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Tracklist:
A1. Use Me Again (And Again)
B1. Use Me Again (Carl Craig Rework)

One of Tom Trago's biggest tracks, now repressed! The Original Mix and backed with the huge Carl Craig Rework.

'Use Me Again' is Tom Trago's evergreen club classic. Originally released at the start of 2010 it became a staple track in many a DJ set. The track is based around an infectious loop in true disco spirit. It lights up every dancefloor its been played to - and still does.

Carl Craig has been one of the track's biggest fans ever since it came out, playing it out in almost every set at a certain point. For this release he came up with a typical c2 re-tweak. Big one!

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Yamaha’s DX series of synthesizers has long been a source of inspiration for Tom Trago. The DX7, in particular, appeals to the Dutch producer thanks to a unique sound that he describes as “glassy but classic and icy”. 34 years after it went on sale – the same year as Trago was born, interestingly – the synthesizer’s sound still bristles with futurist appeal.

Trago, who was partially trained in how to use the DX7 by studio friends Bok Bok, Sterac Electronics and Juju and Jordash, has decided to pay tribute to this most distinctive of synthesizers by using it as inspiration for Serene Waters, his first EP for Voyage Direct since 2014 epic Hidden Heart of Gold.

Across the course of five sparkling, spacey and melodious tracks, the Voyage Direct chief showcases the variety of sounds that can be teased from the DX7. Compare, for example, the delicate and rush-inducing melodies of dreamy, deep electro opener “Harvest” and the two contrasting mixes of “Opulent”’; variations on a throbbing, futurist techno theme rich in glacial melody lines, bustling synth-bass and spacey chords. The dancefloor possibilities of the synthesizer’s sound palette comes to the fore on the stripped-back “Within Mix”, where Trago’s rolling stabs and cascading melodies are wrapped in tougher, denser drums.

The sparkling nature of the DX7’s trademark sounds also come to the fore on “XYZ”, a crunchier and snappier electro outing that recall the effervescent brilliance of Trago’s sometime label mate, Sterac Electronics. The track’s combination of darting bass and mind-altering, alien electronics is as kaleidoscopic as they come.

Nestled slap bang in the centre of the EP is “Rain Room”, where Trago manipulates his machines to get a far more psychedelic sound. While there’s vibrant warmth thanks to some seductive background pads and stretched-out chords, it’s the bubbling electronics and futurist tunefulness that catches the ear. Like much of the rest of the EP, it tiptoes the fine line between poignancy and rush-inducing colourfulness.

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Some things are just too good to be hidden from view. That’s certainly the case with ‘Things To Think About’, the first album from Dutch electronic music legend Steve Rachmad’s lesser-known Sterac Electronics project.

Rachmad first rose to prominence in the late 1990s, spearheading a surge in Dutch techno that was heavily inspired by the futurist intent and machine soul of Detroit. Since then, he has continued to successfully explore a wide range of dancefloor-centric electronic styles under a dizzying array of aliases.

It’s a while, though, since the public has been treated to a heavy dose of Sterac Electronics material. He first established the alias at the turn of the millennium, primarily as an outlet for hardware-driven electro music shot through with funk and soul.

A handful of highly regarded 12” singles were released on Music Man and Interpersonal XP, before Rachmad began focusing on other projects. When inspiration struck, he returned to the project, jamming out tracks using a mighty collection of vintage synthesizers and drum machines. Recently, Rachmad and Tom Trago decided to revisit the Sterac Electronics archive, discovering a killer collection of cuts created at different points over the course of the last 15 years.

Now 9 of those spellbinding hardware jams have been gathered together for the first time on ‘Things To Think About’, a warm, rich and evocative collection of electro-fuelled workouts that giddily pay tribute to the music of Rachmad’s youth.

‘Things To Think About’ will be released as a limited-edition double album, preceded by this 12” single featuring another previously unheard gem from the vaults

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As part of the label¿s mission to champion Dutch talent, Voyage Direct has always promoted new, up and coming, and little-known producers. Boss Tom Trago's master plan includes building a family of artists, in part through helping unheralded local producers to fulfill their potential.

On the label¿s latest release, he continues that approach, serving up a debut 12" from a mysterious young producer known only as Darling. Those paying close attention to the wider Dutch house and techno scene may have spotted his recent rework of Awanto3's 'Star Butchers' on Dekmantel, in which the man or woman of mystery added some killer keys to the Amsterdam legends woozy, deep house original.

While that rework was undoubtedly superb, Jacob's Lead offers a truer reflection of the shadowy producers previously hidden talents. As debut EPs go, it¿s a bit of a
cracker.

