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| Vitold Rek • Olga Szwajgier - Condemned To Life (Polskie Nagrania Muza) |
| John Desire - Hot Limit (Eurobeat Masters) |
| Gladys Knight And The Pips - I Feel A Song (In My Heart) (Buddah Records) |
| Silver Pozzoli* - Step By Step (Max Music (Spain)) |
| 700 Miles - Dirtbomb (RCA) |
| Paul Simon - You Can Call Me Al (Warner Bros. Records) |
| Grigori, Trained Octopus - I Have No Terror Leanings (Faith Cannon Records) |
| Walkmen, The - Black (Troubleman Unlimited) |
| Judy Crystal - God Of Romance (Eurobeat Masters) |
| Interpol - Turn On The Bright Lights (Matador) |
| Neil Diamond - Do It / Shilo (Pink Elephant) |
| Chuck Mangione - Encore (Mercury) |
| Manu Dibango - Gone Clear (Mango) |
| Woodentops, The - Live Hypnobeat Live (Nuevos Medios) |
| Steven Wray Lobdell - Automatic Writing By The Moon (Holy Mountain) |
| Judy Crystal - Tokyo All Ready (Eurobeat Masters) |
| Various Artist - Volume One (APT) |
| 10 C.C.* - Dreadlock Holiday / Nothing Can Move Me (Mercury) |
| Kaotic Disciples - It's All Kaotic v7.3 (Kaotic Disciples Of Tha Poet) |
| Oven and Stove - Wrong Lola (WEA Records AB (Sweden)) |
| Interpol - Antics (Matador) |
| Gabinete Caligari - Que Dios Reparta Suerte (3 Cipreses) |
| Secret Machines - September 000 (679 Recordings) |
| Pet Shop Boys - Actually (EMI Odeon (Brazil)) |
| Brian Jonestown Massacre, The - And This Is Our Music (Tee Pee Records) |
| John Desire - Come On Feel The X Tasy (Eurobeat Masters) |
| Phil 'N' The Blanks - Autosex / PRL-8-53 (Pink Records (6)) |
| Lydia (2) - This December: It's One More And I'm Free (Hourzero Records) |
| Residents, The - Eskimo (Mute Records Ltd.) |
| Various - Hot Hot Disco (ABA (2)) |
| Birds 'n' Brass - Soundsational (Rediffusion) |
| Pink Floyd - A Momentary Lapse Of Reason (CBS Records Australia) |
| Willi One Blood - Whiney, Whiney (What Really Drives Me Crazy) (RCA) |
| Corecontax - Core Complex (God Rekidz) |
| Super 5 Thor - Gazelle (Echostatic, Space Baby) |
| Taunus - Malinche (Schinderwies Productions) |
| Masasi Aoyama - New Neuroses (Off Site) |
| Peanut Butter Jones - Peanut Butter Jones And His Mystery Piano (Faith Cannon Records) |
| Davis Redford Triad - Code Orange (Holy Mountain) |
| Laura Pausini - Live In Paris 05 (Atlantic) |
| Linus - Super Golgotha Crucifixion Scene (Elemental Records) |
| Davis Redford Triad - Ewige Blumenkraft (Holy Mountain) |
| Fake Orchestra - Fake World (Goga) |
| Menhirs Of Er Grah - Different World (Clinical Archives) |
| Surfin' Bichos - La Luz En Tus Entrañas (La Fabrica Magnetica) |
| Phil 'N' The Blanks / Wild Stares, The - Untitled (Trouser Press) |
| Cleveland Watkiss - Spend Some Time (Urban (2)) |
| Edyta Gorniak* - When You Come Back To Me (Virgin Records America, Inc. (Europe), Orca Ltd) |
| Davis Redford Triad - The Mystical Path Of The Number Eighty Six (Holy Mountain) |
| Jimmy Smith - Got My Mojo Working (Verve Records) |
| Corecontax - Enter Shadow (God Rekidz) |
| Homeless Prince - The Projects (Homeless Records Inc.) |
| Mr. Lee - Make It Funky (Jive) |
| Kimiko Kasai - Round And Round (CBS/Sony) |
| Black Mikey - Exorcism (A.F.T.E.R. Liphe Entertainment) |
| Vic Abram - Shadow Play (MMG) |
| Jan Garbarek With Terje Rypdal - Esoteric Circle (Freedom) |
| Various - NOW That's What I Call MUSIC! 8 (NOW Music (Denmark)) |
