Label:M.A.D Records
Cat-No:MAD009X
Release-Date:24.05.2024
Genre:House
Configuration:12"
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Label:M.A.D Records
Cat-No:MAD009X
Release-Date:24.05.2024
Genre:House
Configuration:12"
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1
North 90 - Euro Trash
2
North 90 - We Can Only Imagine
3
North 90 - Tap Track
4
North 90 - Isabell
Welcoming North 90 to the M.A.D family, the couple DJ / Production duo from Liverpool make music we want to play. Euro Trash is a hot contented for tune of the summer!
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Label:Disco Disco Records
Cat-No:DISCO005
Release-Date:09.02.2024
Configuration:12" Excl
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Label:Disco Disco Records
Cat-No:DISCO005
Release-Date:09.02.2024
Configuration:12" Excl
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1
North 90 - We Prefer Fridays
2
North 90 - I Wil
3
North 90 - A Guy Called
4
North 90 - Good Start
NO RETURNS!
Warehouse find! Only a view copies left!
300 limited copies, hand numbered, vinyl only, mastered by DJ Steaw, Made in Berlin
A1 North 90 - We Prefer Fridays
A2 North 90 - I Wil
B1 North 90 - A Guy Called
B2 North 90 - Good Start
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Warehouse find! Only a view copies left!
300 limited copies, hand numbered, vinyl only, mastered by DJ Steaw, Made in Berlin
A1 North 90 - We Prefer Fridays
A2 North 90 - I Wil
B1 North 90 - A Guy Called
B2 North 90 - Good Start
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12"
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Label:M.A.D Records
Cat-No:MAD008X
Release-Date:16.02.2024
Genre:House
Configuration:12"
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Label:M.A.D Records
Cat-No:MAD008X
Release-Date:16.02.2024
Genre:House
Configuration:12"
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1
Man Power & Rapasa Nyatrapasa - Lou Land
2
Man Power & Rapasa Nyatrapasa - Battle Hill
3
Man Power & Rapasa Nyatrapasa - Battle Hill - Make A Dance Remix
4
Man Power & Rapasa Nyatrapasa - Battle Hill - M.A.D Dub Mix
Kenyan folk artist Rapasa Nyatrapasa Otieno and Man Power met while both artists in residence at the esteemed Glasshouse International Centre for Music and offer us something truly original here at M.A.D Records. Music has the power to bring people together and this is a shining example, Kenyan folk and electronic music from the North East of England - what’s not to like. On the flip label bosses Make A Dance offer up two remixes.
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Label:M.A.D Records
Cat-No:MAD007X
Release-Date:03.11.2023
Genre:House
Configuration:12"
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Label:M.A.D Records
Cat-No:MAD007X
Release-Date:03.11.2023
Genre:House
Configuration:12"
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1
Make A Dance - Cool Girls
2
Make A Dance - EI U Vee
3
Make A Dance - Oh Yeah
4
Make A Dance - No Way Out
The seventh release on M.A.D Records - label bosses Make A Dance are back.
The El U Vee E.P sees the London duo serve up an eclectic mix of influences from across the board. ‘Cool Girls’ opens with italo arps, gated snares and seductive vocal samples. Title track ‘El U Vee’ follows, blending house heat with a dash of Latin spice. This is a love-song body groover.
Flip it over and find the percussive basement jam ‘Oh Yeah’, before ‘No Way Out’ rounds off the EP with an acid tinged, new beat blend of M.A.D.ness. More
The El U Vee E.P sees the London duo serve up an eclectic mix of influences from across the board. ‘Cool Girls’ opens with italo arps, gated snares and seductive vocal samples. Title track ‘El U Vee’ follows, blending house heat with a dash of Latin spice. This is a love-song body groover.
Flip it over and find the percussive basement jam ‘Oh Yeah’, before ‘No Way Out’ rounds off the EP with an acid tinged, new beat blend of M.A.D.ness. More
Label:M.A.D Records
Cat-No:MAD006X
Release-Date:01.09.2023
Genre:House
Configuration:12"
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Label:M.A.D Records
Cat-No:MAD006X
Release-Date:01.09.2023
Genre:House
Configuration:12"
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1
Two Cold - Desert Leather
2
Two Cold - Missing Channel (Pure Electro Mix)
3
Two Cold - Katanga Slide
4
Two Cold - Portal Vortex
Two Cold, a name synonymous with the number two and of course, ice cold beats. Even though the London based brothers haven’t actually released any music yet, their coming has been foretold by a growing chill that has permeated the dance music stratosphere.
Legs beginning to quiver and shake? That’s Two Cold.
Hips involuntarily gyrating in an attempt to stay warm? Two Cold.
Jaw chattering like maracas? It’s those frosty boys, you’d better believe it.
If you like your dance music to take you on a psychedelic journey through time and space, the DESERT LEATHER EP is for you.
Winding passages that explore breaks, bleeps, bass and beyond.
Genre defying influences snatched from every dimension of the dance diaspora.
Inescapable body-rocking beats that echo through your very bones so hard that even your ancestors have a boogie.
The DESERT LEATHER EP will expand your mind to the very edge of the horizon, where earth and sky meet and where all laws of nature are meaningless.
Two lads
Wicked beats
Original styles
Clever boys
Original styles… wait I said that already
Lots of bass
Delightful melodies
Two - as in there are two of them
Cold - as in their beats are ice cold More
Legs beginning to quiver and shake? That’s Two Cold.
Hips involuntarily gyrating in an attempt to stay warm? Two Cold.
Jaw chattering like maracas? It’s those frosty boys, you’d better believe it.
If you like your dance music to take you on a psychedelic journey through time and space, the DESERT LEATHER EP is for you.
Winding passages that explore breaks, bleeps, bass and beyond.
Genre defying influences snatched from every dimension of the dance diaspora.
Inescapable body-rocking beats that echo through your very bones so hard that even your ancestors have a boogie.
The DESERT LEATHER EP will expand your mind to the very edge of the horizon, where earth and sky meet and where all laws of nature are meaningless.
Two lads
Wicked beats
Original styles
Clever boys
Original styles… wait I said that already
Lots of bass
Delightful melodies
Two - as in there are two of them
Cold - as in their beats are ice cold More
Label:M.A.D Records
Cat-No:MAD005
Release-Date:26.05.2023
Genre:House
Configuration:12"
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Cat-No:MAD005
Release-Date:26.05.2023
Genre:House
Configuration:12"
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1
Rakim Under - Blind
2
Rakim Under - If U Wanna
3
Rakim Under - Te Siento Dentro
4
Rakim Under - Vice
Half Spanish, half Lebanese, Rakim Under was born in Chile, grew up in Memphis and Spain and is now based in London.
Listening to his debut EP for M.A.D. Records, it’s easy to hear his exotic heritage very much reflected in his music.
Karim effortlessly covers many styles, ranging from Latin house to Bollywood infused breaks and electro, all under pinned with his distinct hi-pressure bass lines.
As a DJ, Rakim has a taste for a variety of musical styles, where genre has no limit. Selecting from his painstakingly curated record collection, even the deepest of diggers will walk away having had their ears opened, failing that, he’ll at least make you dance your ass off.
When not playing on his own, he is a resident at his own event, Soursopp where he often plays alongside David Triana at what is quickly becoming one of the best parties in London and beyond. More
Listening to his debut EP for M.A.D. Records, it’s easy to hear his exotic heritage very much reflected in his music.