The title track, in particular, is a beauty. Its restless, hypnotic rhythm tips a wink to classic Dutch techno of old, while the undulating, analogue electronics and swirling pads recall the far-sighted retro-futurism of vintage Motor City material. Throw in some of Darlings trademark spine-tingling keys and a deliciously loved-up breakdown, and you have a choice chunk of life-affirming techno.

On the flip, Darling heads towards deeper territory with the bubbling melodies, starburst electronics and saucer-eyed chords of 'Video'. Unashamedly positive in sound and intent, it sounds like the kind of track that will be cited as a classic in two decades time. Melodious and infectious, it casts Darling as the Netherlands¿ answer to Larry Heard.

The interstellar electronics are once more pushed to the fore on closer '80 Axes', where jaunty synth lines combine with soft bongo hits to create an instinctive rhythm, and intergalactic melodies sprint between the speakers. You can dance if you want to, but lying down is
very much encouraged.

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Some things are just too good to be hidden from view. That’s certainly the case with Things To Think About, the first album from Dutch electronic music legend
Steve Rachmad’s lesser-known Sterac Electronics project.

Rachmad first rose to prominence in the late 1990s, spearheading a surge in Dutch techno that was heavily inspired by the futurist intent and machine soul of Detroit. Since then, he has continued to successfully explore a wide range of dancefloorcentric electronic styles under a dizzying array of aliases.

It’s a while, though, since the public has been treated to a heavy dose of Sterac Electronics material. He first established the alias at the turn of the millennium, primarily as an outlet for hardware-driven electro music shot through with funk and soul.

A handful of highly regarded 12” singles were released on Music Man and Interpersonal XP, before Rachmad began focusing on other projects. When inspiration struck, he returned to the project, jamming out tracks using a mighty collection of vintage synthesizers and drum machines.

Recently, Rachmad and Tom Trago decided to revisit the Sterac Electronics archive, discovering a killer collection of cuts created at different points over the course of the last 15 years.

Now 9 of those spellbinding hardware jams have been gathered together for the first time on Things To Think About, a warm, rich and evocative collection of electrofuelled workouts that giddily pay tribute to the music of Rachmad’s youth.

From the thrusting, synth-driven machine funk of “Original Pattern” and mutant electrofunk revivalism of “Game Changers”, to the baggy West Coast boogie of “Metratron” and intergalactic hustle of “Archetype” (which sounds like Cybotron covering the 1988 version of The KLF’s “What Time Is Love”), Things To Think About is an lesson in the emotion-rich, mood enhancing possibilities of spontaneous hardware jams.

The highlights don’t stop there, either. Check, for example, the crystalline synthesizer melodies, body popping drum hits and spacey chords of “Tuning Into Frequencies” and the breezy humidity of opener “Altruistic Endeavor”.

Like the rest of the tracks on the album, they feel timeless, as if they could have been made at any point during the last three decades. From Steve Rachmad, we wouldn’t expect anything less.

Things To Think About will be released as a limited-edition double album, preceded by a 12” single featuring another previously unheard gem from the vaults.

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The Light Fantastic is a dance floor orientated club album with a range of influences like deep house, vintage synthesizers, classic boogie, disco, Chicago jack, acid house, and even a dash of full-throttle rave revivalism.

There are many ways to move forward as an artist. You can reinvent yourself, keep track of fashions, or try bold new things. Tom Trago has spent the best part of 10 years pushing his sound in impressive new directions. Yet on his new album, the well-regarded Amsterdam-based producer has done things slightly differently.

This time round, his influences come from much closer to home, and he has admitted to being inspired by the dance floor focused style with which he made his name. Welcome to The Light Fantastic. We’re sure you will enjoy the Trip.

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Experienced Dutch producer Tom Ruijg rightly won praise for his first 12” as Tracey, Skyfall, which surfaced on Voyage Direct in early 2017. Combining elements seemingly inspired by vintage Detroit futurism, ‘90s ambient techno and his own love of colourful synthesizer melodies, the EP saw Tracey set out his stall in impressive fashion.

Here he returns to action with his most expansive outing yet, a four-track excursion that does a good job in not only showcasing the depth and variety of his influences, but also Ruijg’s ability to turn his hand to a variety of dancefloor-focused styles whilst retaining a colourful vibe all of his own.

Compare and contrast, for example, the two A-side cuts. While “Testarossa” is farsighted and spacey, with Tracey wrapping intergalactic electronics and lilting synthesizer melodies around a darting synthesizer bassline and swinging, electroinfluenced house drums, “Sidekick” is blissful and almost overwhelmingly melodious: all 16-bit new age motifs, head-in-the-clouds electronics and driving, locked-in machine drums.

