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Label:The DJ Hell Experience
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Release-Date:10.09.2021
Genre:House
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Label:The DJ Hell Experience
Cat-No:HELL_Ex006V
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Genre:House
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1
DJ Hell - A. DJ Hell - Electrifiying Mojo - Roman Fluegel Remix
2
DJ Hell - B. Dj Hell - Freakshow - Perel Remix
Tracklist 12":
Side A1: DJ Hell - Electrifiying Mojo - Roman Fluegel Remix
Side B1: Dj Hell - Freakshow - Perel Remix
Short Info:
The Dj Hell Experience presents the remix package of Dj Hell's album "House Music Box". With Perel & Roman Fluegel we have two of the most outstanding artists of our electronic music community who delivers mindblowing
remixes of the highly acclaimed artist album of Dj Hell in both artistic and surprising matters.
Vital Sales Points:
Legendary DJ Hell
His new label: The Dj Hell Experience
Artwork by global painting artist Jonathan Meese
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More records from DJ Hell
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Label:The DJ Hell Experience
Cat-No:HELL_Ex003CD
Release-Date:27.11.2020
Genre:House
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Release-Date:27.11.2020
Genre:House
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CD Digi Sleeve
Coverart and Contents of both by Jonathan Meese
1/A1 jimi hendrix
2/A2 hausmusik
3/B1 g.p.s
4/B2 freakshow
5/C1 electrifying mojo
6/C2 out of control
7/D1 the revolution will be televised
8/D2 tonstrom
People, listen to the signals: when the club life is reawakening, DJ Hell returns with the album House Music Box (Past, Present, No Future).
In contrast to its predecessor album Zukunftsmusik (2017), with his new work Hell looks back to the glorious early days of House and Techno in Chicago, Detroit and New York City.
Obvious references are the heroes that vibrated the dancefloor from the late 80s, i.e. luminaries like Ron Hardy, Frankie Knuckles and Lil’ Louis from the Chicago house scene, or the legendary radio shows of The Electrifying Mojo from Detroit. Not to be forgotten are, of course, the NYC House of Larry Levan or the Nu Groove records from the early 90s – all of them served as musical godfathers for Hell’s House Music Box.
Back to the roots. In line with this, Hell’s opus number six emerged as a classic album: House Music Box simply comprises eight gripping new bangers from the groove manufacturer that is the super gigolo Hell. The record is not only a concept album about the beginnings of electronic DJ and club music, but also a danceable history lesson. Exemplifying that is already the superb first single: ‘Out of Control’ is a mightily stomping dancefloor monster where a killer bassline and an infectious synth riff meet. A vocal sample rightly demands ‘Don’t stop!’, because the magic that Hell created with his controllers leaves one in pure ecstasy of happiness.
The songs ‘Freakshow’ and ‘House Music’ are a musical bow for the innovative originators of house in the windy city. On ‘Freakshow’, the vocoder vocals ‘Ron Hardy is the true creator of house music’ recall the prematurely deceased DJ who was best known for his eclectic sets and radical edits. Hardy used to deejay in what was the successor of the Warehouse, the legendary ‘Music Box’ club, eponymous for the new album. On ‘House Music’, nomen est omen naturally applies: over the flawless house from the quality brand of Hell, he loops various samples, fragments of sentences such as ‘Acid comes from house music’, ‘Techno comes from house’, ‘Foundation of house music is’, or ‘Chicago house music’. Through their persistent repetition plus grooving beats, a hypnotic effect soon arrives, so that the music – thanks to the magic production of Hell – starts to speak.
On ‘Electrifying Mojo’, on the other hand, Hell honours the visionary and enigmatic Charles Johnson a.k.a. The Electrifying Mojo, whose radio show (airing from 1977 until the mid 80s) had a substantial influence on the development of techno in Detroit. As he frequently played Kraftwerk, for instance, the publicly shy Electrifying Mojo emerged as a key facilitator of future electronic music in the spirit of the Detroit-Dusseldorf axis.
Almost self-evidently, Kraftwerk - the grey eminence of German electronic music – shaped the background of Hell’s new record too, via the usage of vocoder vocals as a rhythmic element or the bass frequencies as the carrying foundation for each track. Clearly recognizable is the influence of Kraftwerk’s 1986 work Electric Café (now: Techno Pop) on the groovy track ‘Tonstrom’. Fans of the ‘industrial folk music’ will hardly be surprised, as this was Kraftwerk’s working title for the record. Along with sound poetic vocals, Hell tickles a cool funk from the warm machine sounds over nimble bass lines, as on House Music Box he uses – not only for this track – the same analogue synths from the seventies as Kraftwerk once did.
The oeuvre of DJ Hell is famously characterised by his artistic desire to have a different approach to each album, while at the same time constants provide inner cohesiveness and cross references. One example would be the theme of automobiles, as an influence of Kraftwerk’s ‘Autobahn’: just think of songs like ‘Hellracer’ or ‘Car Car Car’. The car motive is again present on House Music Box, with the ambitious track ‘GPS’. Conceptually speaking it is a highlight of the record: over sparse Roland drum machine beats, we can hear the female computer voice of a navigation device devising the fastest route to ‘destination Berlin nightlife’. This almost has a double meaning, as once inside the club, the music will guide the dancers.
No DJ Hell album, without cover versions. Or, should we better call his idiosyncratic electronic editions of established hits new originals – referring to a term that Laibach coined. This definitely holds true for ‘The Revolution Will Not Be Televised’: his update of Gil Scott Heron’s soul classic turned into a veritable 4-on-the-floor version. The slogan, which originally came from the Black Power movement, carved out a remarkable career, not only thanks to several new versions, but equally alienated as an advertising slogan for bar chains. The fact that Hell takes up this track in the days of YouTube, Instagram and Facebook illustrates us today that the idea of a political revolution is long gone. For that reason, all he keeps from the wordy original is its headline while the impulsive beats prove all more, that at least the revolution of the dancefloor is nowhere near over.
Past, Present, No Future – even if Hell’s deep bow to the trailblazers and pioneers of electronic club music was already completed when the corona pandemic broke out, the subtitle of House Music Box proved apt even so in the light of the circumstance that especially the club scene is seriously affected from the coercive measures of the crisis. It was therefore quite prophetic that on ‘Jimi Hendrix’ you can hear pieces of the last interview that the guitarist gave shortly before his controversial death. „I can’t build anything right now, you know, because of the things that are happing right now. I just have to lay back and think about it all.” House Music Box is, in many ways, the right record at the right time. Because as DJ Hell speaks about his album: ‘House Music for me has always been a spiritual experience, a higher, different form of communication, so to speak’. So, let’s listen carefully what he reports about his musical excursions in the Past, Present and Future of House.
More
Coverart and Contents of both by Jonathan Meese
1/A1 jimi hendrix
2/A2 hausmusik
3/B1 g.p.s
4/B2 freakshow
5/C1 electrifying mojo
6/C2 out of control
7/D1 the revolution will be televised
8/D2 tonstrom
People, listen to the signals: when the club life is reawakening, DJ Hell returns with the album House Music Box (Past, Present, No Future).
In contrast to its predecessor album Zukunftsmusik (2017), with his new work Hell looks back to the glorious early days of House and Techno in Chicago, Detroit and New York City.
Obvious references are the heroes that vibrated the dancefloor from the late 80s, i.e. luminaries like Ron Hardy, Frankie Knuckles and Lil’ Louis from the Chicago house scene, or the legendary radio shows of The Electrifying Mojo from Detroit. Not to be forgotten are, of course, the NYC House of Larry Levan or the Nu Groove records from the early 90s – all of them served as musical godfathers for Hell’s House Music Box.
Back to the roots. In line with this, Hell’s opus number six emerged as a classic album: House Music Box simply comprises eight gripping new bangers from the groove manufacturer that is the super gigolo Hell. The record is not only a concept album about the beginnings of electronic DJ and club music, but also a danceable history lesson. Exemplifying that is already the superb first single: ‘Out of Control’ is a mightily stomping dancefloor monster where a killer bassline and an infectious synth riff meet. A vocal sample rightly demands ‘Don’t stop!’, because the magic that Hell created with his controllers leaves one in pure ecstasy of happiness.
The songs ‘Freakshow’ and ‘House Music’ are a musical bow for the innovative originators of house in the windy city. On ‘Freakshow’, the vocoder vocals ‘Ron Hardy is the true creator of house music’ recall the prematurely deceased DJ who was best known for his eclectic sets and radical edits. Hardy used to deejay in what was the successor of the Warehouse, the legendary ‘Music Box’ club, eponymous for the new album. On ‘House Music’, nomen est omen naturally applies: over the flawless house from the quality brand of Hell, he loops various samples, fragments of sentences such as ‘Acid comes from house music’, ‘Techno comes from house’, ‘Foundation of house music is’, or ‘Chicago house music’. Through their persistent repetition plus grooving beats, a hypnotic effect soon arrives, so that the music – thanks to the magic production of Hell – starts to speak.
On ‘Electrifying Mojo’, on the other hand, Hell honours the visionary and enigmatic Charles Johnson a.k.a. The Electrifying Mojo, whose radio show (airing from 1977 until the mid 80s) had a substantial influence on the development of techno in Detroit. As he frequently played Kraftwerk, for instance, the publicly shy Electrifying Mojo emerged as a key facilitator of future electronic music in the spirit of the Detroit-Dusseldorf axis.
Almost self-evidently, Kraftwerk - the grey eminence of German electronic music – shaped the background of Hell’s new record too, via the usage of vocoder vocals as a rhythmic element or the bass frequencies as the carrying foundation for each track. Clearly recognizable is the influence of Kraftwerk’s 1986 work Electric Café (now: Techno Pop) on the groovy track ‘Tonstrom’. Fans of the ‘industrial folk music’ will hardly be surprised, as this was Kraftwerk’s working title for the record. Along with sound poetic vocals, Hell tickles a cool funk from the warm machine sounds over nimble bass lines, as on House Music Box he uses – not only for this track – the same analogue synths from the seventies as Kraftwerk once did.
The oeuvre of DJ Hell is famously characterised by his artistic desire to have a different approach to each album, while at the same time constants provide inner cohesiveness and cross references. One example would be the theme of automobiles, as an influence of Kraftwerk’s ‘Autobahn’: just think of songs like ‘Hellracer’ or ‘Car Car Car’. The car motive is again present on House Music Box, with the ambitious track ‘GPS’. Conceptually speaking it is a highlight of the record: over sparse Roland drum machine beats, we can hear the female computer voice of a navigation device devising the fastest route to ‘destination Berlin nightlife’. This almost has a double meaning, as once inside the club, the music will guide the dancers.
No DJ Hell album, without cover versions. Or, should we better call his idiosyncratic electronic editions of established hits new originals – referring to a term that Laibach coined. This definitely holds true for ‘The Revolution Will Not Be Televised’: his update of Gil Scott Heron’s soul classic turned into a veritable 4-on-the-floor version. The slogan, which originally came from the Black Power movement, carved out a remarkable career, not only thanks to several new versions, but equally alienated as an advertising slogan for bar chains. The fact that Hell takes up this track in the days of YouTube, Instagram and Facebook illustrates us today that the idea of a political revolution is long gone. For that reason, all he keeps from the wordy original is its headline while the impulsive beats prove all more, that at least the revolution of the dancefloor is nowhere near over.
Past, Present, No Future – even if Hell’s deep bow to the trailblazers and pioneers of electronic club music was already completed when the corona pandemic broke out, the subtitle of House Music Box proved apt even so in the light of the circumstance that especially the club scene is seriously affected from the coercive measures of the crisis. It was therefore quite prophetic that on ‘Jimi Hendrix’ you can hear pieces of the last interview that the guitarist gave shortly before his controversial death. „I can’t build anything right now, you know, because of the things that are happing right now. I just have to lay back and think about it all.” House Music Box is, in many ways, the right record at the right time. Because as DJ Hell speaks about his album: ‘House Music for me has always been a spiritual experience, a higher, different form of communication, so to speak’. So, let’s listen carefully what he reports about his musical excursions in the Past, Present and Future of House.
More
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Label:The DJ Hell Experience
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1
DJ HELL - 1/A1 jimi hendrix
2
DJ HELL - 2/A2 hausmusik
3
DJ HELL - 3/B1 g.p.s
4
DJ HELL - 4/B2 freakshow
5
DJ HELL - 5/C1 electrifying mojo
6
DJ HELL - 6/C2 out of control
7
DJ HELL - 7/D1 the revolution will be televised
8
DJ HELL - 8/D2 tonstrom
2LP,initial Pressing in limited Edition with Cristal Clear Vinyl!
2LP - Sleeve, Printed Innersleeve / CD as Gatefold Digisleeve incl Poster,
Coverart and Contents of both by Jonathan Meese
1/A1 jimi hendrix
2/A2 hausmusik
3/B1 g.p.s
4/B2 freakshow
5/C1 electrifying mojo
6/C2 out of control
7/D1 the revolution will be televised
8/D2 tonstrom
People, listen to the signals: when the club life is reawakening, DJ Hell returns with the album House Music Box (Past, Present, No Future).
