Search "lack+of+afro" 22 Items

The second Ep on Tief Music takes a slightly different approach incorporating african influences and sounds. Prophets of the south is the production project shared by Cape Town native 'Esa Mervin Granger' and Glasgow's 'Ooft'. Ooft, already an established producer in his own right releasing and remixing on labels such as 'Instruments Of Rapture' and 'Lets Play House' and Esa, one half of the 'Auntie Flo' live show, who is fast becoming recognized as an innovative solo beat maker producing 'african influenced' deep house and releasing on labels such as Burek and his own Rememory imprint met in Glasgow when Esa relocated there from Cape Town a few years back. Esa's African influences and talent for live percussion coupled with Ali Ooft's masterful production skills have come together to create some truly original pieces of music. A1 - The title track 'Ek Maak Julle Dance' means 'I make you dance' in Afrikaans, and it does exactly that. Its uses off beat chord staps along with hypnotic synth sounds to conjure up a ravey afro-house track well adapt for a peak time dance floor. B2 - Portable is originally from the same area of Cape Town as Esa which made him a fitting choice for remix duties. His mix of 'Ek Maak Julle Dance' offers an alternative mood to the original. Portable (aka Bodycode) employs his masterful production skills and programming to create a slightly off kilter but incredibly addictive and mesmerizing track that slowly progresses cleverly capturing the feeling and soul of the original. B1 - 'Boesman Lambada' is a beautifully deep, melodic, rhythmic track which combines lush synths with tuneful Marimba melodies and an eerie lo-fi vocal sample. B2 - 'Die Plain' is a slightly more up beat but equally atmospheric track harnessing a powerful driving bassline, sparing vocal samples and irresistible rhythms so typical of South African produced house music, a perfect example of two sounds coming together and meeting in the middle.

Play It Say What Records and Isaac Basker return after a 5-year hiatus with White Souls Lost (Part II), providing 4 styles of Isaac’s distnict, “thumping” take on American house music designed for dancefloors, headphones, or contemplating human existence. Never shy of controversial track titles and themes, a trend that can be traced back to previous collaborations with Public Enemy as a hip-hop DJ and turntablist, Isaac cuts right to the chace again focusing on the state of the “soul” in post-Trump America.
On the title track, A1 “White Soul’s Lost (Part II),” a play on words of Nas’ “Black Girl Lost,” Isaac calls into question the state of some white folks’ souls in an appropriately emotive banger that starts with Afro house- oriented congas and layered deep pads until guitar solo-like chord riffs build to a layered crescendo. From this point on, to its conclusion, the track keeps the listener on high.
A2, “So Lonely Here” brings a definitive Isaac sound influenced by his experience growing up dancing in clubs to vintage NYC deep house. The track provides a deep, dusty, almost lo-fi-esque vibe geared to be a perfect track for an early set or afters. Isaac’s love of simple vocal drops in part from his background as a turntablist comes into play again as a lone, sexy female voice casually reminds us of their feelings of isolation, and is a double entendre on the state of lost souls everwhere.
B1, “Noisy Neighbours,” evokes that “thump” Hard Wax once labeled some of Isaac’s tracks. Created in response to noise complaints, a coded reference to Trump supporters, and even Isaac’s world football allegiances it could be categorized “deep house techno” but this ain’t no tech house. Heavy kicks bump over choped up live percussion as a lone pad keeps it deep, and then an analog bassline reveals the underground, grooving along to vocal drops that demand the listener to “Stop, look and listen.”
Lastly with B1, “A Paradox Now!” Isaac’s love for titles derived from word play refers this time to Francis Ford Coppola’s classic film “Apocalypse Now!” The track teases with mellow keys laid over strong 909 drums and a prominent minimal bassline as it builds slowly over panned high hats. However, it then flips from chill to bumping as a live percussion sample arrives along with a repeated Terre Thaemlinz influenced vocal that proceeds to drive the track to its peak.

close to NM

Clear Vinyl.

Black Vinyl Edition.

Cover has sticker residue / tears on the back!

Note: INCOMPLETE!
Side A &B only.
Side C & D is missing.

Limited Edition. Red & Black Splattered Vinyl.
Cover as new with slightly worn corners.
Record is close to VG+.

incl. Bodyjack Remix

The thirteenth release maybe unlucky for some, but not here. With label head Oli Furness delivering the Weather Underground EP featuring a shudderingly good Bodyjack remix. Music is Love Records make their own luck as always.

Comprising of the standard format from Music is Love with includes 3 tasty originals paired with a killer remix. The crew deliver just that.

Crash Gordon opens the vinyl with a BANG. It's off kilter groove is an instant head nodder and super infectious. Oli always pushing the boundaries with his production and with this we get a nice display of his skills, bringing out the tone and life in the sounds. Bodyjack has the task of remixing Crash Gordon and steers the off kilter track into much heavier territory. Something Bodyjack does so well, heavy and rolling whilst keeping you firmly locked in.

The B side opens with a big party track entitled Big booty girls, a track ready to make any party lose their Sh*t. Heavy machine drum grooves as are often found on the Music is love boss's tracks and yet again they are central here, a heavily distorted 707 cowbell driving the frenzy is the most notable. Killer stuff.

To round up the ep we find the track 64. This is a continuation of the party vibes of the B1 but done in a very different style. Here we find the vibes of late 80's Miami, Booty shaking 808 drum patterns and funky ass loops. Staples of Mr. Furness's Sound.