The contrasts continue on the B-side, too. Many DJs may instinctively be drawn towards “Made My Love”, whose energy-packed groove (think vintage Chicago jack with a dollop of slick NYC house soul) is peppered with spacey chords, undulating electronic motifs and glacial melodies. Yet the track that follows, the wild and windy electro workout that is “Interceptor”, is every bit as potent when played over club sound systems. The track’s inherent hustle, seemingly the product of Ruijg’s darting synth stabs and feverish audio textures, is almost impossible to resist.

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Back in December 2014, Elias Mazian debuted on Voyage Direct with a 12” that perfectly encapsulated his open-minded but interconnected approach to electronic music. He’d already showcased this ability to blend sounds and styles by becoming one of the most talked-about DJs on the Amsterdam scene. With “Future Times” (and its superb flipside, “They Don’t Know”), Mazian gave notice of his undeniable production credentials.

Fast forward to the summer of 2017, and Mazian is ready to drop an EP that not only confirms his status as a rising star of Dutch dance music, but also showcases a newfound ability to combine a finely-tuned sense of what works on the dancefloor with the kind of compositional skills that can take a lifetime to perfect.

The Duplicate EP is an altogether more mature proposition than his debut 12”, but retains many of the sounds and influences that marked out his first appearance on Voyage Direct – not least his love of spacey electronics, mood-enhancing chord progressions and sparkling synthesizer motifs.

This can be heard in particular on the title track, an ear-catching club jam that wraps chiming melodies, Mazian’s own rapped vocal refrains and electro-era synths around a gently jacking, Chicago style house groove. It’s deep, poignant and attractive, with subtle nods to the dreamy Windy City deep house of Larry Heard, the retro-futurist boogie business of Moon B and Dam Funk, and the kaleidoscopic electronic funk of Parliament.

Further proof of Mazian’s increased musical maturity can be heard in the breathtaking “Dream Mix” of “Duplicate”. Featuring a yearning, almost melancholic vocal from the producer himself, the remix offers an analogue style deep house interpretation bristling with cascading melody lines, classic Chicago house bass and bubbly, deep space electronics.

The EP closes with superb bonus cut “Ride That Ssh…”, an expansive chunk of mindaltering analogue deep house full of restless ride cymbals, crunchy drum machine hits, starburst electronics, delay-laden organ lines and swirling chord progressions. It’s as intricately programmed and produced as anything Mazian has released to date, and twice as emotion-rich. In some ways, it’s the perfect end to an EP in which Mazian brilliantly showcases the depth and breadth of his emerging talent

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This newly started Voyage Direct series is about all about feel good club music and iscurated by Tom Trago. Hence the name Voyage Direct, which was also the title of his debut double EP. Dexter kicks off this series in a classy style with his Junofest EP. This is easily his best work since his genre breaking electro-funk hit ‘I Don’t Care’ from 2000.

And now its time for ‘Junofest EP’. The title track is a steady, yet smooth club groove with enough swing to make anyone dance to the music. A true party starter. On the AA sidewe find ‘Not The Only One’, an infectious vocoder vocal track that makes you smile. This is one of those rare tracks that has a poppy, commercial feel without losing its underground raw appeal. It could just be his biggest track since ‘I Don't Care’.

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William Kouam Djoko returns to Voyage Direct with 'Deflourished'. After a year with a lot of high highs, William found himself on the dance floor listening to a set by Chicago Footwork specialists DJ Rashad & DJ Spinn. William experienced what religious people might call a divine moment. All the experiences, emotions and soul searching from the previous year came together in one emotional, energetic moment.

William tried to capture all of this in his studio the next day, and within hours ‘Deflourished’ was created. B-side 'Behind Closed Doors' completes the package, more subtle and refined than it's A-side brother. A synth-heavy, down-pitched and outstretched song that builds heavily on space, both physically and mentally.

On his Sophomore Voyage Direct release William Kouam Djoko truly sets out on a voyage to discover his inner-self. The result, whether it's the expressive energy of 'Deflourished', or the mesmerizing gloominess of 'Behind Closed Doors', is beautiful to say the least.

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Danny Wolfers is a Dutch legend and man of many pseudonyms. Best known under his Legowelt alias, Wolfers has spent the last two decades flitting between strobe light acid house, 808 electro, fluorescent techno and shimmering space disco. Throughout, he has kept his productions pleasingly analogue-heavy, making great use of classic drum machines and vintage synthesizers.

While his music may be steeped in the past, Wolfers’ productions always sound like the future. For this first outing on Voyage Direct, Wolfers resurrects the House of Jezebel alias is a pseudonym previously only used for the twinkling deep house warmth of 2010 ‘Love & Happiness’ and delivers two tracks of synth-laden analogue house goodness.

‘Back In Dogtown USA’ sets the tone, as Wolfers layers rising chords, darting electronics and wide-eyed synthesizer melodies over a clattering analogue house groove. As with much of the legendary Dutch producers' work, the track ripples with rush-inducing melodic intent. It’s the soundtrack to a party on Jupiter, and we’re all invited.