Karim effortlessly covers many styles, ranging from Latin house to Bollywood infused breaks and electro, all under pinned with his distinct hi-pressure bass lines.
As a DJ, Rakim has a taste for a variety of musical styles, where genre has no limit. Selecting from his painstakingly curated record collection, even the deepest of diggers will walk away having had their ears opened, failing that, he’ll at least make you dance your ass off.
When not playing on his own, he is a resident at his own event, Soursopp where he often plays alongside David Triana at what is quickly becoming one of the best parties in London and beyond. More
12"
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Label:M.A.D RECORDS
Cat-No:M.A.D.E004
Release-Date:28.10.2022
Configuration:12"
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Cat-No:M.A.D.E004
Release-Date:28.10.2022
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1
Hard Drive Library - Allegro For Strings
2
Make Dance - Nunyuki Nights
3
Andy Ash - Drums For Acid
4
Tom Carruthers - Forgotten Grove
5
Asa Tate - Thas It
Make A Dance have bought some friends along to present this powerful VA ranging from ghetto disco to heads down acid rollers.
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Label:We Release Jazz
Cat-No:WRJ010LTD
Release-Date:16.07.2021
Genre:Nu Jazz
Configuration:LP Excl
Barcode:4251804125499
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Label:We Release Jazz
Cat-No:WRJ010LTD
Release-Date:16.07.2021
Genre:Nu Jazz
Configuration:LP Excl
Barcode:4251804125499
1
Hiroshi Suzuki - A1. Shrimp Dance
2
Hiroshi Suzuki - A2. Kuro To Shiro
3
Hiroshi Suzuki - B1. Walk Tall
4
Hiroshi Suzuki - B2. Cat
5
Hiroshi Suzuki - B3. Romance
No sales to Japan!
LP: 180g vinyl, half speed mastered, heavy sleeve, obi, gold ink
Genre: Jazz, Fusion, Funk
Tracklisting LP
A1. Shrimp Dance
A2. Kuro To Shiro
B1. Walk Tall
B2. Cat
B3. Romance
Info
We Release Jazz is ecstatic (purrrr!) to announce the official reissue of Hiroshi Suzuki's glorious jazz-fusion-funk Holy Grail Cat (originally released in 1976), sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD. Both versions come with liner notes by Teruo Isono.
Cat was recorded in October 1975 at at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two day session of groove magic. The chemistry was still intact. The skills and style had grown.
The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums).
Celebrated in jazz collectors circles, in the lofi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike.
Points of interests
- For fans of jazz, fusion, funk, trombone, Japanese jazz, smooth rides, cats, allure.
- Official reissue of the glorious jazz-fusion album by Japanese trombonist extraordinaire Hiroshi "Neko" Suzuki.
- 10th release from We Release Jazz, following Ryo Fukui's Scenery, Mellow Dream, A Letter from Slowboat, and Ryo Fukui in New York, the soundtrack of Le Cercle Rouge by Eric Demarsan, Stuff Combe 5 + Percussion, Marc Moulin's Placebo Live 1971 and Boillat Thérace Quintet albums. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records (Midori Takada's Through The Looking Glass and Lunar Cruise with Masahiko Sato, Pierre Barouh's Le Pollen, Jun Fuka-machi's Nicole, Grauzone's discography, …)
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LP: 180g vinyl, half speed mastered, heavy sleeve, obi, gold ink
Genre: Jazz, Fusion, Funk
Tracklisting LP
A1. Shrimp Dance
A2. Kuro To Shiro
B1. Walk Tall
B2. Cat
B3. Romance
Info
We Release Jazz is ecstatic (purrrr!) to announce the official reissue of Hiroshi Suzuki's glorious jazz-fusion-funk Holy Grail Cat (originally released in 1976), sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD. Both versions come with liner notes by Teruo Isono.
Cat was recorded in October 1975 at at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two day session of groove magic. The chemistry was still intact. The skills and style had grown.
The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums).
Celebrated in jazz collectors circles, in the lofi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike.
Points of interests
- For fans of jazz, fusion, funk, trombone, Japanese jazz, smooth rides, cats, allure.
- Official reissue of the glorious jazz-fusion album by Japanese trombonist extraordinaire Hiroshi "Neko" Suzuki.
- 10th release from We Release Jazz, following Ryo Fukui's Scenery, Mellow Dream, A Letter from Slowboat, and Ryo Fukui in New York, the soundtrack of Le Cercle Rouge by Eric Demarsan, Stuff Combe 5 + Percussion, Marc Moulin's Placebo Live 1971 and Boillat Thérace Quintet albums. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records (Midori Takada's Through The Looking Glass and Lunar Cruise with Masahiko Sato, Pierre Barouh's Le Pollen, Jun Fuka-machi's Nicole, Grauzone's discography, …)
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Label:Time Is Now
Cat-No:TIN061
Release-Date:24.05.2024
Genre:2step/garage
Configuration:12"
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Label:Time Is Now
Cat-No:TIN061
Release-Date:24.05.2024
Genre:2step/garage
Configuration:12"
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1
Xander - You Take Me (so far)
2
Xander - Feeling
3
Xander - The Underground
Tracklisting
A1 Xander - You Take Me (so far)
A2 Xander - Feeling
B1 Xander - The Underground
Sales Note
Xander makes his debut on Shall Not Fade sub-label Time Is Now with three 90s driven garage house anthems!
Feeling EP drops May 24th via Time Is Now. More
A1 Xander - You Take Me (so far)
A2 Xander - Feeling
B1 Xander - The Underground
Sales Note
Xander makes his debut on Shall Not Fade sub-label Time Is Now with three 90s driven garage house anthems!
Feeling EP drops May 24th via Time Is Now. More
2LP
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Label:Chicago Bee
Cat-No:CB1988-08
Release-Date:25.11.2022
Genre:Acid House
Configuration:2LP
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Label:Chicago Bee
Cat-No:CB1988-08
Release-Date:25.11.2022
Genre:Acid House
Configuration:2LP
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1
Postelektrik - SW1
2
Derek Carr - No Surrender
3
Type 303 - Stairway To Jupiter
4
Monofonix - Omega
5
Ivan Golac - Floated
6
Iron Blu - Valtra
7
Fear-E - Heaven't You Heard
8
Forgotten Corne - Maen Land
9
iNFO - Dreams Of Andromeda
10
A-Eno-Acid - Greek Town Casino
Being somewhat of a conceptual experiment. All the artists on this album were asked to imagine fusing Acid and House with the Virtualsex LP which was released on Buzz in 1993. A 303 sound would be welcomed but not essential with an emphasis on soulful emotion and melody.
Each record comes with a individual digital download code More
Each record comes with a individual digital download code More
Label:Sin Sistema
Cat-No:SINS001
Release-Date:15.03.2024
Genre:Techno
Configuration:12"
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Label:Sin Sistema
Cat-No:SINS001
Release-Date:15.03.2024
Genre:Techno
Configuration:12"
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1
Sansibar - We Rise
2
Sansibar - Elastic
3
Sansibar & Denzel - Sonic Minds
4
Sansibar - 2K
There’s a time for everything. To fill in another piece of the puzzle. To make the matrix make sense. Trying not to hide it, trying not to fight it. Just trying to recognize it and keep on going.