In contrast to its predecessor album Zukunftsmusik (2017), with his new work Hell looks back to the glorious early days of House and Techno in Chicago, Detroit and New York City.
Obvious references are the heroes that vibrated the dancefloor from the late 80s, i.e. luminaries like Ron Hardy, Frankie Knuckles and Lil’ Louis from the Chicago house scene, or the legendary radio shows of The Electrifying Mojo from Detroit. Not to be forgotten are, of course, the NYC House of Larry Levan or the Nu Groove records from the early 90s – all of them served as musical godfathers for Hell’s House Music Box.
Back to the roots. In line with this, Hell’s opus number six emerged as a classic album: House Music Box simply comprises eight gripping new bangers from the groove manufacturer that is the super gigolo Hell. The record is not only a concept album about the beginnings of electronic DJ and club music, but also a danceable history lesson. Exemplifying that is already the superb first single: ‘Out of Control’ is a mightily stomping dancefloor monster where a killer bassline and an infectious synth riff meet. A vocal sample rightly demands ‘Don’t stop!’, because the magic that Hell created with his controllers leaves one in pure ecstasy of happiness.
The songs ‘Freakshow’ and ‘House Music’ are a musical bow for the innovative originators of house in the windy city. On ‘Freakshow’, the vocoder vocals ‘Ron Hardy is the true creator of house music’ recall the prematurely deceased DJ who was best known for his eclectic sets and radical edits. Hardy used to deejay in what was the successor of the Warehouse, the legendary ‘Music Box’ club, eponymous for the new album. On ‘House Music’, nomen est omen naturally applies: over the flawless house from the quality brand of Hell, he loops various samples, fragments of sentences such as ‘Acid comes from house music’, ‘Techno comes from house’, ‘Foundation of house music is’, or ‘Chicago house music’. Through their persistent repetition plus grooving beats, a hypnotic effect soon arrives, so that the music – thanks to the magic production of Hell – starts to speak.
On ‘Electrifying Mojo’, on the other hand, Hell honours the visionary and enigmatic Charles Johnson a.k.a. The Electrifying Mojo, whose radio show (airing from 1977 until the mid 80s) had a substantial influence on the development of techno in Detroit. As he frequently played Kraftwerk, for instance, the publicly shy Electrifying Mojo emerged as a key facilitator of future electronic music in the spirit of the Detroit-Dusseldorf axis.
Almost self-evidently, Kraftwerk - the grey eminence of German electronic music – shaped the background of Hell’s new record too, via the usage of vocoder vocals as a rhythmic element or the bass frequencies as the carrying foundation for each track. Clearly recognizable is the influence of Kraftwerk’s 1986 work Electric Café (now: Techno Pop) on the groovy track ‘Tonstrom’. Fans of the ‘industrial folk music’ will hardly be surprised, as this was Kraftwerk’s working title for the record. Along with sound poetic vocals, Hell tickles a cool funk from the warm machine sounds over nimble bass lines, as on House Music Box he uses – not only for this track – the same analogue synths from the seventies as Kraftwerk once did.
The oeuvre of DJ Hell is famously characterised by his artistic desire to have a different approach to each album, while at the same time constants provide inner cohesiveness and cross references. One example would be the theme of automobiles, as an influence of Kraftwerk’s ‘Autobahn’: just think of songs like ‘Hellracer’ or ‘Car Car Car’. The car motive is again present on House Music Box, with the ambitious track ‘GPS’. Conceptually speaking it is a highlight of the record: over sparse Roland drum machine beats, we can hear the female computer voice of a navigation device devising the fastest route to ‘destination Berlin nightlife’. This almost has a double meaning, as once inside the club, the music will guide the dancers.
No DJ Hell album, without cover versions. Or, should we better call his idiosyncratic electronic editions of established hits new originals – referring to a term that Laibach coined. This definitely holds true for ‘The Revolution Will Not Be Televised’: his update of Gil Scott Heron’s soul classic turned into a veritable 4-on-the-floor version. The slogan, which originally came from the Black Power movement, carved out a remarkable career, not only thanks to several new versions, but equally alienated as an advertising slogan for bar chains. The fact that Hell takes up this track in the days of YouTube, Instagram and Facebook illustrates us today that the idea of a political revolution is long gone. For that reason, all he keeps from the wordy original is its headline while the impulsive beats prove all more, that at least the revolution of the dancefloor is nowhere near over.
Past, Present, No Future – even if Hell’s deep bow to the trailblazers and pioneers of electronic club music was already completed when the corona pandemic broke out, the subtitle of House Music Box proved apt even so in the light of the circumstance that especially the club scene is seriously affected from the coercive measures of the crisis. It was therefore quite prophetic that on ‘Jimi Hendrix’ you can hear pieces of the last interview that the guitarist gave shortly before his controversial death. „I can’t build anything right now, you know, because of the things that are happing right now. I just have to lay back and think about it all.” House Music Box is, in many ways, the right record at the right time. Because as DJ Hell speaks about his album: ‘House Music for me has always been a spiritual experience, a higher, different form of communication, so to speak’. So, let’s listen carefully what he reports about his musical excursions in the Past, Present and Future of House.
More
2LP - Sleeve, Printed Innersleeve / CD as Gatefold Digisleeve incl Poster,
Coverart and Contents of both by Jonathan Meese
1/A1 jimi hendrix
2/A2 hausmusik
3/B1 g.p.s
4/B2 freakshow
5/C1 electrifying mojo
6/C2 out of control
7/D1 the revolution will be televised
8/D2 tonstrom
People, listen to the signals: when the club life is reawakening, DJ Hell returns with the album House Music Box (Past, Present, No Future).
In contrast to its predecessor album Zukunftsmusik (2017), with his new work Hell looks back to the glorious early days of House and Techno in Chicago, Detroit and New York City.
Obvious references are the heroes that vibrated the dancefloor from the late 80s, i.e. luminaries like Ron Hardy, Frankie Knuckles and Lil’ Louis from the Chicago house scene, or the legendary radio shows of The Electrifying Mojo from Detroit. Not to be forgotten are, of course, the NYC House of Larry Levan or the Nu Groove records from the early 90s – all of them served as musical godfathers for Hell’s House Music Box.
Back to the roots. In line with this, Hell’s opus number six emerged as a classic album: House Music Box simply comprises eight gripping new bangers from the groove manufacturer that is the super gigolo Hell. The record is not only a concept album about the beginnings of electronic DJ and club music, but also a danceable history lesson. Exemplifying that is already the superb first single: ‘Out of Control’ is a mightily stomping dancefloor monster where a killer bassline and an infectious synth riff meet. A vocal sample rightly demands ‘Don’t stop!’, because the magic that Hell created with his controllers leaves one in pure ecstasy of happiness.
The songs ‘Freakshow’ and ‘House Music’ are a musical bow for the innovative originators of house in the windy city. On ‘Freakshow’, the vocoder vocals ‘Ron Hardy is the true creator of house music’ recall the prematurely deceased DJ who was best known for his eclectic sets and radical edits. Hardy used to deejay in what was the successor of the Warehouse, the legendary ‘Music Box’ club, eponymous for the new album. On ‘House Music’, nomen est omen naturally applies: over the flawless house from the quality brand of Hell, he loops various samples, fragments of sentences such as ‘Acid comes from house music’, ‘Techno comes from house’, ‘Foundation of house music is’, or ‘Chicago house music’. Through their persistent repetition plus grooving beats, a hypnotic effect soon arrives, so that the music – thanks to the magic production of Hell – starts to speak.
On ‘Electrifying Mojo’, on the other hand, Hell honours the visionary and enigmatic Charles Johnson a.k.a. The Electrifying Mojo, whose radio show (airing from 1977 until the mid 80s) had a substantial influence on the development of techno in Detroit. As he frequently played Kraftwerk, for instance, the publicly shy Electrifying Mojo emerged as a key facilitator of future electronic music in the spirit of the Detroit-Dusseldorf axis.
Almost self-evidently, Kraftwerk - the grey eminence of German electronic music – shaped the background of Hell’s new record too, via the usage of vocoder vocals as a rhythmic element or the bass frequencies as the carrying foundation for each track. Clearly recognizable is the influence of Kraftwerk’s 1986 work Electric Café (now: Techno Pop) on the groovy track ‘Tonstrom’. Fans of the ‘industrial folk music’ will hardly be surprised, as this was Kraftwerk’s working title for the record. Along with sound poetic vocals, Hell tickles a cool funk from the warm machine sounds over nimble bass lines, as on House Music Box he uses – not only for this track – the same analogue synths from the seventies as Kraftwerk once did.
The oeuvre of DJ Hell is famously characterised by his artistic desire to have a different approach to each album, while at the same time constants provide inner cohesiveness and cross references. One example would be the theme of automobiles, as an influence of Kraftwerk’s ‘Autobahn’: just think of songs like ‘Hellracer’ or ‘Car Car Car’. The car motive is again present on House Music Box, with the ambitious track ‘GPS’. Conceptually speaking it is a highlight of the record: over sparse Roland drum machine beats, we can hear the female computer voice of a navigation device devising the fastest route to ‘destination Berlin nightlife’. This almost has a double meaning, as once inside the club, the music will guide the dancers.
No DJ Hell album, without cover versions. Or, should we better call his idiosyncratic electronic editions of established hits new originals – referring to a term that Laibach coined. This definitely holds true for ‘The Revolution Will Not Be Televised’: his update of Gil Scott Heron’s soul classic turned into a veritable 4-on-the-floor version. The slogan, which originally came from the Black Power movement, carved out a remarkable career, not only thanks to several new versions, but equally alienated as an advertising slogan for bar chains. The fact that Hell takes up this track in the days of YouTube, Instagram and Facebook illustrates us today that the idea of a political revolution is long gone. For that reason, all he keeps from the wordy original is its headline while the impulsive beats prove all more, that at least the revolution of the dancefloor is nowhere near over.
Past, Present, No Future – even if Hell’s deep bow to the trailblazers and pioneers of electronic club music was already completed when the corona pandemic broke out, the subtitle of House Music Box proved apt even so in the light of the circumstance that especially the club scene is seriously affected from the coercive measures of the crisis. It was therefore quite prophetic that on ‘Jimi Hendrix’ you can hear pieces of the last interview that the guitarist gave shortly before his controversial death. „I can’t build anything right now, you know, because of the things that are happing right now. I just have to lay back and think about it all.” House Music Box is, in many ways, the right record at the right time. Because as DJ Hell speaks about his album: ‘House Music for me has always been a spiritual experience, a higher, different form of communication, so to speak’. So, let’s listen carefully what he reports about his musical excursions in the Past, Present and Future of House.
More
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Cat-No:GIGOLO310B
Release-Date:28.09.2018
Genre:House / Techno
Configuration:12" Excl
Barcode:4260466392651
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Last in:14.09.2018
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Genre:House / Techno
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Barcode:4260466392651
1
DJ Hell - I Want U (Darren Emerson Remix)
2
DJ Hell - I Want U (The Hacker 2018 Remix)
Tracklisting:
A1 I Want U (Darren Emerson Remix)
B1 I Want U (The Hacker 2018 Remix)
Short Info:
International Deejay Gigolo Records presents its second remix package from the single "I Want U" of label boss DJ Hell. The original get´s a new twist with the reinterpretation of Darren Emerson. His own view on the track has a high intense energy and a pumping upfront attitude. French techno head The Hacker reworks his own remix and gives it a dark & playful 2018 facelift.
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A1 I Want U (Darren Emerson Remix)
B1 I Want U (The Hacker 2018 Remix)
Short Info:
International Deejay Gigolo Records presents its second remix package from the single "I Want U" of label boss DJ Hell. The original get´s a new twist with the reinterpretation of Darren Emerson. His own view on the track has a high intense energy and a pumping upfront attitude. French techno head The Hacker reworks his own remix and gives it a dark & playful 2018 facelift.
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12" Excl
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Cat-No:GIGOLO328
Release-Date:14.09.2018
Genre:House / Techno
Configuration:12" Excl
Barcode:4260466392644
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Last in:06.09.2018
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Last in:06.09.2018
Cat-No:GIGOLO328
Release-Date:14.09.2018
Genre:House / Techno
Configuration:12" Excl
Barcode:4260466392644
1
DJ Hell - Anything, Anytime FJAAK Remix
2
DJ Hell - Mantra - Marco Faraone Remix
3
DJ Hell - Guede - VRILs 13th Symphony Of Artefacts RMX (Edit)
4
DJ Hell - Mantra - Edouardo della Calle Remix
Tracklisting:
A1 Anything, Anytime (Fjaak Remix)
A2 Mantra (Marco Faraone Remix)
B1 Guede (VRILs 13th Symphony of Artifacts Remix)
B2 Mantra (Eduardo de la Calle Remix)
Short Info:
International Deejay Gigolo Records presents a special package of remixes. This compilation of remix productions taken from Dj Hell´s album "Zukunftsmusik" are dedicated to the vinyl collectors. Special edits of the remixes by Fjaak, Vril, Marco Faraone and Eduardo de la Calle have been produced to make this vinyl a unique tool.