Wolfers ups the tempo dramatically on ‘Took A Train In 1979’, transplanting us to the far reaches of our galaxy via jacking techno drums, picturesque organ melodies, drifting chords and intoxicating pads. There are echoes of classic Detroit techno, surging Rotterdam electro and vintage cosmic disco, yet it doesn’t really sound like any of these things.

Like ‘Back In Dogtown USA’, ‘I Took A Train In 1979’ sounds like the past, reconfigured and rearranged for the consumption of future generations. In other words, it’s a classic Wolfers production

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It's rare to hear a debut 12'' single that really blows you away. That's hardly a controversial statement; in truth, most producers take time to find their feet, developing a distinct style over a period of years, rather than months.

Magnesii, then, is something special. Currently based in Amsterdam. The previously unheard of producer has delivered a stunning debut 12'' for Tom Trago's Voyage Direct label. Raw, fuzzy and in turns melancholic, spellbinding and intense, its' three tracks bubble and hiss to the distinct sound of vintage analogue hardware.

You see, the young Dutch producer tends to avoid modern computers. ''I often feel like those screens suck my soul away,'' he says. Instead, he jams out tunes on a tasteful selection of analogue gear, sequencing with either the Alesis MMT-8 or the Akai MPC2000 - a favourite toy of many of the Netherlands' best electronic producers - and adding basslines, beats, acid lines and melodies on obscure synths and drumcomputers'. His creations are then bounced down straight to 1/4" tape or cassette.

Some of these resultant jams, as showcased on this impressive debut, are nothing less than inspired. Acid lines rise and fall, machine drums rattle, and distinctive synth lines weave in and out of the mix. These are raw tracks for the dancefloor blessed with all the colour and warmth associated with vintage hardware.

''RZTB Tantra'' sets the tone, layering bubbling acid lines and dreamy chords over a relentlessly nagging bassline and punchy, scattergun drum machine percussion. ''Lava Jam'' is decidedly deeper, with woozy, emotive melodies and alien electronics tumbling over a dusty rhythm pattern and tactile acid bass.

Magnesii completes a sterling debut with ''Van Dyke Island Jam'', whose squidgy bassline and long, drawn-out M1 chords work in complete harmony with the crispy rhythm track and densely building percussion hits. Like its' predecessor, it too seems to be tinged with sadness, as if Magnesii's machines are shedding a tear for glories past.

Clearly, Magnesii is a name to look out for in future. For the time being, we'll have to make do with one of the most impressive debut 12'' singles of 2014 to date.

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Benny Rodrigues seems to delight in confounding critics. Since making his debut alongside Darko Esser with 2007's Underwater Records-released 'Paradox', the Rotterdam-based DJ has surprised and excited at every turn, variously delivering woozy tech-house, rave revivalism, stripped-back minimal, 'jackin' acid, wide-eyed deep house and, under his occasional ROD alias, shirts-off warehouse techno. Along the way, he has released music on some of Europes most prestigious labels, including Desolat, Soma, EC Records, Be As One and Wolfskuil Records.

Here, he makes his debut for Tom Trago's Voyage Direct imprint with two undulating, hypnotic, heads-down tracks that blur the boundaries between house and techno. Rhythmically loose but impressively tough like all of
Rodrigues' best productions both cuts are built around mesmerising late night grooves and intoxicating chords.

'Master French' kicks things off, lacing nagging shakers, subtle synth strings and fluttering chords over a robust, shuffling tech-house groove. Rodrigues works the mix like a master, bringing elements to the fore before sliding them into the background. It's a simple, heads-down, 4am groove, but its executed brilliantly.

'Z', on the other hand, is an altogether breezier affair, with repetitive, new age-inspired synthesizer melodies seemingly drifting over a rock solid house groove. Notable ride cymbals and warm beats proper the track forward, giving it a humid, tropical feel. This is music to move the body, mind and soul.

Those who've followed Rodrigues' career to date won't be surprised by the quality, feel or execution of his belated Voyage Direct debut. As for newcomers, they'll be transfixed by his mastery of the groove.

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With his Voyage Direct label, Tom Trago has always championed Dutch talent DJs and producers from the tight-knit local scene whose music moves and inspires him in equal measure. He's at it again on this 19th release, handing a debut 12¿ to fast-rising, Amsterdam-based DJ/producer Elias Mazian.

The 25 year-old is a much-loved figure on the Amsterdam scene, and has gained a reputation as one of the city's true underground heroes. His DJ sets are rooted in contemporary deep house and techno, but also take
inspiration from `80s electro, Stevie Wonder, P-funk, disco, and the surging, snare-heavy pulse of early Chicago ghetto-house.

