slammin percussive filtered techno !! in the charts of chris liebing, marco bailey, technasia, adam beyer, ben sims,....

phat new remixes by james ruskin/bomb

new hardfloor rmx! sven väth / richie hawtin / aphex twin playlist* c. just acid techno !!

sweet & nice sounding deep vocal house !! warm atmosphere !

excellent techno classix !

bootleg !! sos band vs depeche mode…percussive techno monster !! super limitiert !

excellent rockin chicago-id technotraxx / knarz style

reissue

pink vinyl with gatefold

pressed on blue-green vinyl

black vinyl

25th anniversary reissue of the debut album from common. the double vinyl release includes a bonus 7 inch.

limited edition of 1500 numbered copies on transparent 180 gram vinyl.

two unreleased recordings dug up by the team at numero group for their purple snow comp (get it), these were begging to be put on 45. recorded at audiotek studios inc in 1975. david z, who engineered lipps inc s -funkytown- and several prince productions, piloted both these recordings. get it on is the perfect end up night stone groove track, i can t recommend this record enough, buy it. another completely selfish venture, i just wanted this on 45.

top-reissue der beiden legendären alben us-r&b/gospel-band the voices of east harlem: “the voices of east harlem” (1973), produziert von leroy hutson und curtis mayfield, und “can you feel it” (1974), produziert von leroy hutson. zwei definitive soul-klassiker auf zwei lps.

eye can see the darkness (in the end of the tunnel) is a shot of light in the dark cavern of a broken heart. blinded by the lights rips apart the heart-string orchestra rather than just pulling on the strings. a love ballad lost in the haze of the mid-summer, faded to blue and repackaged as a gentle and tender winter anthem. sharing the a-side with the lucid dreaming of jeremiah r on the drum-heavy remix.
on the flip, i am not him is a filter-squelching, bass-slapping meander into green haze territory, that finally erupts into a swagger of familiar detroit-channeled drums and steady faded pads. outernet grumbles up the black-hole cosmic radiation with an industrial-tinged number that plunges the depths of deep-space. proper growling and clanging synths to add the right amount of raw, just at the end.

mother recordings is back once again with more of the floor filling beats that has made it one of the top labels of recent times. this latest is from simion, a producer with ties to labels like suara and hedoismn and one who here serves up two top cuts just in time for summer.

following last summers acclaim ruede hagelsteins long player apophenia, we once again revisit the album, this time with a few stunning remixes from the drifter, can be love synth, and ruede himself of the hugely popular footprints feat. c.a.r.. up first is the drifter and he turns out what may be his best remix to date with a swelling, emotional ride that will most definitely be an anthem for the coming summer. taking a different approach, yet just as engaging, ruede reworks his original into a dark, looping psychedelic odyssey perfect for late nights or early mornings. can love be synth rounds out the remixes with a gorgeous pop-esque twist on the original choosing to focus on live instrumentation and retro synthesis resulting in a cross-over favorite. and finally, for all the times you want the vibe without the vocal, a dub version of the original gem.

just chillin ist in zeiten der sozialen netzwerke und der smartphones ein gŠngiger begriff unseres alltagsprachschatzes geworden. ministry of sound beglŸckt uns mit dem dazugehšrigen soundtrack. 60 hits auf drei cds inklusive tracks und remixen von u.a. zayn, justin bieber, mike posner, the weeknd, lost frequencies, sigala, the fugees, outkast, whitney houston, jack garrat

sit down on this - dirty chair and please smoke a last cigarette with me. we re - walking around and i m looking into your face and you - give me just a smile . - alter ego is playing in the background from the turkish guy can ergun - a great spheric techno vinyl!

special 2017 repress
re-igniting the dancefloors twenty years after its original release, steve bug refreshes this classic chez damier production originally from 1992. can you feel it is one of those classic new york / chicago house jams that just defines a moment in dance music history. dessous label boss steve bug arranges two special mixes that celebrate and re-juvinate this very special record. steves straight up remix maintains the classic vibes with a sensitive 90s themed rework that calls upon clean, fresh drums and smooth sub bass as its initial building blocks. the instantly recognisable vocal is included, as is the hey-day chord vibes and glorious us house melodies. simply deadly in the right moments. a re-dub version is also included that spaces things out and opens up the strings in a breezy and superbly mixed club tool. a new york dub has also been included, dug out from the chez damier vaults and re-mastered for 2012 - highly prized vibes on this and his trademark, pushing, swinging drums keep us going on and on!