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A1 Anything, Anytime (Fjaak Remix)
A2 Mantra (Marco Faraone Remix)
B1 Guede (VRILs 13th Symphony of Artifacts Remix)
B2 Mantra (Eduardo de la Calle Remix)
Short Info:
International Deejay Gigolo Records presents a special package of remixes. This compilation of remix productions taken from Dj Hell´s album "Zukunftsmusik" are dedicated to the vinyl collectors. Special edits of the remixes by Fjaak, Vril, Marco Faraone and Eduardo de la Calle have been produced to make this vinyl a unique tool.
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Cat-No:GIGOLO320V
Release-Date:15.06.2018
Genre:House / Techno
Configuration:12" Excl
Barcode:4260466391883
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Last in:12.06.2018
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Cat-No:GIGOLO320V
Release-Date:15.06.2018
Genre:House / Techno
Configuration:12" Excl
Barcode:4260466391883
1
DJ Hell - Wir reiten durch die Nacht (Adriatique Remix)
2
DJ Hell - DJ Hell - Wir Reiten Durch Die Natch (Coyu Remix)
Tracklisting:
A1 Wir reiten durch die Nacht (Adriatique Remix)
B1 Wir reiten durch die Nacht (Coyu Remix)
Short Info:
International Deejay Gigolo Records are releasing a remix compilation of DJ Hell produced experimental track "Wir Reiten Durch Die Nacht", taken from his 5th studio album "Zukunftsmusik".
This release features remixes of internationally renowned artists Adriatique and Coyu. First up is Adriatique's remix, a reflection of their own interpretation of electronic music with a strong and playful vibe. Coyu's remix is a dancefloor ready interpretation of the original cut, with a decidedly more pumped up and dark atmosphere.
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A1 Wir reiten durch die Nacht (Adriatique Remix)
B1 Wir reiten durch die Nacht (Coyu Remix)
Short Info:
International Deejay Gigolo Records are releasing a remix compilation of DJ Hell produced experimental track "Wir Reiten Durch Die Nacht", taken from his 5th studio album "Zukunftsmusik".
This release features remixes of internationally renowned artists Adriatique and Coyu. First up is Adriatique's remix, a reflection of their own interpretation of electronic music with a strong and playful vibe. Coyu's remix is a dancefloor ready interpretation of the original cut, with a decidedly more pumped up and dark atmosphere.
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Cat-No:gigolo304
Release-Date:23.03.2018
Genre:House / Techno
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2018 Remastered
Tracklisting:
A1 DJ Hell - Hot In The Heels Of Love (Dave Clark Remix)
B1 DJ Hell - Allerseelen (Jeff Mills Remix)
Description:
Remix classics of Jeff Mills and Dave Clark for DJ Hell - remastered for vinyl.
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Tracklisting:
A1 DJ Hell - Hot In The Heels Of Love (Dave Clark Remix)
B1 DJ Hell - Allerseelen (Jeff Mills Remix)
Description:
Remix classics of Jeff Mills and Dave Clark for DJ Hell - remastered for vinyl.
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Cat-No:gigolo324
Release-Date:09.02.2018
Genre:House / Techno
Configuration:12" Excl
Barcode:4260466391494
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Cat-No:gigolo324
Release-Date:09.02.2018
Genre:House / Techno
Configuration:12" Excl
Barcode:4260466391494
Tracklisting:
A1 Guede (Joyce Muniz Passing Lights Remix)
B1 Guede (Paul Nazca Remix)
Description:
Guede Remixes is a remix compilation of DJ Hell taken from his 5th studio album Zukunftsmusik. The release features two remixes by Joyce Muniz and one by Paul Nazca. Guede's soundscape is acidic yet minimal, with its distorted vocals and raucous instrumentation lending the track an eerie and at times ethereal vibe. Each artist brings a uniquely different perspective on the sound of the original cut, whilst never completely abandoning the track's core identity. Paul Nazca infuses it with trance, Joyce Muniz keeps the acid and adds the deep.
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A1 Guede (Joyce Muniz Passing Lights Remix)
B1 Guede (Paul Nazca Remix)
Description:
Guede Remixes is a remix compilation of DJ Hell taken from his 5th studio album Zukunftsmusik. The release features two remixes by Joyce Muniz and one by Paul Nazca. Guede's soundscape is acidic yet minimal, with its distorted vocals and raucous instrumentation lending the track an eerie and at times ethereal vibe. Each artist brings a uniquely different perspective on the sound of the original cut, whilst never completely abandoning the track's core identity. Paul Nazca infuses it with trance, Joyce Muniz keeps the acid and adds the deep.
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Cat-No:gigolo313bv
Release-Date:13.10.2017
Genre:House / Techno
Configuration:12" Excl
Barcode:4260466391173
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Release-Date:13.10.2017
Genre:House / Techno
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Barcode:4260466391173
1
DJ Hell - CAR (Fango Needs a New Car Remix)
2
DJ Hell - Car Car Car - METROPOLIS SNELWEG REMIX
3
DJ Hell - Car Car Car - BETONKUST Remix
Tracklisting:
A1 Car Car Car (Fango Needs a New Car Remix)
B1 Car Car Car (Metropolis Snelweg Remix)
B2 Car Car Car (Betonkunst Remix)
The new album of DJ Hell ''Zukunftsmusik'' keeps bringing us good news. The latest single to drop from the album, "Car Car Car," arrives with remixes from some of the scenes most enigmatic producers.
After the first vinyl with remixes from Roman Fluegel and Phil, now is the turn of Fango, Metropolis and Bentonkunst.
Fango turns the track into a proper techno banger. Powerful instrumental with noises from outer space.
Dark and raw techno remix comes from the german producer Metropolis.
The third and rarest remix from Betonkust, keeps the esence of the original track but adding his touch with those melancholic and powerful melodies characteristics of his sound.
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A1 Car Car Car (Fango Needs a New Car Remix)
B1 Car Car Car (Metropolis Snelweg Remix)
B2 Car Car Car (Betonkunst Remix)
The new album of DJ Hell ''Zukunftsmusik'' keeps bringing us good news. The latest single to drop from the album, "Car Car Car," arrives with remixes from some of the scenes most enigmatic producers.
After the first vinyl with remixes from Roman Fluegel and Phil, now is the turn of Fango, Metropolis and Bentonkunst.
Fango turns the track into a proper techno banger. Powerful instrumental with noises from outer space.
Dark and raw techno remix comes from the german producer Metropolis.
The third and rarest remix from Betonkust, keeps the esence of the original track but adding his touch with those melancholic and powerful melodies characteristics of his sound.
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Cat-No:gigolo313v7
Release-Date:15.09.2017
Genre:House / Techno
Configuration:12" Excl
Barcode:4260466391159
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Cat-No:gigolo313v7
Release-Date:15.09.2017
Genre:House / Techno
Configuration:12" Excl
Barcode:4260466391159
1
DJ Hell - Car Car Car Japanese Version
2
DJ Hell - Car Car Car Spanish Version
Tracklisting:
A1 Car Car Car (Japanese Version)
B1 Car Car Car (Spanish Version)
Special Limited 7inch Collector's Item - Only 300 units worldwide.
The new album of DJ Hell ''Zukunftsmusik'' keeps bringing us good news. The latest single to drop from the album, "Car Car Car," arrives with remixes from some of the scenes most enigmatic producers.
After the first two 12inch vinyls with remixes from Roman Fluegel, Phil Kieran, Thomas Mayr & Ken Hayakawa, Fango, Metropolis and Bentonkunst; Gigolo now presents a limited collector's item. A special Japanese and Spanish version of Car Car Car on a 7inch vinyl including a special Gigolo sticker.
A car is not just a car! It drives u near or far!
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A1 Car Car Car (Japanese Version)
B1 Car Car Car (Spanish Version)
Special Limited 7inch Collector's Item - Only 300 units worldwide.
The new album of DJ Hell ''Zukunftsmusik'' keeps bringing us good news. The latest single to drop from the album, "Car Car Car," arrives with remixes from some of the scenes most enigmatic producers.
After the first two 12inch vinyls with remixes from Roman Fluegel, Phil Kieran, Thomas Mayr & Ken Hayakawa, Fango, Metropolis and Bentonkunst; Gigolo now presents a limited collector's item. A special Japanese and Spanish version of Car Car Car on a 7inch vinyl including a special Gigolo sticker.
A car is not just a car! It drives u near or far!
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Cat-No:gigolo313v
Release-Date:01.09.2017
Genre:House / Techno
Configuration:12" Excl
Barcode:4260466391166
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Barcode:4260466391166
1
DJ Hell - Car Car Car
2
DJ Hell - Car Car Car - Roman Fluegel Remix
3
DJ Hell - CAR_ PHIL KIERAN'S AUTOBAHN REMIX
Tracklisting:
A1 Car Car Car
B1 Car Car Car (Roman Flügel Remix)
B2 Car Car Car (Phil Kieran's Autobahn Remix)
The new album of DJ Hell ''Zukunftsmusik'' keeps bringing us good news. The latest single to drop from the album, "Car Car Car," arrives with remixes from some of the scenes most enigmatic producers.
Roman Fluegel presents his own eclectic and diverse interpretation in a playful and artistic vibe, while Phil Kieran´s Autobahn remix is a straight, deep and dark version of the original track, which is featured on the vinyl too.
More
A1 Car Car Car
B1 Car Car Car (Roman Flügel Remix)
B2 Car Car Car (Phil Kieran's Autobahn Remix)
The new album of DJ Hell ''Zukunftsmusik'' keeps bringing us good news. The latest single to drop from the album, "Car Car Car," arrives with remixes from some of the scenes most enigmatic producers.
Roman Fluegel presents his own eclectic and diverse interpretation in a playful and artistic vibe, while Phil Kieran´s Autobahn remix is a straight, deep and dark version of the original track, which is featured on the vinyl too.
More
12" Excl
in stock
Cat-No:gigolo309v
Release-Date:25.08.2017
Genre:House / Techno
Configuration:12" Excl
Barcode:4260466391197
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Cat-No:gigolo309v
Release-Date:25.08.2017
Genre:House / Techno
Configuration:12" Excl
Barcode:4260466391197
1
DJ Hell - Anything Anytime Extended Version
2
DJ Hell - Anything, Anytime - Solomun Remix
A1 Anything, Anytime (Extended Version)
B1 Anything, Anytime (Solomun Remix)
Left for top, right for bottom, colours for every piquant taste your deepest thoughts dare to divulge; your hankie tells tales, and orange tells the most. Anything, anytime, nothing is left off the table. An open invitation to explore and excite. Looking for a ride?
This is the story behind the third single and opening track from DJ Hell's critically-acclaimed fifth album Zukunfstmusik, 'Anything, Anytime' pays homage to the handkerchief code, a unique flagging practice most popular during the most critical creative explosion of club music.
Barbed, delicate, bittersweet and introspective, the 14-minute track's softness and gradual sense of piano-laced theatre carries certain shades of a love song. In many ways, it is…. There's love in a brute sense. Physical openness in its most honest and forthright form. But there's also a sense of romance for the most sensational outburst of hedonism and pleasure that dancefloor music ever experienced - the 70s gay movement wherein major metropolises throbbed awoke and boundaries and barriers were challenged and shattered every night.
These lightning strikes of illicit freedom, carnal energy and momentary abandonment are the deepest seeds of all forms of electronic music; sentiments that echo throughout Hell's unhurried, unrestrained salvo. Percussive connotations of leather, the cavernous reverb conjuring open industrial spaces such as you might find in New York City's meatpacking district at the time. The palpitating heartbeat, occasional flashes of sense-blurring giddy physical fizz… Up above, down below, choose your colour; while many love songs are babymakers, 'Anything, Anytime' is much more of a bed breaker.
While the original wears orange with pride, the remixes wear their own colours. The first of two remix packages, both Solomun and Argy come at Hell's original from contrasting sides. Solomun's is a light blue. The molten bass and slinky electro breakbeats creating a sensual, slippery experience that could lead to absolutely anything, it writhes and continually pleasures with every twist and turn. Argy's, meanwhile, is bold jet black. Dominant, intense and unrelenting. It's 'straight outta hell' by-line fulfilled with every sweaty arpeggiated peak and vivid flashing strobes, this is visceral, sweaty techno and there's no release without the safeword.