This four-tracker, the first release on Sansibar’s 'Sin Sistema' imprint, borrows the best elements of formulas we love, and for a good reason.
‘We Rise’ a spiraling, mesmerizing infusion of yearning pads and a twisting acidic wormhole that leaves no room for doubt: this is Sans on form, and we have lift-off.
‘Elastic’ continues the lysergic theme, turning the dials towards a more sinister entity. Growing, realizing one’s power, and using it.
And on to the B-side, joining forces with Denzel, becoming ‘Sonic Minds’, getting into Techy territory. This is strictly festival business. Tried and tested throughout summer ’23 to devastating effect. Call an ambulance.
The final track ‘2k’ ups the Tech ante and sprinkles some murky UK Garage dust on top: skippy drums, a bouncy bass section, and dubby atmospheric More
This four-tracker, the first release on Sansibar’s 'Sin Sistema' imprint, borrows the best elements of formulas we love, and for a good reason.
‘We Rise’ a spiraling, mesmerizing infusion of yearning pads and a twisting acidic wormhole that leaves no room for doubt: this is Sans on form, and we have lift-off.
‘Elastic’ continues the lysergic theme, turning the dials towards a more sinister entity. Growing, realizing one’s power, and using it.
And on to the B-side, joining forces with Denzel, becoming ‘Sonic Minds’, getting into Techy territory. This is strictly festival business. Tried and tested throughout summer ’23 to devastating effect. Call an ambulance.
The final track ‘2k’ ups the Tech ante and sprinkles some murky UK Garage dust on top: skippy drums, a bouncy bass section, and dubby atmospheric More
Label:Active Life Worldwide
Cat-No:alife003
Release-Date:01.03.2024
Genre:House
Configuration:12"
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Label:Active Life Worldwide
Cat-No:alife003
Release-Date:01.03.2024
Genre:House
Configuration:12"
Barcode:
1
DJ Sommer - Darling I Pray
2
DJ Sommer - All My Love
3
DJ Sommer - Heartbeat
4
DJ Sommer - So Happy
Tracklisting
A1 DJ Sommer - Darling I Pray
A2 DJ Sommer - All My Love
B1 DJ Sommer - Heartbeat
B2 DJ Sommer - So Happy
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A1 DJ Sommer - Darling I Pray
A2 DJ Sommer - All My Love
B1 DJ Sommer - Heartbeat
B2 DJ Sommer - So Happy
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Label:Casa Voyager
Cat-No:twr03
Release-Date:23.01.2020
Genre:Electro
Configuration:12"
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Label:Casa Voyager
Cat-No:twr03
Release-Date:23.01.2020
Genre:Electro
Configuration:12"
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Detroit's Filthiest closes his past (private stock) present (prime cuts) and future (premium content) trilogy, celebrating 20 years of Motor City Electro Company's excellence together with Casa Voyager presenting his outstanding electro funk works.
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Label:Tresor Records
Cat-No:tresor365
Release-Date:14.06.2024
Genre:Techno
Configuration:12" Excl
Barcode:4251804180801
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Label:Tresor Records
Cat-No:tresor365
Release-Date:14.06.2024
Genre:Techno
Configuration:12" Excl
Barcode:4251804180801
1
Fireground - The Element 05:13
2
Fireground - Riva 05:26
3
Fireground - Love Letter 05:57
4
Fireground - Etereo 05:40
FORMAT: 12" vinyl, generic sleeve artwork,
10x15cm postcard inlay, dl code
TRACKLIST
1. / A1 The Element 05:13
2. / A2 Riva 05:26
3. / B1 Love Letter 05:57
4. / B2 Etereo 05:40
Fireground’s live sets brim with joy and Mediterranean warmth so, as we have now passed the vernal equinox in the Northern Hemisphere and are well on en route to leave the long, cold winter behind, what could be more fitting than a new release from the duo?
As with their three previous releases on Tresor (Dualism, Refreshing Part 1, and Dreams) for Love Letter Angela and Daniele have created a heady melange of styles of techno synonymous with the turn of the century with such outrageous elan and jubilation that they practically embody the musical term giocoso:
“We had the "summer" concept in mind from the beginning, this pushed us to create a message in our sound making it uplifting and engaging, capable of conveying a positive, romantic and warm vibe. In our productions we always give priority to the harmonic parts such as melodies, pads, piano and guitar riffs, the peculiarity of this EP is that all the tracks were born first from these elements, and only at the end the groove was crafted, not due to a difference in importance, rather to ensure that the rhythmic part paid as much respect as possible to the harmonic part.”
This decision to build upwards from the harmonics has paid dividends: the entrance of a string section provokes visions of a rapt club crowd cheering with exultation; a looped groove stimulates a connection to such gleeful nostalgia that is almost certain to be heard at many festivals in coming months; a blissful pad sweeps over a
track like the first rays of sun in the morning; a filtered synth rises to be met with a xylophone-like countermelody…every track has a moment where the music overflows with some form of happiness. Together the collection promises, and perhaps even delivers, a summer both ecstatic and joyful.
More
10x15cm postcard inlay, dl code
TRACKLIST
1. / A1 The Element 05:13
2. / A2 Riva 05:26
3. / B1 Love Letter 05:57
4. / B2 Etereo 05:40
Fireground’s live sets brim with joy and Mediterranean warmth so, as we have now passed the vernal equinox in the Northern Hemisphere and are well on en route to leave the long, cold winter behind, what could be more fitting than a new release from the duo?
As with their three previous releases on Tresor (Dualism, Refreshing Part 1, and Dreams) for Love Letter Angela and Daniele have created a heady melange of styles of techno synonymous with the turn of the century with such outrageous elan and jubilation that they practically embody the musical term giocoso:
“We had the "summer" concept in mind from the beginning, this pushed us to create a message in our sound making it uplifting and engaging, capable of conveying a positive, romantic and warm vibe. In our productions we always give priority to the harmonic parts such as melodies, pads, piano and guitar riffs, the peculiarity of this EP is that all the tracks were born first from these elements, and only at the end the groove was crafted, not due to a difference in importance, rather to ensure that the rhythmic part paid as much respect as possible to the harmonic part.”
This decision to build upwards from the harmonics has paid dividends: the entrance of a string section provokes visions of a rapt club crowd cheering with exultation; a looped groove stimulates a connection to such gleeful nostalgia that is almost certain to be heard at many festivals in coming months; a blissful pad sweeps over a
track like the first rays of sun in the morning; a filtered synth rises to be met with a xylophone-like countermelody…every track has a moment where the music overflows with some form of happiness. Together the collection promises, and perhaps even delivers, a summer both ecstatic and joyful.
More
Label:Heist Recordings
Cat-No:heist072
Release-Date:16.06.2023
Genre:House
Configuration:12" Excl
Barcode:4251804140355
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Last in:25.05.2023
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Label:Heist Recordings
Cat-No:heist072
Release-Date:16.06.2023
Genre:House
Configuration:12" Excl
Barcode:4251804140355
1
Cinthie - Won’t u take me
2
Cinthie - Piano heaven
3
Cinthie - Masterplan
4
Cinthie - Piano heaven (St. David remix)
Format: Vinyl 12” (180 gr., Limited Full Cover)
Track list:
A1 – Won’t u take me
A2 – Piano heaven
B1 – Masterplan
B2 – Piano heaven (St. David remix)
Release Info:
Cinthie joins the Heist fam with an EP full of lush, epic house music with 3 originals and a St. David remix.