| Luciano - Why Should I (Immortal Reggae Music) |
| Sektor (2) - Aeih Chr (Controne Records) |
| Various - Für Festliche Stunden (Parnass) |
| Allen Toussaint - Life Love And Faith (Warner Bros.) |
| Jacksons, The - Destiny (Epic) |
| Bounty KillerRichie Stevens - Out Cry (Pot Of Gold) |
| Kool & The Gang - Live At The Sex Machine (De-Lite) |
| Fletcher - Feel My Sax (Tanga Records) |
| Tool (2) - Undertow (Zoo Entertainment) |
| Aconitum Vulparia - Toxic Omen (Finsterniis Records) |
| Dir en grey - Uroboros (The End Records) |
| Aconitum Vulparia - The Breathing Womb Of Hell (Finsterniis Records) |
| Spin (10) - Whirlwind (Ariola) |
| Greg Henderson - Dreamin' (Sam Records) |
| Birthday Party, The - Cremation (The Preaching Record Label) |
| Prayer, The - Trust EP (Ekleipsi, Ekleipsi) |
| Culver - 'X' The Unknown Dancer (Matching Head) |
| Christian Walz - Wonderchild (RCA) |
| Strawberry Milkshake Inc. - Carne Blanca (Concrete Beam Production) |
| Daryl Hall John Oates* - Out Of Touch (RCA) |
| Flow, The (3) - 777 (GW Productions) |
| Culver - Angel Rain (Matching Head) |
| Progress 1 - Move It (Universal Licensing Music (ULM)) |
| Carnage - Syndile (Not On Label) |
| Flow, The (3) - Malak (GW Productions) |
| Busted (3) - A Present For Everyone (Universal Island Records) |
| Dead Or Alive - I'll Save You All My Kisses (Epic) |
| Various - Rai Rebels (Earthworks) |
| Laura Pausini - Las Cosas Que Vives (CGD East West) |
| Nightwalker - Time / WRP (Drum Orange) |
| SCSI-9 - Tierra Del Feugo (HIGHWAY RECORDS) |
| Motörhead - Spotlight (Sonet) |
| Vina Sol Club - Vina Sol Club EP (Urban Vibes) |
| Southwest F.O.B. - Smell Of Incense (GPC) |
| Anna Domino - Rythm (Grabaciones Accidentales) |
| Quadraphonics, The - Betcha If You Can Check It Out (Warner Bros. Records) |
| Otomo Yoshihide - Heart, Beating In The Dark [Original Soundtrack] (Office Shirous) |
| Dr Alban* - Back To Basics (My Music) |
| Edyta Gorniak* - When You Come Back To Me (Virgin Records America, Inc. (Europe), Orca Ltd) |
| Black Machine - How Gee! (Dance Factory) |
| Southside Johnny & The Asbury Jukes - Hard To Find (RCA) |
| Servant, The - Orchestra (Edel Records) |
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Latest Reviews:
Trybet - T.B. Transit EP - Mickyosan
Absolute knockout - all four tracks. Deep, twisty, trippy techno with long grooves and amazing vocal loops on some of the tracks.
Two of the best records I own and they're from one double pack. I bought it from Tag records (RIP) in Soho, London when it came out in 1996 and when I play the trackS today they still all sound fantastic.
If you get a chance to get this double pack then don't hesitate.
Brilliant. |
'King Mental - Dark Side Of The Spoon - kingmental
I was crashing around the net and found this site. I felt I had to write something. I am 'king mental. This was my first release on Outkast record's, OR001. This was my label. The title of the the record "Dark side of the spoon" was a reference to a childhood friend of mine, with who I'd experimented with lot's of substance's we shouldn't have done, he died of a Heroin overdose 15 year's ago at the age of 21. The record is inscribed with a dedication to him etched into the plastic "RIP Josh". It was his death that inspired me to get off my itchy arse and do something.