Two more remixes will follow imminently while the original comes complete with its own stark visual representation. In keeping with Hell's use of Tom Of Finland's cult visuals on the artwork of the album's first single 'I Want U', 'Anything, Anytime' continues to reference seminal cultural documents of the era. This time with its video; a stylised and provocative, black and white piece that riffs on the ground-breaking 1980 Al Pacino movie Cruising. An exploration of the iconography and stark fashion that visually represented progression, a celebration of overt sexuality but also a sense of restraint and composure… The calm before any storm your handkerchief may cause. Let's go cruising…
More
B1 Anything, Anytime (Solomun Remix)
Left for top, right for bottom, colours for every piquant taste your deepest thoughts dare to divulge; your hankie tells tales, and orange tells the most. Anything, anytime, nothing is left off the table. An open invitation to explore and excite. Looking for a ride?
This is the story behind the third single and opening track from DJ Hell's critically-acclaimed fifth album Zukunfstmusik, 'Anything, Anytime' pays homage to the handkerchief code, a unique flagging practice most popular during the most critical creative explosion of club music.
Barbed, delicate, bittersweet and introspective, the 14-minute track's softness and gradual sense of piano-laced theatre carries certain shades of a love song. In many ways, it is…. There's love in a brute sense. Physical openness in its most honest and forthright form. But there's also a sense of romance for the most sensational outburst of hedonism and pleasure that dancefloor music ever experienced - the 70s gay movement wherein major metropolises throbbed awoke and boundaries and barriers were challenged and shattered every night.
These lightning strikes of illicit freedom, carnal energy and momentary abandonment are the deepest seeds of all forms of electronic music; sentiments that echo throughout Hell's unhurried, unrestrained salvo. Percussive connotations of leather, the cavernous reverb conjuring open industrial spaces such as you might find in New York City's meatpacking district at the time. The palpitating heartbeat, occasional flashes of sense-blurring giddy physical fizz… Up above, down below, choose your colour; while many love songs are babymakers, 'Anything, Anytime' is much more of a bed breaker.
While the original wears orange with pride, the remixes wear their own colours. The first of two remix packages, both Solomun and Argy come at Hell's original from contrasting sides. Solomun's is a light blue. The molten bass and slinky electro breakbeats creating a sensual, slippery experience that could lead to absolutely anything, it writhes and continually pleasures with every twist and turn. Argy's, meanwhile, is bold jet black. Dominant, intense and unrelenting. It's 'straight outta hell' by-line fulfilled with every sweaty arpeggiated peak and vivid flashing strobes, this is visceral, sweaty techno and there's no release without the safeword.
Two more remixes will follow imminently while the original comes complete with its own stark visual representation. In keeping with Hell's use of Tom Of Finland's cult visuals on the artwork of the album's first single 'I Want U', 'Anything, Anytime' continues to reference seminal cultural documents of the era. This time with its video; a stylised and provocative, black and white piece that riffs on the ground-breaking 1980 Al Pacino movie Cruising. An exploration of the iconography and stark fashion that visually represented progression, a celebration of overt sexuality but also a sense of restraint and composure… The calm before any storm your handkerchief may cause. Let's go cruising…
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Cat-No:gigolo308
Release-Date:21.07.2017
Genre:House / Techno
Configuration:12" Excl
Barcode:4260466391005
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Release-Date:21.07.2017
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Barcode:4260466391005
A1 Marcel Dettmann Interpretation
B1 Terence Fixmer Want U Hard Mix More
B1 Terence Fixmer Want U Hard Mix More
More records from The DJ Hell Experience
12" Excl
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Label:The DJ Hell Experience
Cat-No:HELL_Ex004
Release-Date:05.02.2021
Configuration:12" Excl
Barcode:4251804120975
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Barcode:4251804120975
1
ODORI - A. Movements 1-4
2
ODORI - B. Movements DJ Hell Remix
12"
Tracklist:
A. Movements 1-4
B. Movements DJ Hell Remix
Text:
Gigolo Records founder DJ HELL remixed this classic masterpiece, a new and already timeless interpretation.
The original was released in 1991 on the famous underground label Outer Limits/Quark at the early beginning of electronic music. And at this time it was already one of the biggest club hits in the exploding world of the Manhattan nightlife party scene. Mastermind Javier Rosario produced this phenomenal record in the UK and the first imports hit the US underground scene the early nineties with a bang. It became soon an anthem for the legendary Danceteria nightclub and spread from then all over the world.
The new release includes the original and a remix by Dj Hell and will be released on Dj Hells new own imprint "The Dj Hell Experience" distributed via Word and Sound on digital and vinyl.
More
Tracklist:
A. Movements 1-4
B. Movements DJ Hell Remix
Text:
Gigolo Records founder DJ HELL remixed this classic masterpiece, a new and already timeless interpretation.
The original was released in 1991 on the famous underground label Outer Limits/Quark at the early beginning of electronic music. And at this time it was already one of the biggest club hits in the exploding world of the Manhattan nightlife party scene. Mastermind Javier Rosario produced this phenomenal record in the UK and the first imports hit the US underground scene the early nineties with a bang. It became soon an anthem for the legendary Danceteria nightclub and spread from then all over the world.
The new release includes the original and a remix by Dj Hell and will be released on Dj Hells new own imprint "The Dj Hell Experience" distributed via Word and Sound on digital and vinyl.
More
7" Excl
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Label:The DJ Hell Experience
Cat-No:HELL_Ex001-7in
Release-Date:11.12.2020
Configuration:7" Excl
Barcode:4251804123877
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Barcode:4251804123877
1
DJ HELL (FEAT.TYRELL) / MCNZI - A. DJ HELL - THE LAST DANCE (FEAT.TYRELL)
2
DJ HELL (FEAT.TYRELL) / MCNZI - B. MCNZI - THIS IS OUR GENERATION
Limited 7"
Tracklist:
A. DJ HELL - THE LAST DANCE (FEAT.TYRELL)
B. MCNZI - THIS IS OUR GENERATION
The DJ Hell Experience presents a limited edition 7inch single release of the YUNG Soundtrack.
The self titled "O.S.T." from the much hyped Berlin based Movie "YUNG" -
Music Supervision by DJ HELL.
First release on the brand new DJ Hell Label "The Hell Experience"...!
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Tracklist:
A. DJ HELL - THE LAST DANCE (FEAT.TYRELL)
B. MCNZI - THIS IS OUR GENERATION
The DJ Hell Experience presents a limited edition 7inch single release of the YUNG Soundtrack.
The self titled "O.S.T." from the much hyped Berlin based Movie "YUNG" -
Music Supervision by DJ HELL.
First release on the brand new DJ Hell Label "The Hell Experience"...!
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Label:The DJ Hell Experience
Cat-No:HELL_Ex003LP
Release-Date:27.11.2020
Genre:House
Configuration:2LP Excl
Barcode:4251804123228
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Label:The DJ Hell Experience
Cat-No:HELL_Ex003LP
Release-Date:27.11.2020
Genre:House
Configuration:2LP Excl
Barcode:4251804123228
1
DJ HELL - 1/A1 jimi hendrix
2
DJ HELL - 2/A2 hausmusik
3
DJ HELL - 3/B1 g.p.s
4
DJ HELL - 4/B2 freakshow
5
DJ HELL - 5/C1 electrifying mojo
6
DJ HELL - 6/C2 out of control
7
DJ HELL - 7/D1 the revolution will be televised
8
DJ HELL - 8/D2 tonstrom
2LP,initial Pressing in limited Edition with Cristal Clear Vinyl!
2LP - Sleeve, Printed Innersleeve / CD as Gatefold Digisleeve incl Poster,
Coverart and Contents of both by Jonathan Meese
1/A1 jimi hendrix
2/A2 hausmusik
3/B1 g.p.s
4/B2 freakshow
5/C1 electrifying mojo
6/C2 out of control
7/D1 the revolution will be televised
8/D2 tonstrom
People, listen to the signals: when the club life is reawakening, DJ Hell returns with the album House Music Box (Past, Present, No Future).
In contrast to its predecessor album Zukunftsmusik (2017), with his new work Hell looks back to the glorious early days of House and Techno in Chicago, Detroit and New York City.
Obvious references are the heroes that vibrated the dancefloor from the late 80s, i.e. luminaries like Ron Hardy, Frankie Knuckles and Lil’ Louis from the Chicago house scene, or the legendary radio shows of The Electrifying Mojo from Detroit. Not to be forgotten are, of course, the NYC House of Larry Levan or the Nu Groove records from the early 90s – all of them served as musical godfathers for Hell’s House Music Box.
Back to the roots. In line with this, Hell’s opus number six emerged as a classic album: House Music Box simply comprises eight gripping new bangers from the groove manufacturer that is the super gigolo Hell. The record is not only a concept album about the beginnings of electronic DJ and club music, but also a danceable history lesson. Exemplifying that is already the superb first single: ‘Out of Control’ is a mightily stomping dancefloor monster where a killer bassline and an infectious synth riff meet. A vocal sample rightly demands ‘Don’t stop!’, because the magic that Hell created with his controllers leaves one in pure ecstasy of happiness.
The songs ‘Freakshow’ and ‘House Music’ are a musical bow for the innovative originators of house in the windy city. On ‘Freakshow’, the vocoder vocals ‘Ron Hardy is the true creator of house music’ recall the prematurely deceased DJ who was best known for his eclectic sets and radical edits. Hardy used to deejay in what was the successor of the Warehouse, the legendary ‘Music Box’ club, eponymous for the new album. On ‘House Music’, nomen est omen naturally applies: over the flawless house from the quality brand of Hell, he loops various samples, fragments of sentences such as ‘Acid comes from house music’, ‘Techno comes from house’, ‘Foundation of house music is’, or ‘Chicago house music’. Through their persistent repetition plus grooving beats, a hypnotic effect soon arrives, so that the music – thanks to the magic production of Hell – starts to speak.
On ‘Electrifying Mojo’, on the other hand, Hell honours the visionary and enigmatic Charles Johnson a.k.a. The Electrifying Mojo, whose radio show (airing from 1977 until the mid 80s) had a substantial influence on the development of techno in Detroit. As he frequently played Kraftwerk, for instance, the publicly shy Electrifying Mojo emerged as a key facilitator of future electronic music in the spirit of the Detroit-Dusseldorf axis.
Almost self-evidently, Kraftwerk - the grey eminence of German electronic music – shaped the background of Hell’s new record too, via the usage of vocoder vocals as a rhythmic element or the bass frequencies as the carrying foundation for each track. Clearly recognizable is the influence of Kraftwerk’s 1986 work Electric Café (now: Techno Pop) on the groovy track ‘Tonstrom’. Fans of the ‘industrial folk music’ will hardly be surprised, as this was Kraftwerk’s working title for the record. Along with sound poetic vocals, Hell tickles a cool funk from the warm machine sounds over nimble bass lines, as on House Music Box he uses – not only for this track – the same analogue synths from the seventies as Kraftwerk once did.
The oeuvre of DJ Hell is famously characterised by his artistic desire to have a different approach to each album, while at the same time constants provide inner cohesiveness and cross references. One example would be the theme of automobiles, as an influence of Kraftwerk’s ‘Autobahn’: just think of songs like ‘Hellracer’ or ‘Car Car Car’. The car motive is again present on House Music Box, with the ambitious track ‘GPS’. Conceptually speaking it is a highlight of the record: over sparse Roland drum machine beats, we can hear the female computer voice of a navigation device devising the fastest route to ‘destination Berlin nightlife’. This almost has a double meaning, as once inside the club, the music will guide the dancers.
No DJ Hell album, without cover versions. Or, should we better call his idiosyncratic electronic editions of established hits new originals – referring to a term that Laibach coined. This definitely holds true for ‘The Revolution Will Not Be Televised’: his update of Gil Scott Heron’s soul classic turned into a veritable 4-on-the-floor version. The slogan, which originally came from the Black Power movement, carved out a remarkable career, not only thanks to several new versions, but equally alienated as an advertising slogan for bar chains. The fact that Hell takes up this track in the days of YouTube, Instagram and Facebook illustrates us today that the idea of a political revolution is long gone. For that reason, all he keeps from the wordy original is its headline while the impulsive beats prove all more, that at least the revolution of the dancefloor is nowhere near over.
Past, Present, No Future – even if Hell’s deep bow to the trailblazers and pioneers of electronic club music was already completed when the corona pandemic broke out, the subtitle of House Music Box proved apt even so in the light of the circumstance that especially the club scene is seriously affected from the coercive measures of the crisis. It was therefore quite prophetic that on ‘Jimi Hendrix’ you can hear pieces of the last interview that the guitarist gave shortly before his controversial death. „I can’t build anything right now, you know, because of the things that are happing right now. I just have to lay back and think about it all.” House Music Box is, in many ways, the right record at the right time. Because as DJ Hell speaks about his album: ‘House Music for me has always been a spiritual experience, a higher, different form of communication, so to speak’. So, let’s listen carefully what he reports about his musical excursions in the Past, Present and Future of House.