cardiff massive giovanni branciamore and bradley albertides heard nicoles amazing sultry folky tones on the flowers of flesh & blood album and just had to work up some nip and bop to sit with her voice. nicole loved it and this is it! we are not too sure what to label this music under but tags of future nip hop ambient folk bop seem to be close. sarah burgess is a secret forest folky vocalist from york with a super soft ambient tone to her voice which was crying out for a touch of flyypost nip. luv*jams ambient alter ego flyypost slides out some wobbled out bass lines, floaty synths and a 68bpm raw kick drum all gliding on a bed of waves with sarahs stunning memories vocal. what style of music do we label this as? neo italo nip folk acid whop?

after several appearances on the label, kareem comes up trumps again with an excellent first solo single release backed by a wonderful remix from white doyen oskar offermann himself.how low can you go the opener track acts as a discreet, structured, driving and some how dubby house tune that keeps a nice layer of grit beneath the fingernails. its loopy character imparts the feeling of virtually remaining unchanged but it nevertheless staidly evolves within its sonic borders and imparts a sensual quality of all-enveloping warmth. oskar offermanns interpretation of how low can you go introduces skipping melodies that are transmitted as choppy discoesque pulses and rhythmic modulated bass sounds are the preferred form of punctuation. indeed the remix is intended to be a dj tool, but like all of oskar offermanns recent house works, it builds smoothly as though every element was simply waiting in the wings to make its appearance at the proper moment, and – just before it finishes up – sounds like it could go on forever.

omar s doesnt just deliver big words, but a huge album, too.

>i can see< by the oliverwho factory is the second release of german label couldnt care more (following stareaways - learn how to love me) and its just marvellous: the duo from detroit, who by the way runs the stunning label madd chaise inc. and recently released >galactic transit< on rush hour and >night lights< on planet e, delivers finest detroit tech deep house with a twist, that will make you wave your arms and scream on the dancefloor. while the basic track is voluminously wafting and rawly pushing forward vocalist shone tops it with her power- and soulful singing. both tracks are mastered straight to the point by a.o.s.. classic.

first at decks.de!!! 11_inch is the project of hannover-based producers and djs ralf eckert, ron paul and christian weiland, working and being creative in the basement of time tools mastering studios. this is the perfect surrounding for a session with singer and songwriter jesse lee davis. you can hear the result on this classic disco- like slowgroover >can you feel it<. dubbymans (deep explorer) version keeps it very much organic with a great piano pattern and laidback moods on the chords while jesse lee croons about losing minds on the dancefloor. venedikt reyf, better known as suedmilch, puts the focus on the groove without losing the vibe of the original. the pitched down vox sounds just perfect to it. hypnotizing!

gadi mizrahis first ep embodies the kind of musical promiscuity that informs the parties and label output generated as one half of nycs infamous wolf+lamb duo. a languorous, supple pulse, before introducing a surprising degree of musicality and complexity-the nominal disco doesnt just reward frequent listens, it demands it-for such an effortlessly inviting work. all told, i can never get enough makes for a wild ride and a blindingly bright debut from mizrahi