Cinthie is the kind of artist who seems to be everywhere all at once. In the past years, we’ve seen her compile a lush DJ Kicks compilation, release numerous EP’s on labels such as Aus music, run one of Berlin’s finest record stores (Elevate Records), tour the world fiercely, and create an all-new live show. Her EP for Heist has been in the works for a long, long time and it’s an absolute pleasure to finally present the ‘Music for Discotheques’ EP. Spoiler alert: It’s a no holds-back, ‘all killers, no fillers’ record. Just the way we like it.
In classic Cinthie fashion, this EP has the Berlin-based artist explore various sides of house music, starting with the vocal cut ‘Won’t u take me’. Lush pads, shuffling snares and a dreamy female vocal work together to bring a warm and classy house track with a clear nod to 90’s US house, but with its feet firmly rooted in the present.
Piano heaven takes you on an Italo-meets-deephouse excursion straight into…Drum roll…: Piano heaven. A driving 909 groove and a deceptively simple bass form the foundation of the track, but it’s the keys (and strings) that bring this track to its full peak-time potential. The energy in this track is of the ‘hands-in-the-air / screaming-out-loud’ type and it has already become one of the biggest tracks in Cinthie’s live-show.
On the flip, Cinthie explores the pacier electronic side of the dance spectrum, with the footwork inspired jam ‘Masterplan’. Think classic 808’s, loopy synths and a cheeky spoken word piece that lifts the song to a level where it’s extremely danceable and quite simply put; really fun.
The final track of the EP is the expertly crafted remix by Italian house maestro St. David; an artist Cinthie has always been a big fan of. He’s made a dazzling rework of ‘Piano Heaven’: A deep and driving deephouse version that’s layered in sweeps, fx and bleeps for an altogether mesmerizing effect.
We’re thrilled that we can share Cinthie’s music on the label and have her join the family after having played so many shows together and having spoken about doing something together for such a long time. As always, play it loud and dance, dance, dance!
Yours Sincerely,
Maarten & Lars More
Track list:
A1 – Won’t u take me
A2 – Piano heaven
B1 – Masterplan
B2 – Piano heaven (St. David remix)
Release Info:
Cinthie joins the Heist fam with an EP full of lush, epic house music with 3 originals and a St. David remix.
Cinthie is the kind of artist who seems to be everywhere all at once. In the past years, we’ve seen her compile a lush DJ Kicks compilation, release numerous EP’s on labels such as Aus music, run one of Berlin’s finest record stores (Elevate Records), tour the world fiercely, and create an all-new live show. Her EP for Heist has been in the works for a long, long time and it’s an absolute pleasure to finally present the ‘Music for Discotheques’ EP. Spoiler alert: It’s a no holds-back, ‘all killers, no fillers’ record. Just the way we like it.
In classic Cinthie fashion, this EP has the Berlin-based artist explore various sides of house music, starting with the vocal cut ‘Won’t u take me’. Lush pads, shuffling snares and a dreamy female vocal work together to bring a warm and classy house track with a clear nod to 90’s US house, but with its feet firmly rooted in the present.
Piano heaven takes you on an Italo-meets-deephouse excursion straight into…Drum roll…: Piano heaven. A driving 909 groove and a deceptively simple bass form the foundation of the track, but it’s the keys (and strings) that bring this track to its full peak-time potential. The energy in this track is of the ‘hands-in-the-air / screaming-out-loud’ type and it has already become one of the biggest tracks in Cinthie’s live-show.
On the flip, Cinthie explores the pacier electronic side of the dance spectrum, with the footwork inspired jam ‘Masterplan’. Think classic 808’s, loopy synths and a cheeky spoken word piece that lifts the song to a level where it’s extremely danceable and quite simply put; really fun.
The final track of the EP is the expertly crafted remix by Italian house maestro St. David; an artist Cinthie has always been a big fan of. He’s made a dazzling rework of ‘Piano Heaven’: A deep and driving deephouse version that’s layered in sweeps, fx and bleeps for an altogether mesmerizing effect.
We’re thrilled that we can share Cinthie’s music on the label and have her join the family after having played so many shows together and having spoken about doing something together for such a long time. As always, play it loud and dance, dance, dance!
Yours Sincerely,
Maarten & Lars More
Label:Born Bad Records
Cat-No:BB141LP
Release-Date:21.05.2021
Genre:Alternative/Electronic
Configuration:LP
Barcode:
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Last in:01.06.2021
+ Show full info- Close
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Last in:01.06.2021
Label:Born Bad Records
Cat-No:BB141LP
Release-Date:21.05.2021
Genre:Alternative/Electronic
Configuration:LP
Barcode:
1
Henri Salvador - The`me Du Bateau
2
Henri Salvador - Siffler En Travaillant
3
Henri Salvador - Et Des Mandolines
4
Henri Salvador - L'amour, Va, Ça Va
5
Henri Salvador - Kissinger Le Duc Tho
6
Henri Salvador - J'aime Tes Genoux
7
Henri Salvador - Sex Man
8
Henri Salvador - On N'est Plus Chez Nous
9
Henri Salvador - Hello Mickey
10
Henri Salvador - Pauvre Jesus Christ
11
Henri Salvador - Le Bilan
12
Henri Salvador - Marjorie
13
Henri Salvador - Le Temps Des Cons
14
Henri Salvador - Rock Star
15
Henri Salvador - Un Jour Mon Prince Viendra
16
Henri Salvador - On L'a Dans L'baba
Wonderful and utterly nuts home studio genius...with artwork to boot (includes printed inner sleeve). A gem. BIG TIP!
" A pop star who turned his back to show business to become an independent
artist, steered by the revolutionary ideas of his wife Jacqueline in
1960's France; these are the outlines of Henri Salvador's unusual
musical career. It made him into a star then led him to entirely
dissociate from the record industry, preferring to make music in his
living room with his guitars. At 50, Salvador starts experimenting with
synths and drum machine, multi-track recorders and altered voice
collages. He takes up editing and mixing, and solitarily makes songs for
young and old from his home in Paris' Place Vendôme.
"Unfortunately, it's not beautiful songs that make an amazing
career. These are songs that will exist after I die." (1969)
How can one even begin to tell the story of Salvador? Seventy years of
music, a thousand of creations of all styles. He has known each and
every genre and trend, appropriated some and invented yet new ones.
Sometimes associated to ye-ye singers, he's also known to have brought
rock to France (in 1956, with Boris Vian). Yet he's 26 years older
than Johnny Hallyday. He's 47 when _Zorro est arrivé_ is released in
1964... and 83 at the release of _Jardin d'hiver_. Seen with today's
eyes it's all very dizzying. You never know whether he's young or
old, or under which label to file him: jazzman, crooner, entertainer,
composer, guitar player, children song singer...
As a kid he picks up the guitar without any theoretical basics and
becomes so talented he plays with Django Reinhardt. He learns to sing
and compose on his own. The 30s are the years of his training; the 40s
of his emancipation within musical ensembles which are to see his
talents flourish. He finds his public and perfects his tricks: laughter
and seduction. In the 50s he rediscovers the songs of the islands where
he grew up, revisits jazz, swing, blues and sings for children. It's
the years of his unforgettable "sweet song", and his voice changes.