More
2LP - Sleeve, Printed Innersleeve / CD as Gatefold Digisleeve incl Poster,
Coverart and Contents of both by Jonathan Meese
1/A1 jimi hendrix
2/A2 hausmusik
3/B1 g.p.s
4/B2 freakshow
5/C1 electrifying mojo
6/C2 out of control
7/D1 the revolution will be televised
8/D2 tonstrom
People, listen to the signals: when the club life is reawakening, DJ Hell returns with the album House Music Box (Past, Present, No Future).
In contrast to its predecessor album Zukunftsmusik (2017), with his new work Hell looks back to the glorious early days of House and Techno in Chicago, Detroit and New York City.
Obvious references are the heroes that vibrated the dancefloor from the late 80s, i.e. luminaries like Ron Hardy, Frankie Knuckles and Lil’ Louis from the Chicago house scene, or the legendary radio shows of The Electrifying Mojo from Detroit. Not to be forgotten are, of course, the NYC House of Larry Levan or the Nu Groove records from the early 90s – all of them served as musical godfathers for Hell’s House Music Box.
Back to the roots. In line with this, Hell’s opus number six emerged as a classic album: House Music Box simply comprises eight gripping new bangers from the groove manufacturer that is the super gigolo Hell. The record is not only a concept album about the beginnings of electronic DJ and club music, but also a danceable history lesson. Exemplifying that is already the superb first single: ‘Out of Control’ is a mightily stomping dancefloor monster where a killer bassline and an infectious synth riff meet. A vocal sample rightly demands ‘Don’t stop!’, because the magic that Hell created with his controllers leaves one in pure ecstasy of happiness.
The songs ‘Freakshow’ and ‘House Music’ are a musical bow for the innovative originators of house in the windy city. On ‘Freakshow’, the vocoder vocals ‘Ron Hardy is the true creator of house music’ recall the prematurely deceased DJ who was best known for his eclectic sets and radical edits. Hardy used to deejay in what was the successor of the Warehouse, the legendary ‘Music Box’ club, eponymous for the new album. On ‘House Music’, nomen est omen naturally applies: over the flawless house from the quality brand of Hell, he loops various samples, fragments of sentences such as ‘Acid comes from house music’, ‘Techno comes from house’, ‘Foundation of house music is’, or ‘Chicago house music’. Through their persistent repetition plus grooving beats, a hypnotic effect soon arrives, so that the music – thanks to the magic production of Hell – starts to speak.
On ‘Electrifying Mojo’, on the other hand, Hell honours the visionary and enigmatic Charles Johnson a.k.a. The Electrifying Mojo, whose radio show (airing from 1977 until the mid 80s) had a substantial influence on the development of techno in Detroit. As he frequently played Kraftwerk, for instance, the publicly shy Electrifying Mojo emerged as a key facilitator of future electronic music in the spirit of the Detroit-Dusseldorf axis.
Almost self-evidently, Kraftwerk - the grey eminence of German electronic music – shaped the background of Hell’s new record too, via the usage of vocoder vocals as a rhythmic element or the bass frequencies as the carrying foundation for each track. Clearly recognizable is the influence of Kraftwerk’s 1986 work Electric Café (now: Techno Pop) on the groovy track ‘Tonstrom’. Fans of the ‘industrial folk music’ will hardly be surprised, as this was Kraftwerk’s working title for the record. Along with sound poetic vocals, Hell tickles a cool funk from the warm machine sounds over nimble bass lines, as on House Music Box he uses – not only for this track – the same analogue synths from the seventies as Kraftwerk once did.
The oeuvre of DJ Hell is famously characterised by his artistic desire to have a different approach to each album, while at the same time constants provide inner cohesiveness and cross references. One example would be the theme of automobiles, as an influence of Kraftwerk’s ‘Autobahn’: just think of songs like ‘Hellracer’ or ‘Car Car Car’. The car motive is again present on House Music Box, with the ambitious track ‘GPS’. Conceptually speaking it is a highlight of the record: over sparse Roland drum machine beats, we can hear the female computer voice of a navigation device devising the fastest route to ‘destination Berlin nightlife’. This almost has a double meaning, as once inside the club, the music will guide the dancers.
No DJ Hell album, without cover versions. Or, should we better call his idiosyncratic electronic editions of established hits new originals – referring to a term that Laibach coined. This definitely holds true for ‘The Revolution Will Not Be Televised’: his update of Gil Scott Heron’s soul classic turned into a veritable 4-on-the-floor version. The slogan, which originally came from the Black Power movement, carved out a remarkable career, not only thanks to several new versions, but equally alienated as an advertising slogan for bar chains. The fact that Hell takes up this track in the days of YouTube, Instagram and Facebook illustrates us today that the idea of a political revolution is long gone. For that reason, all he keeps from the wordy original is its headline while the impulsive beats prove all more, that at least the revolution of the dancefloor is nowhere near over.
Past, Present, No Future – even if Hell’s deep bow to the trailblazers and pioneers of electronic club music was already completed when the corona pandemic broke out, the subtitle of House Music Box proved apt even so in the light of the circumstance that especially the club scene is seriously affected from the coercive measures of the crisis. It was therefore quite prophetic that on ‘Jimi Hendrix’ you can hear pieces of the last interview that the guitarist gave shortly before his controversial death. „I can’t build anything right now, you know, because of the things that are happing right now. I just have to lay back and think about it all.” House Music Box is, in many ways, the right record at the right time. Because as DJ Hell speaks about his album: ‘House Music for me has always been a spiritual experience, a higher, different form of communication, so to speak’. So, let’s listen carefully what he reports about his musical excursions in the Past, Present and Future of House.
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CD Digi Sleeve
Coverart and Contents of both by Jonathan Meese
1/A1 jimi hendrix
2/A2 hausmusik
3/B1 g.p.s
4/B2 freakshow
5/C1 electrifying mojo
6/C2 out of control
7/D1 the revolution will be televised
8/D2 tonstrom
People, listen to the signals: when the club life is reawakening, DJ Hell returns with the album House Music Box (Past, Present, No Future).
In contrast to its predecessor album Zukunftsmusik (2017), with his new work Hell looks back to the glorious early days of House and Techno in Chicago, Detroit and New York City.
Obvious references are the heroes that vibrated the dancefloor from the late 80s, i.e. luminaries like Ron Hardy, Frankie Knuckles and Lil’ Louis from the Chicago house scene, or the legendary radio shows of The Electrifying Mojo from Detroit. Not to be forgotten are, of course, the NYC House of Larry Levan or the Nu Groove records from the early 90s – all of them served as musical godfathers for Hell’s House Music Box.
Back to the roots. In line with this, Hell’s opus number six emerged as a classic album: House Music Box simply comprises eight gripping new bangers from the groove manufacturer that is the super gigolo Hell. The record is not only a concept album about the beginnings of electronic DJ and club music, but also a danceable history lesson. Exemplifying that is already the superb first single: ‘Out of Control’ is a mightily stomping dancefloor monster where a killer bassline and an infectious synth riff meet. A vocal sample rightly demands ‘Don’t stop!’, because the magic that Hell created with his controllers leaves one in pure ecstasy of happiness.
The songs ‘Freakshow’ and ‘House Music’ are a musical bow for the innovative originators of house in the windy city. On ‘Freakshow’, the vocoder vocals ‘Ron Hardy is the true creator of house music’ recall the prematurely deceased DJ who was best known for his eclectic sets and radical edits. Hardy used to deejay in what was the successor of the Warehouse, the legendary ‘Music Box’ club, eponymous for the new album. On ‘House Music’, nomen est omen naturally applies: over the flawless house from the quality brand of Hell, he loops various samples, fragments of sentences such as ‘Acid comes from house music’, ‘Techno comes from house’, ‘Foundation of house music is’, or ‘Chicago house music’. Through their persistent repetition plus grooving beats, a hypnotic effect soon arrives, so that the music – thanks to the magic production of Hell – starts to speak.
On ‘Electrifying Mojo’, on the other hand, Hell honours the visionary and enigmatic Charles Johnson a.k.a. The Electrifying Mojo, whose radio show (airing from 1977 until the mid 80s) had a substantial influence on the development of techno in Detroit. As he frequently played Kraftwerk, for instance, the publicly shy Electrifying Mojo emerged as a key facilitator of future electronic music in the spirit of the Detroit-Dusseldorf axis.
Almost self-evidently, Kraftwerk - the grey eminence of German electronic music – shaped the background of Hell’s new record too, via the usage of vocoder vocals as a rhythmic element or the bass frequencies as the carrying foundation for each track. Clearly recognizable is the influence of Kraftwerk’s 1986 work Electric Café (now: Techno Pop) on the groovy track ‘Tonstrom’. Fans of the ‘industrial folk music’ will hardly be surprised, as this was Kraftwerk’s working title for the record. Along with sound poetic vocals, Hell tickles a cool funk from the warm machine sounds over nimble bass lines, as on House Music Box he uses – not only for this track – the same analogue synths from the seventies as Kraftwerk once did.
The oeuvre of DJ Hell is famously characterised by his artistic desire to have a different approach to each album, while at the same time constants provide inner cohesiveness and cross references. One example would be the theme of automobiles, as an influence of Kraftwerk’s ‘Autobahn’: just think of songs like ‘Hellracer’ or ‘Car Car Car’. The car motive is again present on House Music Box, with the ambitious track ‘GPS’. Conceptually speaking it is a highlight of the record: over sparse Roland drum machine beats, we can hear the female computer voice of a navigation device devising the fastest route to ‘destination Berlin nightlife’. This almost has a double meaning, as once inside the club, the music will guide the dancers.
No DJ Hell album, without cover versions. Or, should we better call his idiosyncratic electronic editions of established hits new originals – referring to a term that Laibach coined. This definitely holds true for ‘The Revolution Will Not Be Televised’: his update of Gil Scott Heron’s soul classic turned into a veritable 4-on-the-floor version. The slogan, which originally came from the Black Power movement, carved out a remarkable career, not only thanks to several new versions, but equally alienated as an advertising slogan for bar chains. The fact that Hell takes up this track in the days of YouTube, Instagram and Facebook illustrates us today that the idea of a political revolution is long gone. For that reason, all he keeps from the wordy original is its headline while the impulsive beats prove all more, that at least the revolution of the dancefloor is nowhere near over.
Past, Present, No Future – even if Hell’s deep bow to the trailblazers and pioneers of electronic club music was already completed when the corona pandemic broke out, the subtitle of House Music Box proved apt even so in the light of the circumstance that especially the club scene is seriously affected from the coercive measures of the crisis. It was therefore quite prophetic that on ‘Jimi Hendrix’ you can hear pieces of the last interview that the guitarist gave shortly before his controversial death. „I can’t build anything right now, you know, because of the things that are happing right now. I just have to lay back and think about it all.” House Music Box is, in many ways, the right record at the right time. Because as DJ Hell speaks about his album: ‘House Music for me has always been a spiritual experience, a higher, different form of communication, so to speak’. So, let’s listen carefully what he reports about his musical excursions in the Past, Present and Future of House.
More
Coverart and Contents of both by Jonathan Meese
1/A1 jimi hendrix
2/A2 hausmusik
3/B1 g.p.s
4/B2 freakshow
5/C1 electrifying mojo
6/C2 out of control
7/D1 the revolution will be televised
8/D2 tonstrom
People, listen to the signals: when the club life is reawakening, DJ Hell returns with the album House Music Box (Past, Present, No Future).
In contrast to its predecessor album Zukunftsmusik (2017), with his new work Hell looks back to the glorious early days of House and Techno in Chicago, Detroit and New York City.
Obvious references are the heroes that vibrated the dancefloor from the late 80s, i.e. luminaries like Ron Hardy, Frankie Knuckles and Lil’ Louis from the Chicago house scene, or the legendary radio shows of The Electrifying Mojo from Detroit. Not to be forgotten are, of course, the NYC House of Larry Levan or the Nu Groove records from the early 90s – all of them served as musical godfathers for Hell’s House Music Box.
Back to the roots. In line with this, Hell’s opus number six emerged as a classic album: House Music Box simply comprises eight gripping new bangers from the groove manufacturer that is the super gigolo Hell. The record is not only a concept album about the beginnings of electronic DJ and club music, but also a danceable history lesson. Exemplifying that is already the superb first single: ‘Out of Control’ is a mightily stomping dancefloor monster where a killer bassline and an infectious synth riff meet. A vocal sample rightly demands ‘Don’t stop!’, because the magic that Hell created with his controllers leaves one in pure ecstasy of happiness.
The songs ‘Freakshow’ and ‘House Music’ are a musical bow for the innovative originators of house in the windy city. On ‘Freakshow’, the vocoder vocals ‘Ron Hardy is the true creator of house music’ recall the prematurely deceased DJ who was best known for his eclectic sets and radical edits. Hardy used to deejay in what was the successor of the Warehouse, the legendary ‘Music Box’ club, eponymous for the new album. On ‘House Music’, nomen est omen naturally applies: over the flawless house from the quality brand of Hell, he loops various samples, fragments of sentences such as ‘Acid comes from house music’, ‘Techno comes from house’, ‘Foundation of house music is’, or ‘Chicago house music’. Through their persistent repetition plus grooving beats, a hypnotic effect soon arrives, so that the music – thanks to the magic production of Hell – starts to speak.