it was only a matter of time. two genre-defining artists together ... pop music and dance musics most famous arbiters of taste, collaborating at last. dj hells >u can dance< is an interpretation of an unreleased bryan ferry song, but its one that reflects a perfect melding of two distinct personalities, a record that sounds as if the voice and music were made for each other.
hell, of course, has been riding high on the success of >teufelswerk<, his masterpiece of a double album, a journey replete with fruitful experiments and club bombs. one that has yielded both massive hits and not a tiny bit of controversy along the way. ferry, meanwhile, has been as busy as ever—recording a new album, performing in places as far afield as siberia, opening up the cannes film festival ... basically just being bryan ferry.
and now here they are together ... it all started in 2006 when hell dropped in to meet ferry at his west london studio. at first they discussed hell remixing an old roxy music track, and then it turned into something else - something new (u can dance).
they had similar impressions of one another — hell: >i was impressed by his aura and his look.<, ferry: >he impressed us with his sophistication and charm.< fast forward a few years later, and hell is hard at work on teufelswerk and putting the finishing touches on the aforementioned song titled >u can dance<, a serpentine moroder-esque disco burner. with the help of old friend peter kruder, of kruder and dorfmeister fame, hell fashioned the song into a smoldering nine-minute highlight of the double disc set, in which ferry turns in a typically assured vocal performance.
ferry may seem like an unexpected fan of dance, but hes been going to clubs since he was a teenager, and in his lengthy career hes worked with legends such as nile rodgers of chic and david williams from michael jacksons band. >its always a pleasure to work with people from that genre, who follow a singular groove.<
the single follows in the wake of hells >the dj feat. p. diddy< which has won over floors and critics alike with its nearly 30-minute radio slave remix and fine work from the likes of deetron, jay haze and others. on >u can dance< hell and ferry have similarly pulled out all the stops for the remixes, gathering up work from the grammy-nominated producer carl craig, dfa mainstay tim goldsworthy and pop electro superstars simian mobile disco.

great album by squarepusher alias tom jerkinson!

the music on this third release sounds a bit like a mixture of ame , derrick carter, lil louis, carl craig and basic channel. which is a good thing. we would like to think that this is the most loveable number so far. by miles! fonky, groovy, dark and deep techhouse that is just begging to be played at the right moment. paris the black fu from detroit grand pubahs has provided the vocals. and he actually has a message. can you relate?

at the latest since that lovely cover of german de:bug, our housi is no insider tip anymore, and it s obvious that the guy has to get out on this world s stages with his live show to hump the floors out there. this housemeister, who is he? a never ending, bubbling creative well, making his musical way straight and genuine, special and: his own. he has just released his album >enlarge your dose< on boysnoize records, it seems like someone build in a preprogrammed >producer mashine<, always letting him know exactly what s next. on just one ep, probably nobody ever before used up all of music history in such a fun way -while that wants to be achieved in the first place, maintaining your own style.aycb 05 is like a look book of the most exciting genres of the last 3 decades. who has not witnessed those days should go get this ep fot that exact reason. there s a lot to learn, talk about genre hopping in modern times. double rating and the golden schizo award goes to aycb05

the music on this third release sounds a bit like a mixture of ame , derrick carter, lil louis, carl craig and basic channel. which is a good thing. we would like to think that this is the most loveable number so far. by miles! fonky, groovy, dark and deep techhouse that is just begging to be played at the right moment. paris the black fu from detroit grand pubahs has provided the vocals. and he actually has a message. can you relate?

clara hill, bekannt für ihre gefühlvolle stimme, präsentiert nach ihrem debut „restless times“ ihr zweites album und schafft es mit leichtigkeit ihre stimme mit tiefgehenden texten – mal melancholisch, mal euphorisch – und raffinierten beats einer erlesenen auswahl an producern, zu soul geladenen deep house und nujazz tracks zu verknüpfen. größter gewinn ist dabei auf jeden fall die gekonnte auswahl der producer, wie slope, vikter duplaix, atjazz, charles webster, georg levin und king britt. ein komplexes und reifes album mit gehörigen portionen an emotionen.

soul masterpiece

white coloured vinyl, 2024 rsd edition

reissue, record store day 2024 10th anniversary edition

reissue, record store day 2024 edition

gatefold jacket, yellow, black & white quad vinyl, marketing sticker

limited tickled pink glass coloured double vinyl.

classic black double vinyl.

2024 first time vinyl release, 140g double vinyl, remastered audio with restored artwork

shelly y nueva generación was a cult spanish soul and garage band that left an indelible mark on the late 1960s music scene.

shelly y nueva generación was a cult spanish soul and garage band that left an indelible mark on the late 1960s music scene.