Given this dedication to mixing things up, it's unsurprising that Trago has long been a supporter of Mazian's talents. 'Tom has been like a brother to me', Mazian says. 'I've been focusing on my DJ career, but Tom always pushed me to make more tracks. After I'd made 'Future Times' I played it to him at his house. He loved it from the start.¿


'Future Times' was made in a single productive afternoon, with Mazian quickly jamming out a track that pits attractive, far-sighted synthesizer melodies and spacey chords against cut-up hip-hop vocal samples and a righteous, snare-heavy groove. Like Mazian¿s DJ sets, it draws on a myriad of influences, from beatbox electro and Kraftwerk, to 21st century European deep house and Detroit techno. It's thrillingly hard to pigeonhole, and offers a perfect introduction to Mazian's musical world.

There¿s more far-sighted retro-futurism to be found on flipside 'They Don't Know'. Featuring heavy machine drum rhythms inspired by Mazian's love for old Dance Mania releases, and peppered with classic hip-house breaks, it sounds like a delicious fusion of B-more, DJ Rush and early British 'intelligent techno'. It inspired a wild response from dancefloors during Tom Trago's sets at ADE, much to Mazian's delight. 'When Tom dropped it at a jam-packed Trouw that was a 'goose-bump
moment', he says. 'To hear this track you've made on a loud sound system, with people going wild it's simply awesome!'

Something tells us Mazian might have to get used to this kind of reaction in the weeks, months and years ahead. As debut 12" singles go, this one is pretty darn special.

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Following a summer of fifth birthday celebrations, Tom Trago's Voyage Direct label returns to action with a brand new 12" from Amsterdam scene stalwart Simon Weiss.

Although a new member of the Voyage Direct family, Weiss is no newcomer to production. He's previously delivered high grade deep house EPs for Rush Hour, Deepermotions and Home Taping Is Killing Music, and his contribution to First Mission, Voyage Direct's fifth anniversary compilation, was one of the undoubted highlights of that set.

It's that track the gloriously positive 'Tele-Vision', and its cyber-house fusion of darting synthesizer arpeggios, Detroit-influenced percussion, and thrusting acid bass that heads up Weiss first EP for Voyage Direct.

Dutch veteran and longtime friend of the family Dexter turns in a stunning remix, putting a well-placed boot up the backside of 'Tele-Vision' via speaker-shaking sub bass, kaleidoscopic electrofunk motifs and thumping techno rhythms. It's a stunning re-make, and one that takes Weiss' fine original to even greater heights.

Flip the record for two previously unheard Weiss productions. First up is 'Ghost', a supernatural house shuffler full of alien synths, wayward melodies, intergalactic electronics and crunchy drum machine hits. Weiss flips the script slightly on 'Super Sub', pairing his now trademark vintage synthesizer refrains and tumbling electronics with a heavyweight, bassline-driven groove. It's a sweet and evocative track, but critically also packs a punch.

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William Djoko is in a frisky mood. On “Dirty Talk”, he delivers an X-rated dancefloor bomb that’s as unashamedly filthy as an all-night rave at one of Amsterdam’s most salacious brothels.

Djoko is no stranger to Voyage Direct. Having first appeared on the label way back in 2012, he’s returned numerous times since, becoming an integral member of the imprint’s growing family of artists. Elsewhere, he’s delivered material on Tuskegee, Mobilee and Leftroom, amongst others, developing an approach that takes inspiration from numerous styles of house and techno. However, little he’s previously released can match the raw, eyebrow-raising lust and sexually charged funk of “Dirty Talk”.

Driven forward by Djoko’s sleazy, whispered spoken-word vocal, the original version combines the rubbery, bass-heavy rhythms of classic Dance-Mania-style ghetto house, the delay-laden guitar flashes of vintage NYC proto-house, and the kind of darting, funk-fuelled keys – provided by fellow Dutch producer Kid Sublime – that recall the glory days of ‘80s electro-funk. Djoko provides an alternate version in the shape of the thrusting, stripped-back “Club Dub”, with his breathy “Accapella” rounding off the A-side.

On the flip, two Voyage Direct stalwarts take it in turns to rework the track. First up is label boss Tom Trago, who builds on Djoko’s elastic percussion with some dense new drum hits of his own. These are combined with spacey synths and sharp string stabs, giving “Dirty Talk” a more classic techno/house fusion flavour. In contrast, Werner uses the opportunity to turn in a triple-X-rated interpretation full of bounding, Chicago-influenced beats, intergalactic pads, sleazy acid lines, and sweaty, surging drum fills. It’s a fittingly breathless remix.