His cheeky humour makes way for a multifaceted talent, he fills up
venues, surrounds himself with serious lyricists and accumulates
classics: _Le blues du dentiste, Dans mon île,_ _Syracuse._
"My wife has come to understand me so well that she can now think in
my place. When she has an idea it's, so to speak, my own idea!"
(Télé Magazine, 1972)
Jacqueline shapes and emancipates him. When they marry in 1950, she's
a quiet and cultivated young lady who's to progressively take charge
of his career. She enforces her views and frantic pace. A spectator in
the world of show business, Jacqueline realises that the artists, left
out of professional conversations, often get cheated. Henri undoes the
chains binding him to Philps, Vogue, Barclay, his editor, his manager
and his impresario, and becomes independent. The Salvadors get to know
the inner workings of production, edition, record pressing, distribution
and promotion. They always have material to record a demo at hand. Their
apartment is full of recorders: one at the bed end for the guitar, yet
another in Henri's office for the Steinway. He's on all fronts; he
accumulates hits, invents, mocks, adapts, and produces.
Place Vendôme sees the birth of the label Rigolo. Why Rigolo (French
for "funny")? "Because it's funny", he used to answer.
Homemade clips are broadcasted in TV shows they self-produce: Salves
d'Or (a play on words sounding like "Salvador" meaning "bursts
of gold") and Dimanche Salvador. Their approach turns out to be
profitable. The Salvador couple enters the 70s with confidence.
At times, Henri takes out the cabriolet along with his colporteurs on
record shop tours. Meanwhile Jacqueline is a formidable businesswoman.
Disney threatens to sue the singer over his use of the name Zorro: she
turns the situation to her advantage and cashes in on a Disney-Salvador
contract. The decade will see them release five records: _Les
Aristochats ("The Aristocats")_, _Blanche-Neige ("Snow White")_,
_Le petit Poucet ("Hop-o'-My-Thumb")_, _Robin des Bois ("Robin
Hood")_ and _Pinocchio_. Ever reinventing themselves, the Salvadors
intend to do without studios, engineers, producers and musicians
altogether.
"I started working with just a tiny recorder. Now I've gotten to
sixteen tracks. I have electronic drums and my instruments. I can give
the impression of a full orchestra. It's amazing, I have as many
musicians as I want at my disposal, at whichever time of day and
night" (1972)
They install a high-end recording studio in their living room they
nickname the PAM – referring to the name of their company, Productions
Artistiques et Musicales. Louis Chedid remembers, "there was a huge
mixer, custom made I believe, a 3M tape recorder. They must have had the
very first drum machines, the ones that accompanied organs for example,
inspired by the Ace Tone; they came with pre-recorded beats like 'samba'
or 'biguine' [pressing two keys simultaneously you could combine them].
Plus there were quite a few guitars. What I do remember very well is his
guitar playing. He was seen as an entertainer but, really, he was a
virtuoso."
Using his mixer and reels, Henri endlessly multiplies and harmonises his
voice. Everything is done hastily though with care. He plays around with
the offbeat sounds of the synths, has a blast with the drum machines. He
uses all of the pre-recorded beats, loops the "fillers" to generate
more beats, fiddles with the speeds, programs his own, sometimes goofy
rhythms. This creative shift changes his musical groove. Salvador
invented a mechanical jazz for himself, one that gathered its swing from
the guitars and its energy from the vocals. He worked around his
weakness on the bass with his strings and Moog keyboard. To get his
public used to this new style, the PAM first produces a few singles'
B-sides – _On n'est plus chez nous_, which recounts the story of two
scat-men interrupted by a passerby looking for Place de l'Opéra in
Paris. Then an A-side: _Ah ce qu'on est bien quand on est dans son
bain_, (which could be translated as "Oh how nice it feels to
bathe"), which was recorded straight from the bathroom and became
1970's Christmas hit. And finally the first self-released album: _Les
Aristochats_, rewarded by the Charles Cros Academy in 1971. Many things
are in Jacqueline's hands: the lead, the books, and even the keys of
the studio: at times Henri would get locked in to compose, let out only
to work on his TV shows.
Under his contract with Disney, he's required to produce
family-friendly records. Along with his authors he creates songs about
Uncle Scrooge, Sneezy and Mickey. He combines them to other, very
peculiar, pieces: _Les voisins_ ("The neighbours"), an old hater
complains about the noise; _Petit Lapin_ ("Little Bunny"), a city
man advises a rodent not to settle in town; _Voilactus_, (from "voie
lactée", French for the Milky Way) an alien mocks our banking system;
_J'ai envie de Lucie_, in which the narrator explains how he's
always longing for Lucie; _Maman Papa_, a spoiler for kids on how to
hate theirs parents later on in life; but also _Le temps des cons
_("The time of the jerks"), a harsh commentary on French society.
"I make kids laugh. I love to belong to this audience, the most
righteous and the most severe. If they like you, they tell you; if they
don't like you, they tell you, too." (Télé-Star, 1977)
These LPs are also full of tender songs, dance floor baits and
environmentalist vignettes - a hodgepodge less well regarded than his
sixties period. And yet it's a boisterous collection of gems, with a
peculiar signature and many fresh ideas. _Siffler en travaillant_
("Whistle While You Work") is a brilliant reinterpretation of one of
_Snow White_'s theme song, which a young Salvador had already
performed with Ray Ventura's Orchestra in the 40s; _Hello Mickey_, a
catchy, spirited ska_; J'aime tes g'noux_, a great cover of Shirly
and Co's _Shame shame shame_; on _Un jour mon prince viendra_, he
makes a beat borrowed from Suicide and a Les Paul solo collide.
Meanwhile Rigolo also releases less family-oriented singles. After all,
Salvador's in for a bit of fun. He takes up eroticism, the financial
crisis, and the negotiations between the US and Vietnam. He writes some
luminous ballads such as _Marjorie_ and catchy classics like _Pauvre
Jésus Christ_. Some tracks are the result of unbridled experimentation,
like _Sex Man_ – particularly innovative – or _Et des mandolines_,
an ode to cool eyeing on the side of Lucio Battisti. He makes the score
of a messy film, _L'explosion_. The soundtrack was only released in
Canada though it's full of wonderful material like _Thème du bateau_
or the depressing though dazzling _Le bilan_, written by his friend, the
drummer Moustache.
Should he have kept recording in his living room beyond 1975, where
would have Salvador ended up? Would he have been found to be one of the
pioneers of rap or techno? In 1975 Jacqueline is diagnosed with a
cancer. As she manages, decides and initiates everything, Rigolo starts
idling. The year's only release, _Pinocchio_, is finished in a rush
and poorly distributed. The Salvadors accumulate medical consultations
but the following year Jacqueline passes away. It's the end of an era,
the end of the home studio. Weary and beat, Henri doesn't feel like
playing in his empty house anymore. He lets all of their projects die
out: the TV show, the label, the musical editions, the PAM. It's a
free-for-all; the labels and editors scramble at his door. He's robbed
and pressed for more Disney albums. _Peter Pan_ is on the way, _Bernard
et Bianca_ ("The Rescuers") and _Mary Poppins_ should be next, but
nothing comes out. His old impresario Marouani helps him back on his
feet and takes him to the other side of the globe to drown his sorrows.