I got into the rave scene, bought a Korg x3, an Akai sampler( with 9 secs of mono sampling), and a 303 emulator, a Tee Bee 303. I released "Dark side of the spoon" soon afterwards.
I was sitting at home some week's after the release and the phone rang and to my surprise it was John Peel, I'd sent him the release and expected that to be that, but no, he played all my release's as and when they came out.
On the third release I changed the label name to Free thinker record's and got as far as OR008.
A good few year's ago I got a call from a guy who obviously had got my number from my record's, who said he wanted to know about me and my music for what I remember to be a "Discography" web site. At the time I thought he was the sample police and told him nothing. I sold him a record over the phone and told him to send a cheque to see if he was a real person. I chucked the cheque when it arrived and never sent a record.(If you read this and you are that person, sorry. I was being underground).
I now understand what he was going on about.
I've done a few re mixes for a band called "Tarantism" who play the festival circuit, that were released on cd.
I have moved away from my original studio and had a daughter, so it's been 5 year's now since I've been able to write any music.
I have done a mixed cd of about 16 of my tune's on a cd. Which I have been selling.
I have no idea if I've written this in the right place or not, but I hope you have enjoyed reading it.
Buy the record's they're 'King Mental.
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Max Walder And Manu Kenton* - Adrenaline - maroko
I first heard their track Adrenaline on Dave Clarke's jaw dropingly amazing "WS2" DJ mix, and was amazed at the combination of a furiously hard kick and a relentless, fist-high-up-in-the-air hook.
So I decided to snatch the full version, found here on vinyl.
Well, the A side is just as I said above, pumping, hard, goes with almost anything upbeat and loud, moreso as it leaves plently of time for experiments behind decks 'cause it takes some time for the track to build and reach the fantastic hook. It does the trick every time on the dance floor, the crowd goes off the chain to this one!
The B side, Cosinus is even harder, with a devastating punch, an entrie array of banging percussion atop disturbing noises that may potentially sound like an FM reciever unable to find a functioning frequency, thus only releasing whatever random signal it comes across. I've yet to hear this one not shatter any sound system. It falls somewhere in between Murder Was The Bass and Point Blank, due to a really impressive combo of ferocious intensity and constantly present nervous sounds.
I give it my highest recommendation. |
LFO - Frequencies - wezbash
The leeds techno duo of Mark Bell and Gez Varley have a reputation that at first glance might seem to exceed them. Having released only two records and not many more singles while they worked together, the pair's apparently meager contribution would hardly seem to bear out the claim that they were one of British techno's most important, agenda-setting groups. Nonetheless, early singles such as "We Are Back," "Freeze," and "Love Is the Message" from their debut Frequencies, as well as "Tied Up" from their second, Advance, have indelibly marked British techno with Detroit's progressiveness, electro's funk, and an unflinching, uniquely British experimentalism |
Chris Liebing - Turbular Bell / Turbular Chord - maroko
Honestly, the last time I heard Chris spin live, it was after a three year absense from Zagreb on his behalf. My pair of ears witnessed a bona fide 360 turn in terms of sound and music intensity (read: mr. Liebing took the minimal path), so I curiously scooped this one up as I was eager to find out where he stands today, production wise.
The A side, Turbular Bell, is apparently where Chris Liebing is at now. Way different than we're used from him; not as sharp, fast and hard hitting, this is his take on minimal techno, and might I add it sounds quite nice. As groovy as you'd want it to be, with a steady crescendo of sounds until a lead melody slowly enters around the four minute mark, and the track never looks back from there on. It actually never really develops, but is pulled off in a manner that you actually won't mind carefully listening for 10+ minutes waiting for something to happen. Well, nothing does, and I'm still not disappointed. Great job!