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All record labels have their own particular mission statement, but few boast quite as singular vision as Voyage Direct. This vision comes through loud and clear on the label’s first compilation, a collection that takes in both unreleased tracks and a hand-picked selection of classics from the imprint’s first five years.

Founded by DJ/producer Tom Trago in 2010, Voyage Direct was created with two key aims: to promote independent-minded Dutch house and techno, and to provide an outlet for music by young, talented producers from the Netherlands.

“I loved the music being made around me, and it wasn't getting released,” Trago explains. “I thought somebody had to get it all together and put it out on a label. There’s so much stuff happening here, for me it’s unnecessary to look elsewhere for good music. It’s a very personal thing. I know everybody I release music from personally, we hang out, they come with me to clubs, and we do parties together. It’s not just a label, but also a community.”

The label’s back catalogue, now over 20 releases deep, bears witness to this unique mission statement. Voyage Direct’s discography to date features a unique mix of tracks from long-established Dutch legends (Dexter, Aardvarck, Awanto 3, Boris Werner, Danny ‘Legowelt’ Wolfers under the House of Jezebel alias), and producers who are still earning their stripes (the likes of Maxi Mill, Elias Mazian, Magnesii, Interstellar Funk).

This latter aspect is particularly important to Trago, who understands the importance of being guided by those you respect within the local scene. During his early years as a budding DJ/producer in Amsterdam, he was fortunate to be supported and encouraged by a range of influential local DJs and producers, who freely gave their time to collaborate, listen to demos and offer advice.

“In some ways, what some young producers need is a mentor,” Trago says. “When I grew up in Amsterdam, a lot of older cats took me under their wing – Steven De Peven from Rednose Distrikt,, the guys from Rush Hour & KC the Funkaholic, who's an old school DJ. I was lucky to be mentored by all these older Amsterdam gurus, and now I want to share what I've learned through that, and my career, with young kids who are in a similar position to where I was when I was starting out. I believe this is the way to build a scene."

The musical make-up of Voyage Direct’s first compilation reflects Trago’s wish to look to the future of Dutch dance music. Although it features headline-grabbing contributions from House of Jezebel and Awanto 3 (the 12-minute house-goes- synth-funk epic “The Girl IsHot”), the vast majority of material comes from younger, lesser-known producers. In this category you’ll find familiar Voyage Direct artists – Maxi Mill, Overlast, Magnesii and William Kouam Djoko (whose twinkling, garage- influenced deep house jam “Hold Me Close” is a genuine highlight) – and label debutants.

It’s this aspect that gives Voyage Direct’s first compilation such vibrancy. Check, for example, the spacey deep house bliss of “The Slightly” by newcomers Efde and Tom Ruijg, the melodious, synthesizer-heavy “Raw Funk” from Melon, or the cascading sweetness of Ebokai’s “Metae”. These are contributions from artists unfamiliar to those not schooled in the intricacies of the Dutch scene, but whose talents are obvious. These are producers who represent the future of the Dutch scene, but whose influences from within the country are often obvious.

“People listen to each other a lot, and that's inspiring too,” Trago says. “With Voyage Direct, I want to join the dots between my history in Holland, and the future, trying to make a bigger story."

It is, then, a very personal collection, but one that offers a glimpse of the growing strength of left-of-centre electronic dance music in the Netherlands – and, of course, Voyage Direct itself. The collection is split into two parts: a selection of 11 previously unreleased tracks, which will be available on CD and a trio of 12” vinyl samplers, and an 11-track run down of label highlights to date. The latter will be made available as a download, for those who purchase the CD version.

Voyage Direct’s first compilation, then, is not only a celebration, but also a taste of what’s to come. The future looks very bright indeed.

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CD!

All record labels have their own particular mission statement, but few boast quite as singular vision as Voyage Direct. This vision comes through loud and clear on the label’s first compilation, a collection that takes in both unreleased tracks and a hand-picked selection of classics from the imprint’s first five years.

Founded by DJ/producer Tom Trago in 2010, Voyage Direct was created with two key aims: to promote independent-minded Dutch house and techno, and to provide an outlet for music by young, talented producers from the Netherlands.

“I loved the music being made around me, and it wasn't getting released,” Trago explains. “I thought somebody had to get it all together and put it out on a label. There’s so much stuff happening here, for me it’s unnecessary to look elsewhere for good music. It’s a very personal thing. I know everybody I release music from personally, we hang out, they come with me to clubs, and we do parties together. It’s not just a label, but also a community.”

The label’s back catalogue, now over 20 releases deep, bears witness to this unique mission statement. Voyage Direct’s discography to date features a unique mix of tracks from long-established Dutch legends (Dexter, Aardvarck, Awanto 3, Boris Werner, Danny ‘Legowelt’ Wolfers under the House of Jezebel alias), and producers who are still earning their stripes (the likes of Maxi Mill, Elias Mazian, Magnesii, Interstellar Funk).