Henri had never gotten on a plane before.
"He's my man, my child, my baby and my islands' memories. I'm
his shadow and alter ego. I live for him." (Jacqueline Salvador, 1973)
Back in line, he records _Salvador 77_ with a handful of producers. He
slips in two oldies from his home-studio period: _Rock star_, a Johnny
Hallyday parody made for their TV show at the time and _L'amour, va,
ça va_, made in his crooner style. The latter is an outsider with its
sloppy arrangements. The synth is so saturated on the record it seems
the speakers might just blow up. In 1978, for RCA still, he records _On
l'a dans l'baba_ in the studio. It resembles a typical electronic
track with a Vocoder – the beat though doesn't emanate from a drum
machine but from a flesh-and-blood drummer. Here again however the irony
didn't bother Salvador. And neither us – we included the song as the
closing-track of our compilation.
In 1980, he handwrites _"Si vous ne l'aimez pas, allez vous faire
foutre"_ (literally, _"If you don't like it, go fuck
yourselves"_) on the sleeve of his latest album. We'll never know
whether it was meant for the journalists or his label. He records the
same hits again, releases dull singles. All the same, he remains a great
performer who can get the whole of Paris dancing, as well as a champion
for the youth (_Emilie Jolie, La petite sirène_). The 90s may prove to
be artistically poor, they are emotionally rich for Salvador: he meets
his last wife, Catherine. Lifted and lit up once again, he makes his
comeback in the 2000s with _Chambre avec vue_.
"In the 60s, the artists were getting ripped off with ridiculous
rates. In the 80s, the lawyers got involved. The economy changed and
non-recoverable advance payments emerged. Labels started financing
artists so they wouldn't end up doing like Salvador did." (Louis
Chedid)
Together with Jacqueline, Henri Salvador should've set an example for
other artists: one of independence against an unfair and unyielding
system. An inspiration not to end up enslaved by contracts signed too
early, or to feed a bunch of comatose owners clenching onto millions of
publishing rights. Be glad, music-consumer friends: tonight a pen-pusher
will offer himself an entrecote thanks to the money you kindly invested
in this compilation. Happy listening. More
" A pop star who turned his back to show business to become an independent
artist, steered by the revolutionary ideas of his wife Jacqueline in
1960's France; these are the outlines of Henri Salvador's unusual
musical career. It made him into a star then led him to entirely
dissociate from the record industry, preferring to make music in his
living room with his guitars. At 50, Salvador starts experimenting with
synths and drum machine, multi-track recorders and altered voice
collages. He takes up editing and mixing, and solitarily makes songs for
young and old from his home in Paris' Place Vendôme.
"Unfortunately, it's not beautiful songs that make an amazing
career. These are songs that will exist after I die." (1969)
How can one even begin to tell the story of Salvador? Seventy years of
music, a thousand of creations of all styles. He has known each and
every genre and trend, appropriated some and invented yet new ones.
Sometimes associated to ye-ye singers, he's also known to have brought
rock to France (in 1956, with Boris Vian). Yet he's 26 years older
than Johnny Hallyday. He's 47 when _Zorro est arrivé_ is released in
1964... and 83 at the release of _Jardin d'hiver_. Seen with today's
eyes it's all very dizzying. You never know whether he's young or
old, or under which label to file him: jazzman, crooner, entertainer,
composer, guitar player, children song singer...
As a kid he picks up the guitar without any theoretical basics and
becomes so talented he plays with Django Reinhardt. He learns to sing
and compose on his own. The 30s are the years of his training; the 40s
of his emancipation within musical ensembles which are to see his
talents flourish. He finds his public and perfects his tricks: laughter
and seduction. In the 50s he rediscovers the songs of the islands where
he grew up, revisits jazz, swing, blues and sings for children. It's
the years of his unforgettable "sweet song", and his voice changes.
His cheeky humour makes way for a multifaceted talent, he fills up
venues, surrounds himself with serious lyricists and accumulates
classics: _Le blues du dentiste, Dans mon île,_ _Syracuse._
"My wife has come to understand me so well that she can now think in
my place. When she has an idea it's, so to speak, my own idea!"
(Télé Magazine, 1972)
Jacqueline shapes and emancipates him. When they marry in 1950, she's
a quiet and cultivated young lady who's to progressively take charge
of his career. She enforces her views and frantic pace. A spectator in
the world of show business, Jacqueline realises that the artists, left
out of professional conversations, often get cheated. Henri undoes the
chains binding him to Philps, Vogue, Barclay, his editor, his manager
and his impresario, and becomes independent. The Salvadors get to know
the inner workings of production, edition, record pressing, distribution
and promotion. They always have material to record a demo at hand. Their
apartment is full of recorders: one at the bed end for the guitar, yet
another in Henri's office for the Steinway. He's on all fronts; he
accumulates hits, invents, mocks, adapts, and produces.
Place Vendôme sees the birth of the label Rigolo. Why Rigolo (French
for "funny")? "Because it's funny", he used to answer.
Homemade clips are broadcasted in TV shows they self-produce: Salves
d'Or (a play on words sounding like "Salvador" meaning "bursts
of gold") and Dimanche Salvador. Their approach turns out to be
profitable. The Salvador couple enters the 70s with confidence.
At times, Henri takes out the cabriolet along with his colporteurs on
record shop tours. Meanwhile Jacqueline is a formidable businesswoman.
Disney threatens to sue the singer over his use of the name Zorro: she
turns the situation to her advantage and cashes in on a Disney-Salvador
contract. The decade will see them release five records: _Les
Aristochats ("The Aristocats")_, _Blanche-Neige ("Snow White")_,
_Le petit Poucet ("Hop-o'-My-Thumb")_, _Robin des Bois ("Robin
Hood")_ and _Pinocchio_. Ever reinventing themselves, the Salvadors
intend to do without studios, engineers, producers and musicians
altogether.
"I started working with just a tiny recorder. Now I've gotten to
sixteen tracks. I have electronic drums and my instruments. I can give
the impression of a full orchestra. It's amazing, I have as many
musicians as I want at my disposal, at whichever time of day and
night" (1972)
They install a high-end recording studio in their living room they
nickname the PAM – referring to the name of their company, Productions
Artistiques et Musicales. Louis Chedid remembers, "there was a huge
mixer, custom made I believe, a 3M tape recorder. They must have had the
very first drum machines, the ones that accompanied organs for example,
inspired by the Ace Tone; they came with pre-recorded beats like 'samba'
or 'biguine' [pressing two keys simultaneously you could combine them].
Plus there were quite a few guitars. What I do remember very well is his
guitar playing. He was seen as an entertainer but, really, he was a
virtuoso."