On ‘Electrifying Mojo’, on the other hand, Hell honours the visionary and enigmatic Charles Johnson a.k.a. The Electrifying Mojo, whose radio show (airing from 1977 until the mid 80s) had a substantial influence on the development of techno in Detroit. As he frequently played Kraftwerk, for instance, the publicly shy Electrifying Mojo emerged as a key facilitator of future electronic music in the spirit of the Detroit-Dusseldorf axis.
Almost self-evidently, Kraftwerk - the grey eminence of German electronic music – shaped the background of Hell’s new record too, via the usage of vocoder vocals as a rhythmic element or the bass frequencies as the carrying foundation for each track. Clearly recognizable is the influence of Kraftwerk’s 1986 work Electric Café (now: Techno Pop) on the groovy track ‘Tonstrom’. Fans of the ‘industrial folk music’ will hardly be surprised, as this was Kraftwerk’s working title for the record. Along with sound poetic vocals, Hell tickles a cool funk from the warm machine sounds over nimble bass lines, as on House Music Box he uses – not only for this track – the same analogue synths from the seventies as Kraftwerk once did.
The oeuvre of DJ Hell is famously characterised by his artistic desire to have a different approach to each album, while at the same time constants provide inner cohesiveness and cross references. One example would be the theme of automobiles, as an influence of Kraftwerk’s ‘Autobahn’: just think of songs like ‘Hellracer’ or ‘Car Car Car’. The car motive is again present on House Music Box, with the ambitious track ‘GPS’. Conceptually speaking it is a highlight of the record: over sparse Roland drum machine beats, we can hear the female computer voice of a navigation device devising the fastest route to ‘destination Berlin nightlife’. This almost has a double meaning, as once inside the club, the music will guide the dancers.
No DJ Hell album, without cover versions. Or, should we better call his idiosyncratic electronic editions of established hits new originals – referring to a term that Laibach coined. This definitely holds true for ‘The Revolution Will Not Be Televised’: his update of Gil Scott Heron’s soul classic turned into a veritable 4-on-the-floor version. The slogan, which originally came from the Black Power movement, carved out a remarkable career, not only thanks to several new versions, but equally alienated as an advertising slogan for bar chains. The fact that Hell takes up this track in the days of YouTube, Instagram and Facebook illustrates us today that the idea of a political revolution is long gone. For that reason, all he keeps from the wordy original is its headline while the impulsive beats prove all more, that at least the revolution of the dancefloor is nowhere near over.
Past, Present, No Future – even if Hell’s deep bow to the trailblazers and pioneers of electronic club music was already completed when the corona pandemic broke out, the subtitle of House Music Box proved apt even so in the light of the circumstance that especially the club scene is seriously affected from the coercive measures of the crisis. It was therefore quite prophetic that on ‘Jimi Hendrix’ you can hear pieces of the last interview that the guitarist gave shortly before his controversial death. „I can’t build anything right now, you know, because of the things that are happing right now. I just have to lay back and think about it all.” House Music Box is, in many ways, the right record at the right time. Because as DJ Hell speaks about his album: ‘House Music for me has always been a spiritual experience, a higher, different form of communication, so to speak’. So, let’s listen carefully what he reports about his musical excursions in the Past, Present and Future of House.
More
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Cat-No:HELL_Ex001
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1
DJ HELL - THE LAST DANCE FT TYRELL
2
MCNZI - INTO THE VOID
3
VENA CAVA - FANGO
4
ABBLOU - SELF CONTROL
5
YUNG - BATTLE RAP SKIT
6
MCNZI - RAVE NATION
7
MCNZI - GREENHOUSE
8
MCNZI - LEAVE ME ALONE
9
MCNZI - I LOVE IT WHEN YOU LOVE ME
10
MALAKOFF KOWALSKI - DIMANCHE SOIR
11
VEGAS BY NIGHT - GROWING FLOWERS
12
DJ HELL - WILD AT HEART
13
DJ HELL - WIR REITEN DURCH DIE NACHT
14
DJ HELL - I WANT YOU
15
MCNZI - I_M ALIVE
16
MCNZI - BERLIN VICE SKIT
17
DJ HELL - INFERNO PART 2
18
MCNZI - SCUMFUCK
19
MCNZI - HELP ME
20
DJ HELL - I WANT MY FUTURE BACK
21
VEGAS BY NIGHT - ZARA
22
MCNZI - COLD WORLD
23
MCNZI - THIS IS OUR GENERATION (BONUS TRACK)
The self titled "O.S.T." from the much hyped Berlin based Movie "YUNG" -
Music Supervision by DJ HELL.
First release on the brand new DJ Hell Label "The Hell Experience"...!
Tracklist:
001 DJ HELL - THE LAST DANCE FT TYRELL
002 MCNZI - INTO THE VOID
003 VENA CAVA - FANGO
004 ABBLOU - SELF CONTROL
005 YUNG - BATTLE RAP SKIT
006 MCNZI - RAVE NATION
007 MCNZI - GREENHOUSE
008 MCNZI - LEAVE ME ALONE
009 MCNZI - I LOVE IT WHEN YOU LOVE ME
010 MALAKOFF KOWALSKI - DIMANCHE SOIR
011 VEGAS BY NIGHT - GROWING FLOWERS
012 DJ HELL - WILD AT HEART
013 DJ HELL - WIR REITEN DURCH DIE NACHT
014 DJ HELL - I WANT YOU
015 MCNZI - I_M ALIVE
016 MCNZI - BERLIN VICE SKIT
017 DJ HELL - INFERNO PART 2
018_MCNZI - SCUMFUCK
019 MCNZI - HELP ME
020 DJ HELL - I WANT MY FUTURE BACK
021 VEGAS BY NIGHT - ZARA
022 MCNZI - COLD WORLD
023 MCNZI - THIS IS OUR GENERATION (BONUS TRACK)
YUNG is a trip following four confident young girls into the pulsating and hedonistic subculture of modern day Berlin. But above all, it’s a pure, rough and authentic pic about friendship.
Janaina (17) makes some extra money via web cam porn. To her best friend Emmy (18) the whole city is a crack-hole, not realizing that she’s getting deeper into the cycle of addiction. Joy (17) muses about love when she is not actually selling drugs, and sweet Abbie (16) just dreams of escaping to Los Angeles.
YUNG is a rollercoaster ride through the millenial teenage lifestyle More
Music Supervision by DJ HELL.
First release on the brand new DJ Hell Label "The Hell Experience"...!
Tracklist:
001 DJ HELL - THE LAST DANCE FT TYRELL
002 MCNZI - INTO THE VOID
003 VENA CAVA - FANGO
004 ABBLOU - SELF CONTROL
005 YUNG - BATTLE RAP SKIT
006 MCNZI - RAVE NATION
007 MCNZI - GREENHOUSE
008 MCNZI - LEAVE ME ALONE
009 MCNZI - I LOVE IT WHEN YOU LOVE ME
010 MALAKOFF KOWALSKI - DIMANCHE SOIR
011 VEGAS BY NIGHT - GROWING FLOWERS
012 DJ HELL - WILD AT HEART
013 DJ HELL - WIR REITEN DURCH DIE NACHT
014 DJ HELL - I WANT YOU
015 MCNZI - I_M ALIVE
016 MCNZI - BERLIN VICE SKIT
017 DJ HELL - INFERNO PART 2
018_MCNZI - SCUMFUCK
019 MCNZI - HELP ME
020 DJ HELL - I WANT MY FUTURE BACK
021 VEGAS BY NIGHT - ZARA
022 MCNZI - COLD WORLD
023 MCNZI - THIS IS OUR GENERATION (BONUS TRACK)
YUNG is a trip following four confident young girls into the pulsating and hedonistic subculture of modern day Berlin. But above all, it’s a pure, rough and authentic pic about friendship.
Janaina (17) makes some extra money via web cam porn. To her best friend Emmy (18) the whole city is a crack-hole, not realizing that she’s getting deeper into the cycle of addiction. Joy (17) muses about love when she is not actually selling drugs, and sweet Abbie (16) just dreams of escaping to Los Angeles.
YUNG is a rollercoaster ride through the millenial teenage lifestyle More
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1
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12
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A1 B.W.s Blues
A2 So Blue It's Black
A3 Keep On Keepin On
A4 Azule
A5 Black Sheep Blues
A6 30
B1 Pollo Caliente
B2 Never
B3 Solow
B4 Introspection Section
B5 Gone
B6 In My Head
B7 Soul Miner
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Loose Grooves & Bastard Blues is Tommy Guerrero's sublime debut. Of this beloved masterpiece, the legendary skater himself says: "my 1st album. It was never meant to be released. I was just recording for the fun of it.. still my fave. Oh so naive..." And you know what? It's definitely Be With's fave too. An astonishingly great record. A chill, blissful, deeply moving album, it was rightly garlanded as an instant classic.
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A total vibe throughout, to blast Loose Grooves & Bastard Blues is a majestic experience, one that suits a start-to-finish listen and renders the picking out of highlights totally redundant. Featuring nagging, deeply melodic guitar lines - both electric and acoustic - over simple rhythms with such sumptuous elegance, the hypnotic playing against unrushed percussion releases a crystal clear stream of healing frequencies. It's ust divine. This album laid the blueprint from which Tommy Guerrero would subsequently explore further on A Little Bit of Somethin' and Soul Food Taquiera.
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A1 B.W.s Blues
A2 So Blue It's Black
A3 Keep On Keepin On
A4 Azule
A5 Black Sheep Blues
A6 30
B1 Pollo Caliente
B2 Never
B3 Solow
B4 Introspection Section
B5 Gone
B6 In My Head
B7 Soul Miner
Release Notes:
Loose Grooves & Bastard Blues is Tommy Guerrero's sublime debut. Of this beloved masterpiece, the legendary skater himself says: "my 1st album. It was never meant to be released. I was just recording for the fun of it.. still my fave. Oh so naive..." And you know what? It's definitely Be With's fave too. An astonishingly great record. A chill, blissful, deeply moving album, it was rightly garlanded as an instant classic.
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AAL record on Other People.
Pressed on to wax due to popular demand.
Tracklist:
A 1. THIS OLD HOUSE IS ALL I HAVE 3:39 A.A.L (AGAINST ALL LOGIC)
2. I NEVER DREAM 6:46 A.A.L (AGAINST ALL LOGIC)
3. SOME KIND OF GAME 6:47 A.A.L (AGAINST ALL LOGIC)
B 4. HOPELESS 5:41 A.A.L (AGAINST ALL LOGIC)
5. SUCH A BAD WAY 4:53 A.A.L (AGAINST ALL LOGIC)
6. FLASH IN THE PAN 7:28 A.A.L (AGAINST ALL LOGIC)
C 7. CITYFADE 5:41 A.A.L (AGAINST ALL LOGIC)
8. NOW U GOT ME HOOKED 5:51 A.A.L (AGAINST ALL LOGIC)
9. KNOW YOU 4:25 A.A.L (AGAINST ALL LOGIC)
D 10. YOU ARE GOING TO LOVE ME AND SCREAM 5:35 A.A.L (AGAINST ALL LOGIC)
11. RAVE ON U 9:56 A.A.L (AGAINST ALL LOGIC)
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Pressed on to wax due to popular demand.
Tracklist:
A 1. THIS OLD HOUSE IS ALL I HAVE 3:39 A.A.L (AGAINST ALL LOGIC)
2. I NEVER DREAM 6:46 A.A.L (AGAINST ALL LOGIC)
3. SOME KIND OF GAME 6:47 A.A.L (AGAINST ALL LOGIC)
B 4. HOPELESS 5:41 A.A.L (AGAINST ALL LOGIC)
5. SUCH A BAD WAY 4:53 A.A.L (AGAINST ALL LOGIC)
6. FLASH IN THE PAN 7:28 A.A.L (AGAINST ALL LOGIC)
C 7. CITYFADE 5:41 A.A.L (AGAINST ALL LOGIC)
8. NOW U GOT ME HOOKED 5:51 A.A.L (AGAINST ALL LOGIC)
9. KNOW YOU 4:25 A.A.L (AGAINST ALL LOGIC)
D 10. YOU ARE GOING TO LOVE ME AND SCREAM 5:35 A.A.L (AGAINST ALL LOGIC)
11. RAVE ON U 9:56 A.A.L (AGAINST ALL LOGIC)
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Krystal Klear - Typhoon
3
Krystal Klear - Love Is All I Need
4
Krystal Klear - Rampage
Tracklist
A1. Entity
A2. Typhoon
B1. Love Is All I Need
B2. Rampage
New Krystal Klear on Running Back. No re-inventing of the wheel here. Sometimes it is what it is. But let‘s hear it from the artist himself:
“ No notes or real inspiration behind this EP. Rb128 consists of four tracks that I made to keep gigs coming and the calendar full - In a time where artists are being forced to DJ like maniacs to keep the electricity running to make more quickfire records (except for Gerd who loves it).