This latter aspect is particularly important to Trago, who understands the importance of being guided by those you respect within the local scene. During his early years as a budding DJ/producer in Amsterdam, he was fortunate to be supported and encouraged by a range of influential local DJs and producers, who freely gave their time to collaborate, listen to demos and offer advice.

“In some ways, what some young producers need is a mentor,” Trago says. “When I grew up in Amsterdam, a lot of older cats took me under their wing – Steven De Peven from Rednose Distrikt,, the guys from Rush Hour & KC the Funkaholic, who's an old school DJ. I was lucky to be mentored by all these older Amsterdam gurus, and now I want to share what I've learned through that, and my career, with young kids who are in a similar position to where I was when I was starting out. I believe this is the way to build a scene."

The musical make-up of Voyage Direct’s first compilation reflects Trago’s wish to look to the future of Dutch dance music. Although it features headline-grabbing contributions from House of Jezebel and Awanto 3 (the 12-minute house-goes- synth-funk epic “The Girl IsHot”), the vast majority of material comes from younger, lesser-known producers. In this category you’ll find familiar Voyage Direct artists – Maxi Mill, Overlast, Magnesii and William Kouam Djoko (whose twinkling, garage- influenced deep house jam “Hold Me Close” is a genuine highlight) – and label debutants.

It’s this aspect that gives Voyage Direct’s first compilation such vibrancy. Check, for example, the spacey deep house bliss of “The Slightly” by newcomers Efde and Tom Ruijg, the melodious, synthesizer-heavy “Raw Funk” from Melon, or the cascading sweetness of Ebokai’s “Metae”. These are contributions from artists unfamiliar to those not schooled in the intricacies of the Dutch scene, but whose talents are obvious. These are producers who represent the future of the Dutch scene, but whose influences from within the country are often obvious.

“People listen to each other a lot, and that's inspiring too,” Trago says. “With Voyage Direct, I want to join the dots between my history in Holland, and the future, trying to make a bigger story."

It is, then, a very personal collection, but one that offers a glimpse of the growing strength of left-of-centre electronic dance music in the Netherlands – and, of course, Voyage Direct itself. The collection is split into two parts: a selection of 11 previously unreleased tracks, which will be available on CD and a trio of 12” vinyl samplers, and an 11-track run down of label highlights to date. The latter will be made available as a download, for those who purchase the CD version.

Voyage Direct’s first compilation, then, is not only a celebration, but also a taste of what’s to come. The future looks very bright indeed.

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DE - 22113 Hamburg
Germany
Contact: [email protected]More

Territory: Worldwide

GENRES:
Electronic, Techno

TRACKLIST:

A Side
Deeplight

B Side
Black Dog

SHORT INFO:

One the most prolific talents in the last forty years of house music, the ever-innovative Jerome Sydenham goes toe-to-toe against the emerging talents of Berlin's mysterious Cosmic Soldier, working together to deliver a potent two-tracker as the weighty first release of 2024 on Planet E.

Showcasing a new angle of the eternal, quintessential blend of house and techno on Carl Craig’s legendary imprint, ‘Deeplight’ soars on impressive layers of psychedelic texture and raw percussion as a querying, prophetic vocal leads towards a valley of urgent chords.

Mixed with the same undeniable weight and power, the hammering, insistent ‘Black Dog’ skirts with darkness before upending it with vintage Detroit keys, waves of euphoria rolling out of the gloom to move the dance.










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Format: 12" - 180g, red inner sleeve, black cover

GENRE/S: Deep House, Minimal House, Micro House

TRACKLISTS:
A1 Flow Key 06:19
A2 Reso 02 05:58
B1 Back to the Mood 07:31
B2 Push Yourself 04:41

SHORT INFO:

DJ Balaton continues to carve out his part in the puzzle with a fresh 4-tracker on LQL <3. With a nostalgic nod to Frankfurt, the producer shows that it doesn't take much, just the right touch, to install a badass groove. Spacious arrangements and carefully placed synths turn the EP into an echo of a different time in the club.

The title track "Back To The Mood" orbits around that secret open-air energy - one of those full-circle cuts for the crew. You are missing the water, baby is all there is to say about "Flow Key", rolling away at 127, disguised but with energy. "Reso 02" is the track we all wanted to finish but never did, grooving along with restrained intensity, shaping the EP into something personal and unique. Closing off, "Push Yourself" is Geoff White meets Herbert in a club-ready outfit.

All tracks produced by Julian Mosch, Master by Moomin, manufactured at intakt!, cut by Manmade, distributed by Wordandsound.

Artwork by Hannes & John & Printready by John.