The flip side, on the other hand, has Turbular Chord, which sounds like Chris taking it up the skirt and making something for those Balearic Lounge compilations. Nobody's asking you to produce brain drilling techno until the day you die, but this type of joyous and watered down minimal belongs in lazy afternoon sets at Dolce & Gabbana after parties. This is just nine minutes of speaker irritation, with a horrendously unimaginative and weak hook. Too bad, 'cause the first track is quite rewarding, and is responsible for the 3/5 grade I give this one. Nostalgic factor included. |
Utah Saints - wezbash
Saints was led by Jez Willis, a onetime member of the industrial group Cassandra Complex who during the late '80s had turned to DJing in local clubs. While working the club circuit he met fellow DJ Tim Garbutt dj at bliss @ the gallery leeds, whose passion for house music inspired Willis to begin creating house tracks of his own; Garbutt then played one of Willis' tapes to strong crowd response, and together they honed the song which eventually became Utah Saints' self-released debut single, 1991's "What Can You Do for Me." Of the one thousand copies originally pressed, one made it to the offices of ffrr Records, which immediately signed the duo to a contract; within three months of its wide release, "What Can You Do for Me" sold some 170,000 copies in the UK, landing in the Top Ten of the British pop charts. Following singles were "Something Good" (featuring a Kate Bush sample) "Believe In Me", and "I Want You .
Straddling the gap stylistically and historically between the cut-and-paste acid house of Bomb the Bass and the big-beat explosion, this uk dj duo fashioned recognizable samples from established classics into equally exciting contemporary dance singles. "What Can You Do for Me" mates Gwen Guthrie with the Eurythmics, while "Something Good" lifts a hook from Kate Bush's "Cloudbusting" (the first time she approved such a usage). Both those club hits appear on the Saints' sole full-length to date, rounded out by notable tracks including a shockingly traditional rendition of Simple Minds' "New Gold dream" and "trance atlantic glide" |
Utah Saints - What Can You Do For Me - wezbash
Formed in Leeds, England in 1991, the dance-metal duo Utah Saints was led by Jez Willis, a onetime member of the industrial group Cassandra Complex who during the late '80s had turned to DJing in local clubs. While working the club circuit he met fellow DJ Tim Garbutt dj at bliss @ the gallery leeds, whose passion for house music inspired Willis to begin creating house tracks of his own; Garbutt then played one of Willis' tapes to strong crowd response, and together they honed the song which eventually became Utah Saints' self-released debut single, 1991's "What Can You Do for Me." Of the one thousand copies originally pressed, one made it to the offices of ffrr Records, which immediately signed the duo to a contract; within three months of its wide release, "What Can You Do for Me" sold some 170,000 copies in the UK, landing in the Top Ten of the British pop charts. Following singles were "Something Good" (featuring a Kate Bush sample) "Believe In Me", and "I Want You |
Flame (23) - America - dieterb.2003
What a great track from the girls behind Cora and Garbo (well known from hits as Amsterdam or Perestroika).
Here they produced a song that makes goose bumps! A simple but fine trumpet line in combination with a standard end-80s-computerbeat and a plain song is the basis. Filled with a lot of samples from this time. For example beats that we heard in songs from Milli Vanilli or Neneh Cherry. And that's it. Great. |
DJ Edge - *1 - Zefrem23
This (well, the track COMPNDED) is arguably the best rave track in the history of the world. It's energetic, melodic without being cheesy, has amazingly unique sounds, and has never dated. Nothing else sounds like it. Subsequent releases on Edge Records were groundbreaking, but none quite so much as this track. Absolutely essential in any dance DJ's collection, and guaranteed to go down well in just about any type of set. The first synth lick still feels like a giant LSD monster licking me up my spine.... |
Axel Le Baron - Primary School - iarla
For disco house lovers this is the most exciting release to come out since Crydamoure. If you ever get the chance to listen to this record you will be instantly taken back to the days when french producers like Guy-Manuel de Homem-Christo (Daft Punk), Thomas Bangalter (Daft Punk) & DJ Falcon were kings of the house scene back in the late 90's.
Even though there's only one track on this single sided records, it's golden, those sweet filters and compressors layered with booming 909 sounding drums and percussion. It's a very happy and uplifting track, so looking forward to hearing more releases from Darling! |
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