These pure dance tracks try to mix the cocktail between the trendy trance that people like now and the good house records they liked yesterday.
Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“
But yes, it is still and will always be pretty damn good dance music (Gerd does a high kick and claps his hands)! Love is all we need.
Short:
New Running Back by the ever-reliable Krystal Klear.
Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“
But yes, it is still and will always be pretty damn good dance music! Love is all we need.
More
A1. Entity
A2. Typhoon
B1. Love Is All I Need
B2. Rampage
New Krystal Klear on Running Back. No re-inventing of the wheel here. Sometimes it is what it is. But let‘s hear it from the artist himself:
“ No notes or real inspiration behind this EP. Rb128 consists of four tracks that I made to keep gigs coming and the calendar full - In a time where artists are being forced to DJ like maniacs to keep the electricity running to make more quickfire records (except for Gerd who loves it).
These pure dance tracks try to mix the cocktail between the trendy trance that people like now and the good house records they liked yesterday.
Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“
But yes, it is still and will always be pretty damn good dance music (Gerd does a high kick and claps his hands)! Love is all we need.
Short:
New Running Back by the ever-reliable Krystal Klear.
Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“
But yes, it is still and will always be pretty damn good dance music! Love is all we need.
More
Label:Diggers Factory
Cat-No:BLKRTZ055
Release-Date:12.01.2024
Genre:Techno
Configuration:2LP Excl
Barcode:3760370268475
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Cat-No:BLKRTZ055
Release-Date:12.01.2024
Genre:Techno
Configuration:2LP Excl
Barcode:3760370268475
1
Deadbeat - THE DOUBLE BONG CLOUD (DENIAL I)
2
Deadbeat - STRAIGHT NO CHASER (DENIAL II)
3
Deadbeat - TOUGH LOVE (ANGER I)
4
Deadbeat - BRICK STICK BLICK BLADE (ANGER II)
5
Deadbeat - HUEY LEWIS VOTERS DUB (NEGOTIATION)
6
Deadbeat - THINGS FALL APART (DEPRESSION)
7
Deadbeat - WITH GRAND TREPIDITION (ACCEPTANCE I)
8
Deadbeat - MOUNTAINS FROM MOLE HILLS (ACCEPTANCE II)
Territory: World except France and Belgium
GENRE/S: Electronic / Techno / Dub
TRACKLISTS: 2 x LP
1
FACE A
1.
THE DOUBLE BONG CLOUD (DENIAL I)
07:29
2.
STRAIGHT NO CHASER (DENIAL II)
07:31
FACE B
1.
TOUGH LOVE (ANGER I)
07:22
2.
BRICK STICK BLICK BLADE (ANGER II)
07:35
2
FACE C
1.
HUEY LEWIS VOTERS DUB (NEGOTIATION)
07:29
2.
THINGS FALL APART (DEPRESSION)
08:00
FACE D
1.
WITH GRAND TREPIDITION (ACCEPTANCE I)
07:24
2.
MOUNTAINS FROM MOLE HILLS (ACCEPTANCE II)
07:30
SHORT INFO:
Over the past 24 years, Scott Monteith's Deadbeat project has spanned a dizzying array of musical references and genres, exploring everything from left-field reggae to downbeat experiments, purifying drone excursions and ambient noise, extranational percussion workouts, and hypnotic techno and house.
VITAL SALES POINTS:
In the last 24 years Scott Monteith's Deadbeat project has covered a dizzying array of musical references and genres, exploring everything from from left field reggae and downbeat experiments, purifying drone and ambient noise excursions, outer-national percussion work outs, and hypnotic techno and house.
On his first solo album in 5 years, Monteith offers up what is perhaps the most powerful, tightly dance floor focused album of his storied carrier, and a soul cleansing, poignant sound track to the fears and hardships of a world gone mad, entitled Kübler-Ross Soliloquies.
The Kübler-Ross model describes the five stages of grief: denial, anger, bargaining, depression and acceptance. A soliloquy is defined as an act of speaking one's thoughts aloud alone by oneself or regardless of any hearers.
Over the album's 8 tracks, Monteith explores each of these stages with a clear eyed focus and confidence that are a testament to his dual role as a kind, smiling musical selector and monkish technological nerd ball of the highest order.
More
GENRE/S: Electronic / Techno / Dub
TRACKLISTS: 2 x LP
1
FACE A
1.
THE DOUBLE BONG CLOUD (DENIAL I)
07:29
2.
STRAIGHT NO CHASER (DENIAL II)
07:31
FACE B
1.
TOUGH LOVE (ANGER I)
07:22
2.
BRICK STICK BLICK BLADE (ANGER II)
07:35
2
FACE C
1.
HUEY LEWIS VOTERS DUB (NEGOTIATION)
07:29
2.
THINGS FALL APART (DEPRESSION)
08:00
FACE D
1.
WITH GRAND TREPIDITION (ACCEPTANCE I)
07:24
2.
MOUNTAINS FROM MOLE HILLS (ACCEPTANCE II)
07:30
SHORT INFO:
Over the past 24 years, Scott Monteith's Deadbeat project has spanned a dizzying array of musical references and genres, exploring everything from left-field reggae to downbeat experiments, purifying drone excursions and ambient noise, extranational percussion workouts, and hypnotic techno and house.
VITAL SALES POINTS:
In the last 24 years Scott Monteith's Deadbeat project has covered a dizzying array of musical references and genres, exploring everything from from left field reggae and downbeat experiments, purifying drone and ambient noise excursions, outer-national percussion work outs, and hypnotic techno and house.
On his first solo album in 5 years, Monteith offers up what is perhaps the most powerful, tightly dance floor focused album of his storied carrier, and a soul cleansing, poignant sound track to the fears and hardships of a world gone mad, entitled Kübler-Ross Soliloquies.
The Kübler-Ross model describes the five stages of grief: denial, anger, bargaining, depression and acceptance. A soliloquy is defined as an act of speaking one's thoughts aloud alone by oneself or regardless of any hearers.
Over the album's 8 tracks, Monteith explores each of these stages with a clear eyed focus and confidence that are a testament to his dual role as a kind, smiling musical selector and monkish technological nerd ball of the highest order.
More
Label:Boo Moonman
Cat-No:BMM30
Release-Date:10.05.2024
Genre:House
Configuration:12"
Barcode:
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Label:Boo Moonman
Cat-No:BMM30
Release-Date:10.05.2024
Genre:House
Configuration:12"
Barcode:
1
Boo Williams - A1. Can't Forget you (Instrumental)
2
Boo Williams - A2. All About The Music (Service Mix)
3
Boo Williams - B1. Replay
4
Boo Williams - B2. Last Thoughts Feat Jamiel Patton
BOO WILLIAMS coming thru with a slightly more chilled out vibe on this hand stamped 12", the 7th release in the limited series of 10 on his BOO MOONMAN imprint. BOO stretches his trademark cosmic sound out into deep space across 4 tracks of jazzy keys & floating synths. Perfect for sunrise sets
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Label:Fuck Reality
Cat-No:fuckreality07
Release-Date:15.03.2024
Genre:Deephouse
Configuration:12" Excl
Barcode:4251804180085
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Label:Fuck Reality
Cat-No:fuckreality07
Release-Date:15.03.2024
Genre:Deephouse
Configuration:12" Excl
Barcode:4251804180085
1
Fossar - Good 2 Me
2
Fossar - Free
3
Fossar - Make Me Feel
4
Fossar - Aeriel (Windy City Version)
Tracklist:
A1 Good 2 Me
A2 Free
B1 Make Me Feel
B2 Aeriel (Windy City Version)
Smallville Record sub-label Fuck Reality returns in March 2024 with Fossar’s ‘Make Me Feel’ EP.
The Fuck Reality imprint founds it origins in 2015 as a sub label of the widely lauded Smallville label with a heavy focus on classic House music. The label kicked off with the reissue of Westbam and Nena’s iconic ‘Oldschool Baby’ with remixes from Smallpeople and Gerd Janson before going on to release music from Smallville staple Moomin, Frantzvaag – who also release the first album on the label last year - and more. Here the label welcomes Fossar, co-founder of the Feuilleton imprint, onto the imprint with his new EP.
‘Good 2 Me’ opens with airy chords, robust toms, flickers of resonant synth stabs and soulful vocals running atop snappy drums before ‘Free’ embraces a classic 90’s New York aesthetic with heavily swung percussion a jazzy bass groove, emotive piano lines and warm vocal chants.
The B-side is then kicked off with ‘Make Me Feel’, diving deep with shimmering, expansive leads, looped vocal, swirling string melodies and a classic bumpy bass and snare combination. The ‘Aeriel (Windy City Version)’ then rounds things out, as the name would suggest nodding to the Chicagoan roots of House and employing all the classic tropes from slick flutes, intertwined keys, glistening piano melodies and shuffled 909 drums.
All tracks written, produced and mixed by Pchris Gruber
Mastering by Lopazz / Mixmastering, vinyl Cut by Helmut Erler / Lathesville
Artwork and Typography by Stefan Marx
Distributed by Wordandsound More
A1 Good 2 Me
A2 Free
B1 Make Me Feel
B2 Aeriel (Windy City Version)
Smallville Record sub-label Fuck Reality returns in March 2024 with Fossar’s ‘Make Me Feel’ EP.
The Fuck Reality imprint founds it origins in 2015 as a sub label of the widely lauded Smallville label with a heavy focus on classic House music. The label kicked off with the reissue of Westbam and Nena’s iconic ‘Oldschool Baby’ with remixes from Smallpeople and Gerd Janson before going on to release music from Smallville staple Moomin, Frantzvaag – who also release the first album on the label last year - and more. Here the label welcomes Fossar, co-founder of the Feuilleton imprint, onto the imprint with his new EP.
‘Good 2 Me’ opens with airy chords, robust toms, flickers of resonant synth stabs and soulful vocals running atop snappy drums before ‘Free’ embraces a classic 90’s New York aesthetic with heavily swung percussion a jazzy bass groove, emotive piano lines and warm vocal chants.
The B-side is then kicked off with ‘Make Me Feel’, diving deep with shimmering, expansive leads, looped vocal, swirling string melodies and a classic bumpy bass and snare combination. The ‘Aeriel (Windy City Version)’ then rounds things out, as the name would suggest nodding to the Chicagoan roots of House and employing all the classic tropes from slick flutes, intertwined keys, glistening piano melodies and shuffled 909 drums.
All tracks written, produced and mixed by Pchris Gruber
Mastering by Lopazz / Mixmastering, vinyl Cut by Helmut Erler / Lathesville
Artwork and Typography by Stefan Marx
Distributed by Wordandsound More
Label:Definitive Recordings
Cat-No:DEFCLAS005
Release-Date:19.04.2024
Genre:House
Configuration:12" Excl
Barcode:844216059984
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Label:Definitive Recordings
Cat-No:DEFCLAS005
Release-Date:19.04.2024
Genre:House
Configuration:12" Excl
Barcode:844216059984
1
Nick Holder - A1 Fruit Loops - Dance Dance Dance
2
Nick Holder - A2 Fruit Loops - Keep on Running
3
Nick Holder - B1 Fruit Loops - The Message of Love
4
Nick Holder - B2 Fruit Loops - Clap Ya Hands
12" - Fully Authorised Reissue on Original Release Label!
GENRE/S:
House
TRACKLISTS:
A1 Fruit Loops - Dance Dance Dance
A2 Fruit Loops - Keep on Running
B1 Fruit Loops - The Message of Love
B2 Fruit Loops - Clap Ya Hands
SHORT INFO:
Canadian deep house don Nick Holder's Fruit Loops EP is next to get the remaster and reissue treatment from Definitive Recordings. This label, now overseen by Get Physical Music, first released the EP back in 1995 when Toronto-based Holder had already become one of house music's most tasteful operators. He went on to release over 125 EPs and singles under countless aliases, in various groups, and on his labels DNH Records and Treehouse Records, as well as !K7 Records and NRK. His style spans house, disco loops and minimal Chicago grooves and is always high on immersive atmosphere. Opener 'Dance Dance Dance' brings together all those aspects of the Holder sound with its funky guitar riffs looping beneath raw drums and disco basslines. Classic Chic samples burst out of the mix to bring an air of celebration and party, and it makes for an irresistibly feel-good sound. 'Keep on Running' is a steamy and sweaty house jam with loopy drums and bass and more smartly chosen samples, this time from Roy Ayers, that bring the funk and never let up. It has long been a go-to anthem for house DJs, and the realness and rawness of the emotions in Holder's work also shine through with the filtered synths and jazzy keys of 'The Message of Love', which is complete with bumpy and irresistible drums. Last of all is the unfettered party spirit and diva vocals of the brilliantly lo-fi funk-house pumper that is 'Clap Ya Hands'. This EP hasn't aged one bit and remains a definitive piece of early Deep House history.
