Disco Bits are back with another party time 45.
Cannon & Mirrorball are in the edit suite once again re-touching and consensually grappling with funky old 70's grooves and late nite club accapellas to bring you the heat that your record box has been needing.

A - Hot Lovin' (Dont Stop Dont Quit)
On side A they they serve up some peaktime Studio 54 realness mixed with a bit of late 80's style hip house.
This is Cerrone meeting Sergio Mendes uptown, Saturday Night, whilst Chali 2na and his posse bumrush the show and grab the mic.

B - Shack Attack !
On the flipside the boys funk it up with some never fail drum breaks from the Disco Shack, vocal snatches of a houseparty classic and a swathe of brand new instrumentation.
The result is a jam is so dope you'll get a contact high by un-sleeving the wax.

Ain't no party like a Cannon & Mirrorball party, y'all !

Get 'em while you can.

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The DISCO BITS collective knock up another of their sought after 7's !
Japanese producer KAZAHAYA gets to work on a two mash-ups of the highest quality...
Late night dancefloor sureshots : ]

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Disco Bits are back with 4 more essential edits aimed at late night dancefloors...
A1 - MY LOVE
The smooth early 80's production of Goldie original comes to the fore in an edit that lets the groove build towards the signature vocal and keyboard refrain of the chorus. A glittering disco classic.
A2 - OH MY WOMAN
A staple of 70's Disco dancefloors that has been neglected in recent times. Here reworked with a modern disco beat and an arrangement highlighting all the best parts of the original. A dancefloor sureshot
B1 - MAKE YOU DANCE
Disco Bits love a bit of hip house and here they take one of the best female MC's of all time and rework her 80's attempt at acid house. This will make you dance!
B2 - UNDER MY SKIN
Neneh's reimagining of Cole Porter for the 90's is given an edit that adds funk guitar and percussion to the original's unmistakable bassline, bringing the vocal performance and stark message into focus. One for the after hours.

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More cut n paste action aimed straight at late nite floors!
The mysterious mischief makers Cannon & Mirrorball are back with another slice of sample-heavy dancefloor madness for ya'll.
The A side is all about feverish disco breaks, strings, cowbells, crowd noise, and ear-worm riffs and old school raps to keep the club pumping.
It's a melting pot of park jam throwback energy at its finest, and is a guaranteed hoot to the last drop.



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WAS - Word and Sound Medien GmbH
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Germany
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More edit action aimed straight at late nite disco dancefloors!
Disco Bits return to the 12" format with another collection of varied cut n paste edits.
Side A
1. Funk Freak
Disco Bits are suckers for a bit of hip house and here they take a slept on 80's rap classic and polish it up for modern dancefloors.
The addition of beefed up drums and percussion turn this into a guaranteed floor filler. We've already lost count of how many people have asked us what this is when we tested it out on the floor.
2. What You Want
Here the crew take a Nu-Yorican Disco classic and put the break where it was always meant to be, right at the centre of the track. Drums, drums, drums to make the dancefloor rock, rock, rock!
Side B
1. Dance On
An edit of a timeless afro-tinged disco underground classic. An unstoppable percussion-heavy groove teases a build-up to a heady mix of horn stabs and vocal chants.
2. A Thousand Megatons
A rework of a 1980's slept on Jazz Fusion album track puts the groove front and centre, building around an up-front bass and brass workout that underpins an irresistible vocal hook. Destined to detonate any party-time dance floor.

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More cut n paste action aimed straight at late nite disco dancefloors!
Disco Bits return to the 7" format for a nod back to the days of the late 70's and early 80's New York, when Disco and early hip hop combined thru cut n paste pioneers Tom Moulton, Jellybean Benitez, Steinski, Mantronix and more...
Side A - Cannon & Mirrorball - At The Disco
Throwback disco-rap type party record.
Vintage loops, licks and samples, heavy on the beats and grooves and underpinned by classic early rap samples.
A sure shot for fans of late 70's disco breaks and the dusted sounds of both Paradise Garage and the Latin Quarter.
Side B - Cannon & Mirrorball - Discobunny Megamix
They don't make em like this anymore!
Insanely fun mash-up of killer dance floor records from the golden era of megamix cut & paste records.
Chock full of well known loops and vocal samples all blended together into one great party record.

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Disco Bits return with more edits aimed straight at late night disco dancefloors. Four more lovingly re-tooled jams (including a very cheeky early 90's style mash-up !) await As varied as they are well crafted, this is optimum floor-food once again from the Disco Bits crew

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Aimed straight at the late-night dancefloors, Disco Bits continues its policy of tweaking dancefloor classics for maximum Disco Power! On the A-side:
A1 'Disco Power' - first up is a relatively unknown Afro Disco number by Bomp. Here it's beefed up and re-arranged with extra drums, extra breaks, proper bass and proper Disco Power! A2 'I Wanna Thank You' - The Alicia Myers original has always needed a re-arrangement. The Disco Bits boys take a small scalpel and re-imagine this with a proper verse and chorus taking the classic break and turning this track from an uncut diamond into a finely cut gem
On the flipside we have: B1 'Let's Do It Again' - a classy edit of the Nightlife Unlimited favourite, which builds a deep groove from the bassline up, adding layers of keys and vocals and climaxing with the original's hooky chorus. B2 'Tighten It Up' - The BLT original gets a similarly bass-centric treatment, the evolving groove underpinning the refrain of 'drinkin' wine and wastin' time' as the track builds to reveal its familiar verse and chorus towards the end

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Is there anyone in the game that has been turning out such essential club sounds in so many different styles for such a long and consistent run as Burnski? Whatever he has on his cornflakes, we want some, because he's done it again here, this time with pal Kelper. 'What I Want' takes up the whole of the a-side and is mix of everything from deep house to minimal to Chicago jack. It's a busy, restless tune with a hooky vocal that keeps you locked. 'This' is a more tripped-out 5AM groove with warped deep space sound designs and airy drums that float. 'Lucid State' taps into a dreamy 90s tech house vibe that is utterly compelling.