Using his mixer and reels, Henri endlessly multiplies and harmonises his
voice. Everything is done hastily though with care. He plays around with
the offbeat sounds of the synths, has a blast with the drum machines. He
uses all of the pre-recorded beats, loops the "fillers" to generate
more beats, fiddles with the speeds, programs his own, sometimes goofy
rhythms. This creative shift changes his musical groove. Salvador
invented a mechanical jazz for himself, one that gathered its swing from
the guitars and its energy from the vocals. He worked around his
weakness on the bass with his strings and Moog keyboard. To get his
public used to this new style, the PAM first produces a few singles'
B-sides – _On n'est plus chez nous_, which recounts the story of two
scat-men interrupted by a passerby looking for Place de l'Opéra in
Paris. Then an A-side: _Ah ce qu'on est bien quand on est dans son
bain_, (which could be translated as "Oh how nice it feels to
bathe"), which was recorded straight from the bathroom and became
1970's Christmas hit. And finally the first self-released album: _Les
Aristochats_, rewarded by the Charles Cros Academy in 1971. Many things
are in Jacqueline's hands: the lead, the books, and even the keys of
the studio: at times Henri would get locked in to compose, let out only
to work on his TV shows.
Under his contract with Disney, he's required to produce
family-friendly records. Along with his authors he creates songs about
Uncle Scrooge, Sneezy and Mickey. He combines them to other, very
peculiar, pieces: _Les voisins_ ("The neighbours"), an old hater
complains about the noise; _Petit Lapin_ ("Little Bunny"), a city
man advises a rodent not to settle in town; _Voilactus_, (from "voie
lactée", French for the Milky Way) an alien mocks our banking system;
_J'ai envie de Lucie_, in which the narrator explains how he's
always longing for Lucie; _Maman Papa_, a spoiler for kids on how to
hate theirs parents later on in life; but also _Le temps des cons
_("The time of the jerks"), a harsh commentary on French society.
"I make kids laugh. I love to belong to this audience, the most
righteous and the most severe. If they like you, they tell you; if they
don't like you, they tell you, too." (Télé-Star, 1977)
These LPs are also full of tender songs, dance floor baits and
environmentalist vignettes - a hodgepodge less well regarded than his
sixties period. And yet it's a boisterous collection of gems, with a
peculiar signature and many fresh ideas. _Siffler en travaillant_
("Whistle While You Work") is a brilliant reinterpretation of one of
_Snow White_'s theme song, which a young Salvador had already
performed with Ray Ventura's Orchestra in the 40s; _Hello Mickey_, a
catchy, spirited ska_; J'aime tes g'noux_, a great cover of Shirly
and Co's _Shame shame shame_; on _Un jour mon prince viendra_, he
makes a beat borrowed from Suicide and a Les Paul solo collide.
Meanwhile Rigolo also releases less family-oriented singles. After all,
Salvador's in for a bit of fun. He takes up eroticism, the financial
crisis, and the negotiations between the US and Vietnam. He writes some
luminous ballads such as _Marjorie_ and catchy classics like _Pauvre
Jésus Christ_. Some tracks are the result of unbridled experimentation,
like _Sex Man_ – particularly innovative – or _Et des mandolines_,
an ode to cool eyeing on the side of Lucio Battisti. He makes the score
of a messy film, _L'explosion_. The soundtrack was only released in
Canada though it's full of wonderful material like _Thème du bateau_
or the depressing though dazzling _Le bilan_, written by his friend, the
drummer Moustache.
Should he have kept recording in his living room beyond 1975, where
would have Salvador ended up? Would he have been found to be one of the
pioneers of rap or techno? In 1975 Jacqueline is diagnosed with a
cancer. As she manages, decides and initiates everything, Rigolo starts
idling. The year's only release, _Pinocchio_, is finished in a rush
and poorly distributed. The Salvadors accumulate medical consultations
but the following year Jacqueline passes away. It's the end of an era,
the end of the home studio. Weary and beat, Henri doesn't feel like
playing in his empty house anymore. He lets all of their projects die
out: the TV show, the label, the musical editions, the PAM. It's a
free-for-all; the labels and editors scramble at his door. He's robbed
and pressed for more Disney albums. _Peter Pan_ is on the way, _Bernard
et Bianca_ ("The Rescuers") and _Mary Poppins_ should be next, but
nothing comes out. His old impresario Marouani helps him back on his
feet and takes him to the other side of the globe to drown his sorrows.
Henri had never gotten on a plane before.
"He's my man, my child, my baby and my islands' memories. I'm
his shadow and alter ego. I live for him." (Jacqueline Salvador, 1973)
Back in line, he records _Salvador 77_ with a handful of producers. He
slips in two oldies from his home-studio period: _Rock star_, a Johnny
Hallyday parody made for their TV show at the time and _L'amour, va,
ça va_, made in his crooner style. The latter is an outsider with its
sloppy arrangements. The synth is so saturated on the record it seems
the speakers might just blow up. In 1978, for RCA still, he records _On
l'a dans l'baba_ in the studio. It resembles a typical electronic
track with a Vocoder – the beat though doesn't emanate from a drum
machine but from a flesh-and-blood drummer. Here again however the irony
didn't bother Salvador. And neither us – we included the song as the
closing-track of our compilation.
In 1980, he handwrites _"Si vous ne l'aimez pas, allez vous faire
foutre"_ (literally, _"If you don't like it, go fuck
yourselves"_) on the sleeve of his latest album. We'll never know
whether it was meant for the journalists or his label. He records the
same hits again, releases dull singles. All the same, he remains a great
performer who can get the whole of Paris dancing, as well as a champion
for the youth (_Emilie Jolie, La petite sirène_). The 90s may prove to
be artistically poor, they are emotionally rich for Salvador: he meets
his last wife, Catherine. Lifted and lit up once again, he makes his
comeback in the 2000s with _Chambre avec vue_.
"In the 60s, the artists were getting ripped off with ridiculous
rates. In the 80s, the lawyers got involved. The economy changed and
non-recoverable advance payments emerged. Labels started financing
artists so they wouldn't end up doing like Salvador did." (Louis
Chedid)
Together with Jacqueline, Henri Salvador should've set an example for
other artists: one of independence against an unfair and unyielding
system. An inspiration not to end up enslaved by contracts signed too
early, or to feed a bunch of comatose owners clenching onto millions of
publishing rights. Be glad, music-consumer friends: tonight a pen-pusher
will offer himself an entrecote thanks to the money you kindly invested
in this compilation. Happy listening. More
Label:trax
Cat-No:tx163
Release-Date:29.10.2015
Genre:Chicago House
Configuration:12"
Barcode:
backorder
Last in:28.11.2017
+ Show full info- Close
backorder
Last in:28.11.2017
Label:trax
Cat-No:tx163
Release-Date:29.10.2015
Genre:Chicago House
Configuration:12"
Barcode:
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4
laurent x - Drowning In A Sea Of House - Original 12 Club Mix
Made by Mark Imperial & Vinnie Devine as Laurent X, "Machines" was conceived in a 16 track studio with an unquestionable Roland TB-303, but also a TR-808, TR-909, a Juno 106, some FX and a bucket of rib tips. According to Mark Imperial, he and his friends (specially Vinnie Devine) had a mad fun playing with gear. "I was DJing Italo imports since 1980, and as a regular on the Chicago DJ scene, naturally I became involved in DJ International Records from the beginning", says Mark about how the whole thing started. It was what we call a 'thinktank', and these young producers all experimented with gear. Mark Imperial's exposure to the acid sounds of TB-303 came from his dear friend Adonis (the one responsible for "No Way Back"), and Mark's exposure to the Juno 106 from Dane Roewade. About the equipment he made use at that time, Mark also stated: "I visited Detroit and was exposed to the Yamaha DX-100, a mere toy that was a staple to the Detroit sound at the time" (Derrick May, for example, did several of his early tunes' basslines with it, and Kenny Larkin confessed it was the equipment through which he made the etheral pianos of 'Yennek - Serena X' classic). Mark Imperial continued: "Although I didn't visit Detroit until 1989, Derrick May showed admiration for my track "Jason's Revenge" which I did in 1986", a fact that made Mark believe he was making "Techno" at its very early days. "Machines" was very, very influential tune as well. In 1988, he thought they were making "Acid", but it also became a quintessential masterpiece to other kinds of House music that appeared since then...