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Tracklist 12” :
A1: Reminisce
A2: Thee alarm
B1: Life’s running
B2: Osaka morning train


Short info:
2025 has been the comback year of Borrowed Identity! Nearly a decade ago, this super talented producer and DJ from the German Black Forest was omnipresent. Crafty beats, driving basslines and a deep raw feel was his tradmark then. And still is! After his collab EP with the Mechanical Soul Brother some months ago, it’s now time for a full solo EP called „Reminisce“. 4 tracks of powerful and raw House music, Borrowed Identity style! He’s back to stay!











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Format : Vinyl 12” (180 gr., Limited Full Cover)

Track list:

A In the Sky
B1 Burnin’
B2 Dark

Release Info:

Crackazat seamlessly blends contemporary electronica with dancefloor euphoria on his new record “In the sky”

Crackazat has had quite the run of amazing releases on Heist since his first outing back in 2021. Alfa, 2022 follow up Demucha and his mini album ‘Senses’ released last year have shown that Heist is the perfect label for him to show off his keyboard wizardry and broad musical influences. Whether he’s doing his ‘Monday Jams’ from his home for his dedicated Bandcamp followers, or he’s on the road to South Africa where he has a huge following, Crackazat always brings something special with his music. ‘In the sky’ hits you right in the feels and sees the talented musician navigate from synth-happy dancefloor cuts to electronic & jazzy deep house.

What might stand out most on his new record is how Crackazat feels totally at ease with all these different styles and how he blends his voice seamlessly in the tracks to add depth, meaning, and energy. This might be most apparent on the title track, which is built around a syncopated ‘Alfa-esque’ key loop (Crackazat fans will know what we’re talking about here). There’s gorgeous vocal chops and warm arpeggiated synths in the background that give the track lots of texture, while the percussion shuffles along in perfect swing with the song’s energy. Add some lovely strings, leads, and a moody breakdown, and you’ve got yourself a fine piece of dancefloor magic.

On “Burnin’”, Crackazat channels his inner raver with 90s inspired percussion, a honky
piano loop, and some very catchy & quirky vocal chops. He freely sprinkles claps and snares around like it’s Christmas and the big breakdown has the kind of madness-inducing energy that gets every clubber going!

EP closer ‘Dark’ is Crackazat in his most contemplative mode; a vibe he always loves to explore on his Heist outings. The bass is deep, the kick heavy, and the synth licks are mellow but powerful. His voice and effects give this track a beautiful extra dimension that would even make Fred Again jealous. The stripped-back percussion has clear influences from contemporary African dance music, which adds yet another layer to Crackazat’s broad sonic landscape. All in all, Dark is a track that makes you want to close your eyes and just sway into oblivion.

Crackazat once again manages to take us on a deep trip into his sonic world and showcases a level of craftsmanship that most of us can only dream of. ‘In the sky’ is a lovely end to our 2024 releases and we hope you enjoy the music.

As always, play it loud and dance, dance, dance!

Maarten & Lars

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Tracklist:
A1. Don’t Make Me Fall In Love - Timmy Regisford Vocal Mix 9:19
B1. Don’t Make Me Fall In Love - Timmy Regisford Instrumental Mix 5:44
B2. Don’t Make Me Fall In Love - Gerd Janson Bass Beat Edit 4:12

Info:
“[…] it was dance music, it had lyrics, it had songs, it wasn’t all instrumental, it was basically uptempo soul music, to be exact.”*

This quote from Timmy Regisford already sums up everything you need to know about his remix of Basic Black’s “Don’t Make Me Fall In Love.” Signed to Motown during Regisford’s reign as vice president and A&R, their self-titled debut album from 1990 is a testament to the massive popularity of new jack swing at the time. In his remix, the co-founder, resident DJ, and key figure of Club Shelter reconfigures the song’s structure with the signature sounds of New York’s prime dance floor scene, while preserving the heartfelt storytelling of the lyrics and the group’s voices on top of an irresistible groove and a bassline to die for.
At the time, it was only available in the record crates of the Big Apple’s DJ elite and later on as a white label in specialist shops. This soulful, yet driving piece, however, never saw an official single release—until now. Lifted from a DAT tape in Tony Humphries’ archive and carefully and faithfully restored, it now even features a condensed, never-before-released instrumental version of the remix, as well as a bass-and-beats-only edit for mixing purposes by yours truly. New jack swing transformed into New York club music by a king. This remix is a testament to Timmy Regisford’s prowess in the studio, but also honors the roots of the music he loves and grew up on—serving as a perpetual piece of the city’s vast history in underground dance music.
Gerd Janson


*Timmy Regisford interview from Jonathan Fleming, What Kind of House Party Is This?, MIY Publishing Ltd,
1995.

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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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