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Classic Lovers Rock version of a Keni Burke masterpiece. First ever repress of a high demand 1983 release!

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Third and final EP from Eros, and it's another mindblowing 4 tracker of lost classics from the raw, decadent and formative birth of club music
re-programmed for modern floors

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(remastered classic incl DL card) Environ is proud to present the Metro Area 15th Anniversary Edition, Metro Area's eponymous debut album, meticulously remastered using the original source tapes and generously spread across three slabs of vinyl. The12-track triple LP and digital package combines all the songs from both the original US and licensed European releases, and features new commemorative artwork unique to this edition.

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Repress!

2019 is mule musiq’s 15 years anniversary. we’re going to release twelve 12inchs with our friend artists and stefan marx make the collectable artwork. ninth release is one of the best newcomer in a modern deep house scene “chaos in the cbd”. we have already released three 12inch and all of them were highly acclaimed. these two new songs are ambient break beats tracks. it’s a kind of their new style. if you like boards of canada or global communication, you will love.

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We are very excited to announce our 9th release, Blue Skies by Kawaii San, a vibe setting magician only found on the depths of Band Camp until now. This will be his first vinyl output and it is packed with 4 dancefloor punishers that will take you all the way from the warm up to your mates flat for a cheeky crack on. Ch-ch-check it out!

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Dance music has always been grounded in a sense of place. Chicago, Detroit, London, Berlin—a zip code can tell you as much about the music as the year it was made.

But beyond the nuts and bolts of the here and now lies a netherzone where some of the best electronic music floats, impossible to pin down. Swayzak’s Snowboarding in Argentina is one such record.

The title hints at its uncanny placelessness. The music has nothing outwardly to do with Argentina, for one thing. The work of UK producers David Nicholas Brown and James S. Taylor, it was recorded in a number of locations—mostly bedrooms—around London. Yet there is little that is quintessentially British about the music. Instead, Brown and Taylor drew much of their inspiration from, on the one hand, the luminous chords and silky heft of Detroit techno, and on the other, the staccato drums and clipped textures that were then beginning to bubble out of Berlin and Cologne.

That brings us to the question of time. For if Snowboarding in Argentina belongs to nowhere, it is equally a product of nowhen.

On a practical level, the music took shape in the mid to late 1990s, although it took nearly 10 years for it to come to fruition. Brown and Taylor began jamming on instruments, then machines, in the late 1980s. Then,
after Brown suffered a serious car accident, the two musicians began working together more seriously. Trial and error yielded a promising single with a downtempo vibe that a hired-gun studio producer promptly ruined; Swayzak retreated to their bedrooms. They learned about Chain Reaction from a radio show, found new ways to burrow into the circuitry of their machines, and by 1996 they had hit upon their sound. brought 10 copies of the first to Berlin’s Hard Wax, sold them directly to the shop for a fistful of Deutschmarks, and turned around and spent the money on records; that’s how DIY electronic music worked in those days.) The album itself appeared in 1998 on London’s Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn’t quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher.

A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of ’90s production are available—the music’s almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw—but there’s nothing dated about it. The exploratory nature of these tracks, as the result of experimenting with their machines’ limitations, never eclipses their musical or emotional essence.

Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publish nine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after
its original release, Lapsus’ Perennial Series edition unites, for the first time, all the album’s tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material. Working
off the original DAT premasters, Swayzak have created new edits of all the tracks. The result might be considered the definitive edition of the album as it was meant to be, after a 25-year journey. It seems fitting that an album so timeless would continue morphing throughout its lifespan. For fans, it’s the chance to hear a beloved album as never before. And for newcomers, it’s the perfect introduction to a record that, in its own quiet way, reshaped the sound of electronic music, opening up new frontiers unbound by cartography or calendars.

The core of Snowboarding in Argentina appeared on a series of three two-track singles in 1997. (Taylor brought 10 copies of the first to Berlin’s Hard Wax, sold them directly to the shop for a fistful of Deutschmarks, and turned around and spent the money on records; that’s how DIY electronic music worked in those days.) The album itself appeared in 1998 on London’s Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn’t quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher.

A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of ’90s production are available—the music’s almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw—but there’s nothing dated about it. The exploratory nature of these tracks, as the result of experimenting with their machines’ limitations, never eclipses their musical or emotional essence.

Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publishnine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after its original release, Lapsus’ Perennial Series edition unites, for the first time, all the album’s tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material. Working off the original DAT premasters, Swayzak have created new edits of all the tracks. The result might be considered the definitive edition of the album as it was meant to be, after a 25-year journey. It seems fitting that an album so timeless would continue morphing throughout its lifespan. For fans, it’s the chance to hear a beloved album as never before. And for newcomers, it’s the perfect introduction to a record that, in its own quiet way, reshaped the sound of electronic music, opening up new frontiers unbound by cartography or calendars.

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Repress!

Munich duo COEO joins the RNT family with a pack of reworks destined for dance floor greatness! Heretofore known for deep house goodness on Let's Play House and Toy Tonics, the boys flex their edit muscles on these 4 tracks which range from the soulfully sublime "Like It Is," to the disco house fury of "Long Night Ahead," to the best
damn Fela edit we've ever heard.



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