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Label:djs classic mastercut
Cat-No:djs240
Release-Date:04.08.2011
Genre:Chicago House
Configuration:12"
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Last in:24.04.2023
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Label:djs classic mastercut
Cat-No:djs240
Release-Date:04.08.2011
Genre:Chicago House
Configuration:12"
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Djs is a label focused on releasing original material from timeless artists. our releases will be only for djs / limited edition,for our 6th release, we bring you the best of the best & obviously the rarest 12 inches around again !Amazing 3 tracks ep from 1990 feat. one of the original deep house creators VINCENT FLOYD.A side comes up with the fantastic “cruising” (long ride), we guess the words deep has been created for records like this. A rare chance to get this in your dj bag for a decent price, close to EUR 100 on ebay. A cornerstone for today’s timeless djs.Then, on B1 we have isolation & silent noise, those tracks are so modern in terms of production that it still fit in any techno or house dj set without a doubt.
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Label:Big Saldo's Chunkers
Cat-No:BSC004
Release-Date:12.04.2024
Genre:House
Configuration:12"
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Last in:18.04.2024
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Label:Big Saldo's Chunkers
Cat-No:BSC004
Release-Date:12.04.2024
Genre:House
Configuration:12"
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1
BELLA - Note To Self
2
BELLA - Orchestra Spring
3
BELLA - Odd Symphony
4
BELLA - Odd Symphony (Olsvangèr Remix)
Fast-rising Dutch DJ/producer BELLA becomes the first new artist signing to Sally C’s Big Saldo’s Chunkers imprint, with the inspiring ‘Note to Self’ EP – her debut production.
Relationships are key for Sally C. Since the inception of Big Saldo’s Chunkers in 2020, she’s released three carefully chosen EPs, all from her own studio. When she met BELLA while playing a festival in Amsterdam during summer 2022, the click was instantaneous, with the pair going on to play an impromptu b2b that day. Vibing both musically and energetically, they kept in touch, with BELLA sending Sally her maiden productions ‘Note To Self’ and ‘Orchestra Spring’. Sally connected so deeply with the tracks that they’d form the backbone of her debut artist EP on Big Saldo’s Chunkers.
One listen to the final EP and it’s not hard to see why Sally wanted to emboss them as Chunkers. Three fresh originals taking in influence from ‘90s house, acid, electro and prog, all with a unique hard-to-pin-down energy that makes them hit with a special swing.
The title track – also the first production made for the EP - sees BELLA lay down a sonic blueprint – both for her own sound and the full body of work. “This set the vibe and guided me through the creative process. I was really trying to make something that felt my own, that was also unique and not something I’ve heard before,” she shares. ‘Note to Self’ is heavy on attitude and bounce, driven by banging old skool drums, a rapid-fire grime-style vocal and a duo of synth lines – one uplifting, the other mining a slick ‘80s sheen, and the results are memorable. An absolute tune that Sally’s delighted to add to the Chunker catalogue.
‘Orchestra Spring’ is the perky sequel, a wicked one-two punch of kaleidoscopic groovy house with lashings of attitude that loves to scribble outside the lines with lots of retro samples and trippy energy. ‘Odd Symphony’ completes the trio, a blazing late-night cut driven by a gurgling acid underbelly, gritty drums and warm chords, giving the EP a brilliant afterglow.
Olsvangèr – one of Sally’s favourite producers – steps up for remix duties of ‘Odd Symphony’, and delivers a dynamic re-rub that begins in upbeat house territory, before taking an interlude in perkier rave realms.
“I'm over the moon to be releasing this EP on Sally’s label. It’s really special to have someone who I look up to release my music. She has given me tremendous support and guidance over the last two years, always ready to chat or give me some advice. It was a big surprise and honour when she suggested releasing the tracks on her label. It feels like a perfect fit. It’s super sweet to share this journey with her.” – BELLA
"I’m so excited to welcome BELLA to the label for her debut EP. It was time to take this next step and open the Chunkers door to new artists. I couldn’t think of a better one than BELLA to debut her fresh Chunkers on the label. Three banging originals by an extremely talented artist which I’ve been playing ever since she sent me the tracks. Polished with an Olsvangèr remix, it’s a really strong four track EP." – SALLY C More
Relationships are key for Sally C. Since the inception of Big Saldo’s Chunkers in 2020, she’s released three carefully chosen EPs, all from her own studio. When she met BELLA while playing a festival in Amsterdam during summer 2022, the click was instantaneous, with the pair going on to play an impromptu b2b that day. Vibing both musically and energetically, they kept in touch, with BELLA sending Sally her maiden productions ‘Note To Self’ and ‘Orchestra Spring’. Sally connected so deeply with the tracks that they’d form the backbone of her debut artist EP on Big Saldo’s Chunkers.
One listen to the final EP and it’s not hard to see why Sally wanted to emboss them as Chunkers. Three fresh originals taking in influence from ‘90s house, acid, electro and prog, all with a unique hard-to-pin-down energy that makes them hit with a special swing.
The title track – also the first production made for the EP - sees BELLA lay down a sonic blueprint – both for her own sound and the full body of work. “This set the vibe and guided me through the creative process. I was really trying to make something that felt my own, that was also unique and not something I’ve heard before,” she shares. ‘Note to Self’ is heavy on attitude and bounce, driven by banging old skool drums, a rapid-fire grime-style vocal and a duo of synth lines – one uplifting, the other mining a slick ‘80s sheen, and the results are memorable. An absolute tune that Sally’s delighted to add to the Chunker catalogue.
‘Orchestra Spring’ is the perky sequel, a wicked one-two punch of kaleidoscopic groovy house with lashings of attitude that loves to scribble outside the lines with lots of retro samples and trippy energy. ‘Odd Symphony’ completes the trio, a blazing late-night cut driven by a gurgling acid underbelly, gritty drums and warm chords, giving the EP a brilliant afterglow.
Olsvangèr – one of Sally’s favourite producers – steps up for remix duties of ‘Odd Symphony’, and delivers a dynamic re-rub that begins in upbeat house territory, before taking an interlude in perkier rave realms.
“I'm over the moon to be releasing this EP on Sally’s label. It’s really special to have someone who I look up to release my music. She has given me tremendous support and guidance over the last two years, always ready to chat or give me some advice. It was a big surprise and honour when she suggested releasing the tracks on her label. It feels like a perfect fit. It’s super sweet to share this journey with her.” – BELLA
"I’m so excited to welcome BELLA to the label for her debut EP. It was time to take this next step and open the Chunkers door to new artists. I couldn’t think of a better one than BELLA to debut her fresh Chunkers on the label. Three banging originals by an extremely talented artist which I’ve been playing ever since she sent me the tracks. Polished with an Olsvangèr remix, it’s a really strong four track EP." – SALLY C More