More
GENRE/S:
House
TRACKLISTS:
A1 Fruit Loops - Dance Dance Dance
A2 Fruit Loops - Keep on Running
B1 Fruit Loops - The Message of Love
B2 Fruit Loops - Clap Ya Hands
SHORT INFO:
Canadian deep house don Nick Holder's Fruit Loops EP is next to get the remaster and reissue treatment from Definitive Recordings. This label, now overseen by Get Physical Music, first released the EP back in 1995 when Toronto-based Holder had already become one of house music's most tasteful operators. He went on to release over 125 EPs and singles under countless aliases, in various groups, and on his labels DNH Records and Treehouse Records, as well as !K7 Records and NRK. His style spans house, disco loops and minimal Chicago grooves and is always high on immersive atmosphere. Opener 'Dance Dance Dance' brings together all those aspects of the Holder sound with its funky guitar riffs looping beneath raw drums and disco basslines. Classic Chic samples burst out of the mix to bring an air of celebration and party, and it makes for an irresistibly feel-good sound. 'Keep on Running' is a steamy and sweaty house jam with loopy drums and bass and more smartly chosen samples, this time from Roy Ayers, that bring the funk and never let up. It has long been a go-to anthem for house DJs, and the realness and rawness of the emotions in Holder's work also shine through with the filtered synths and jazzy keys of 'The Message of Love', which is complete with bumpy and irresistible drums. Last of all is the unfettered party spirit and diva vocals of the brilliantly lo-fi funk-house pumper that is 'Clap Ya Hands'. This EP hasn't aged one bit and remains a definitive piece of early Deep House history.
More
12" Excl
in stock
Label:Cocoon Recordings
Cat-No:cor12176
Release-Date:12.04.2024
Genre:Techno
Configuration:12" Excl
Barcode:4251804140584
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Last in:21.05.2024
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Label:Cocoon Recordings
Cat-No:cor12176
Release-Date:12.04.2024
Genre:Techno
Configuration:12" Excl
Barcode:4251804140584
1
Sven Väth - L'Esperanza (Original Album Version)
2
Sven Väth - L'Esperanza (Hardspace Mix)
Tracklist: (1) Sven Väth – L'Esperanza (Original Album Version) (DE-Q20-24-00009)
(2) Sven Väth – L'Esperanza (Hardspace Mix) (DE-Q20-24-00010)
L'Esperanza (Hope) is undoubtedly one of Sven Väth's greatest hits. After more than 30 years, we are very proud to revive this timeless masterpiece for you on Cocoon Recordings. The artwork of the A-side is from the original 12" cover, which was released on Eye Q Records back then. Anyone who knows Sven recognizes that he has always felt free and evolved in terms of appearance and style. That's why we instantly loved the idea of Sven re-staging himself in the same pose but in a new guise. This picture disc documents a 30-year-long transformation, both sonically and visually. It is a beautiful journey through time and a true collector’s item.
A1: L'Esperanza (Original Album Version) 1993 Produced in 1993, this track has certainly not lost any of its charm over the years. Lovely string sounds envelop you in a cloud of comfort, while the filtered downbeat emphasizes this feeling of lightness. The catchy tune of the playful synthesizer melody invites you to close your eyes and start dreaming. Let yourself fall into a deep state of meditation and trance. The airy electric bassline comes with a charismatic power and opens a door to the subconscious, calling on you to dive deep. The atmosphere of this composition sits somewhere between drifting through the sea and hovering through space.
B1: L'Esperanza (Hardspace Mix) 2023 A revised version of the "Hope Will Move Mountains Mix" by "Visions Of Shiva" occurs on the B-Side in the form of Len Faki’s hardspace mix. Len is renowned for his elegant edits and refined modifications as part of his side project, this time delivering a stripped-down 135 BPM version that fits perfectly into the current zeitgeist. A club version of "L'Esperanza" that radiates a high level of euphoric energy, constantly pushing the rhythm patterns forward. All hands go up in the air at the latest when the piano part starts in the middle section. Let’s go back to the good old days of the original 90s trance sound since the cheerful arpeggio synth melody takes us along.
What is certain, you can't tell that either version has been around for 30 years.
More
(2) Sven Väth – L'Esperanza (Hardspace Mix) (DE-Q20-24-00010)
L'Esperanza (Hope) is undoubtedly one of Sven Väth's greatest hits. After more than 30 years, we are very proud to revive this timeless masterpiece for you on Cocoon Recordings. The artwork of the A-side is from the original 12" cover, which was released on Eye Q Records back then. Anyone who knows Sven recognizes that he has always felt free and evolved in terms of appearance and style. That's why we instantly loved the idea of Sven re-staging himself in the same pose but in a new guise. This picture disc documents a 30-year-long transformation, both sonically and visually. It is a beautiful journey through time and a true collector’s item.
A1: L'Esperanza (Original Album Version) 1993 Produced in 1993, this track has certainly not lost any of its charm over the years. Lovely string sounds envelop you in a cloud of comfort, while the filtered downbeat emphasizes this feeling of lightness. The catchy tune of the playful synthesizer melody invites you to close your eyes and start dreaming. Let yourself fall into a deep state of meditation and trance. The airy electric bassline comes with a charismatic power and opens a door to the subconscious, calling on you to dive deep. The atmosphere of this composition sits somewhere between drifting through the sea and hovering through space.
B1: L'Esperanza (Hardspace Mix) 2023 A revised version of the "Hope Will Move Mountains Mix" by "Visions Of Shiva" occurs on the B-Side in the form of Len Faki’s hardspace mix. Len is renowned for his elegant edits and refined modifications as part of his side project, this time delivering a stripped-down 135 BPM version that fits perfectly into the current zeitgeist. A club version of "L'Esperanza" that radiates a high level of euphoric energy, constantly pushing the rhythm patterns forward. All hands go up in the air at the latest when the piano part starts in the middle section. Let’s go back to the good old days of the original 90s trance sound since the cheerful arpeggio synth melody takes us along.
What is certain, you can't tell that either version has been around for 30 years.
More
Label:Peace Symphonies
Cat-No:PEACE01
Release-Date:21.01.2022
Genre:Deephouse
Configuration:12"
Barcode:
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Last in:07.05.2024
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Label:Peace Symphonies
Cat-No:PEACE01
Release-Date:21.01.2022
Genre:Deephouse
Configuration:12"
Barcode:
1
Gorje Hewek - - Peace Symphonies
2
Makebo - - You
3
Lost Desert & Hermanez - - Jinx (Volen Sentir Pure Magic Healing)
4
Simon Vuarambon - - Lazos
2LP Excl
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Label:Seismographic Recordings
Cat-No:SR003
Release-Date:23.02.2024
Configuration:2LP Excl
Barcode:4251804143110
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Label:Seismographic Recordings
Cat-No:SR003
Release-Date:23.02.2024
Configuration:2LP Excl
Barcode:4251804143110
1
Unknown Artist - Yagmur Yagdi Kac
2
Unknown Artist - Adana Ücayak
3
Unknown Artist - Sis Kebabi
4
Unknown Artist - Hint Geceleri
5
Unknown Artist - Cilli
6
Unknown Artist - Kalaycilar
7
Unknown Artist - Fesuphanallah
8
Unknown Artist - Zühtü
9
Unknown Artist - Harmandali
Vinyl Only Release lim. to 500 copies worldwide!
There are mysterious records. Records hiding and showing something at the same time. This is one of them. It is made from two records that were most probably released in the mid-1970s, most probably primarily by Turkish Roma.
It brings together what Anadolu pop music lovers always dream of: Anatolian geleneksel (traditional folk tunes), disco and funk, jazz and hard rock, psychedelic sounds, hard-hitting drums, Arabesk percussion, and hip-hop friendly breaks. Put together in a careful, smooth production with a warm, relaxed and dance-friendly vibe.
Here you get it: Roma-nized instrumental Turkish pop music in all its facets of the 1970s.
Track Titles:
A1 Yagmur Yagdi Kac
A2 Adana Ücayak
B1 Sis Kebabi
B2 Hint Geceleri
C1 Cilli
C2 Kalaycilar
D1 Fesuphanallah
D2 Zühtü
D3 Harmandali
More
There are mysterious records. Records hiding and showing something at the same time. This is one of them. It is made from two records that were most probably released in the mid-1970s, most probably primarily by Turkish Roma.
It brings together what Anadolu pop music lovers always dream of: Anatolian geleneksel (traditional folk tunes), disco and funk, jazz and hard rock, psychedelic sounds, hard-hitting drums, Arabesk percussion, and hip-hop friendly breaks. Put together in a careful, smooth production with a warm, relaxed and dance-friendly vibe.
Here you get it: Roma-nized instrumental Turkish pop music in all its facets of the 1970s.
Track Titles:
A1 Yagmur Yagdi Kac
A2 Adana Ücayak
B1 Sis Kebabi
B2 Hint Geceleri
C1 Cilli
C2 Kalaycilar
D1 Fesuphanallah
D2 Zühtü
D3 Harmandali
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Label:Rekids
Cat-No:REKIDS223R
Release-Date:24.11.2023
Genre:Deephouse
Configuration:12"
Barcode:197190084009
1
Radio Slave - Wake Up (Superpitcher Remix)
2
Radio Slave - Wake Up (Idjut Boys 'Shed' Mix)
Superpitcher and Idjut Boys remix Radio Slave’s ‘Wake Up’. Radio Slave’s spoken word slow-burner ‘Wake Up’ dropped on Rekids March ‘23, winning support from the likes of Roman Fluegel, Louise Chen and Red Axes and continuing a run of singles that explores the house and disco roots of the iconic British UK/Producer. Now, he invites Kompakt a?liate and Hippie Dance co-founder Superpitcher alongside UK duo Idjut Boys to reimagine ‘Wake Up’ on a fresh 12”. The original ‘Wake Up’ saw Matt Edwards, aka Radio Slave, utilise low-slung grooves and an iconic speech-like vocal. Superpitcher remixes the track ?rst, turning it into an acid-infused trip with its vocal samples echoing through cavernous, dubbed-out soundscapes. On the ?ip, we see Idjut Boys turn up the ?ange in their hypnotic version while maintaining the original’s bassline and stripping back the vocal to eerie whispers.
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12"
in stock
Label:Crosstown Rebels
Cat-No:CRM307
Release-Date:15.03.2024
Genre:techhouse
Configuration:12"
Barcode:
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Last in:28.05.2024
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Label:Crosstown Rebels
Cat-No:CRM307
Release-Date:15.03.2024
Genre:techhouse
Configuration:12"
Barcode:
1
Oceanvs Orientalis - Neutrality
2
Oceanvs Orientalis - Neutrality (Nick Curly Remix)
Oceanvs Orientalis teases his highly anticipated album 'Portrait of the Obscure’ on Crosstown Rebels with the third and penultimate single ‘Neurality’, remixed by 8Bit and Cecile head honcho Nick Curly. Istanbul-based Safak Oz Kutle, aka Oceanvs Orientalis, is a producer and live act who blends the rich sonic cultures of Turkish, Kurdish, Armenian and Arabic music to curate his take on electronic music. The first two singles from his forthcoming album on Damian Lazarus’ legendary Crosstown Rebels have showcased his diverse sound at its fullest, and now the third offering and final single ahead of the LPs release confirms him once again to be a standout talent as he unveils the captivating sonics of ‘Neurality’.
An absorbing and stirring production, ‘Neutrality’ brings a darkly involving groove that is multi-layered and hypnotic, with several shimmering vocals, jangling percussive lines and ethereal pads all locking you in for an enthralling ride. A remixer who needs little introduction, Nick Curly is as integral to the tech house genre as anyone in the scene, heading up key labels such as 8Bit and Cecile while helping to define the genre as we know it today. His interpretation is deep and warm, with slinky drums carefully deployed amongst vocal whispers that bring human soul. An excellent final preview into what’s still to come, ‘Neurality’ delivers another exceptional production, leading perfectly into the release of the full-length project this April. More
An absorbing and stirring production, ‘Neutrality’ brings a darkly involving groove that is multi-layered and hypnotic, with several shimmering vocals, jangling percussive lines and ethereal pads all locking you in for an enthralling ride. A remixer who needs little introduction, Nick Curly is as integral to the tech house genre as anyone in the scene, heading up key labels such as 8Bit and Cecile while helping to define the genre as we know it today. His interpretation is deep and warm, with slinky drums carefully deployed amongst vocal whispers that bring human soul. An excellent final preview into what’s still to come, ‘Neurality’ delivers another exceptional production, leading perfectly into the release of the full-length project this April. More