drums.