Cover corners slightly dented.

Cover with worn edges.

It’s no secret that the Irish know how to party. That energy is epitomised in the bubbling scene of homegrown talent rising through the ranks all over the island. House of Disco, having recently moved back to the Irish shores, let loose their first 4 track sampler EP in 7 years, ‘Home Turf’, showcasing the best in under-represented young Irish producers.
Taking the first slot, Dublin’s LPM hones in on that signature HoD sound with some expertly interlaced late ‘70s samples, reworked and repackaged into a bomb of a filtered, disco house, hand-raiser that’s got sunshine stamped into it’s very core. Newbridge locals, Mix & Fairbanks then offer up a deep, synth-laden gem, drenched in weighty stabs, analogue melodies and squiggling top lines.
On the flipside, the young gun from Killarney, Shee gets soulful for ‘Me You Us’ with low-slung vocal samples and hazy pads layered over the top of swirling disco loops. Lastly, Wicklow native Purple Ice signs off this killer Irish EP with a blissful, piano infused groover that’s eyes closed ecstasy from start to finish.

Continuing their quest to unearth deep house gems new and old, Vibes & Pepper introduce the world to Manuel Keyz with a killer four-track workout that makes all the classic moves. The strings and keys come in seductive, nocturnal arrangements, while the snippets of vocal come from true soul divas, all atop of bumping garage house funk. The tune that stands out to our ears is "Orange Love", replete with sexy saxophone fit for Lil Louis and dreamy key flourishes that give a considered and wistful tone to the track, but really there's plenty to work with on all four corners of this EP.

The dynamic Amsterdam-based duo Homework join the Let’s Play House family this May with their four- track ‘Palindrome 1’ EP out on the imprints White label. Since initially bursting onto the scene in 2010 with their blistering ‘Hudson Square’ EP on Exploited the Dutch based pair have been dishing up a string of successful releases on the likes of Wolf Music, 2020 Vision, Jackmode and Made To Play. ‘Palindrome 1’ marks their first foray on the ever-impressive Let’s Play House and the gent’s don’t disappoint. Special mention must go to title cut and EP opener ‘Palindrome 1’ where buttery synths and clipped percussion combine seamlessly with feathery pads and warm tones to deliver a polished sunshine groove. The EP on a whole is characterized by crisp production, organic warmth and undulating groove with each cut bringing something a little different to the table. In a sentence - moving, melodic and moody yet supremely captivating house delivered track after track here from Homework.

Final Chapter was started in 2013 by Stockholm's Sean Dixon, along with support from Perseus Traxx. A label which is happy to let the music do the talking, Final Chapter is now on it's fifth release, and shows no sign of being prepared to letting the book close. The journey of Detroit and Chicago influenced house and techno continues on this release as label head Sean Dixon presents an EP split between himself and Boston's John Barera, who's previous releases outside of his own label, Supply Records, have issues fourth on Soul Clap and Dolly, as well as Steffi's Panorama Bar Mix CD on Ostgut Ton. Remix duties come courtesy of Berlin based producer, Palms Trax, who's first outing was in 2013 on Lobster Theramin.

Closing out the year with a 4 track EP from producer Colm K. Inspired by a variety of styles and musical sources with one common thread throughout: samples. 2 tracks for the dancefloor and 2 dusty reprises, most of the music found here is a collage of sounds that zig zags from the soulful thump of Seeing to the laid back strain of Summary.

Kalahari Oyster Cult have been thumbing through their back catalogue and return to a past gem for some renewed attention. 2017 saw the release of Erell Ranson’s Hand in Hand, a quintet of beautifully crafted machine music. Two tracks have been chosen from the EP and remixed with stunning results. First up is Dj Normal 4’s “Sealife Safari MixX” of “If We Never Try.” The sweet, shimmering melody of the original, the bubbling bass and subtle notes, are transformed in this remake. Silvery chords morph into bold and daring new forms under the tutelage of Tim Schumacher, neon streaked patterns coalescing with broken and cracked percussion for a superbly uplifting piece. Pariah follows with his rework of “Hand in Hand.” A deep dreamscape intricately woven with heady notes, birdsong and endless possibilities. The final odyssey comes care of SW (Stefan Wust) of SUED fame. The Berlin based musician delivers his reimagined idea of “If We Never Try” with Ranson’s version being washed over by lapping lines and gentle currents to create a smooth rounded finale. A trio of unique perspectives from three true talents of electronic music.

A legend to those who know, Todd Sines makes his first appearance on Circus Company in a fit of sharp-edged, wildly expressive house music that harks back to the unhinged early days of the label. Sines has a career that stretches back to the early 9s, having released lauded records under the .xtrak moniker on Peacefrog and 7th City amongst other legendary labels. Under his own name he has delivered equally timeless material on Planet E, Frankie and Morris Audio, but still this summary barely scratches the surface of an artist with a groove so distinctive it would futile to attempt an imitation. A key facet of Sines' material is his ability to match a vivid, futuristic sound palette with a very human soul, and this is no more apparent than on Blowing. The title track alone throws down a challenge to any selector as a bugging line in off-kilter drums and tweaked out synth lines rub up against an utterly soulful vocal turn from Robert Owens in a true definition of 21st century funk. Originally written by Charles Webster, Sines has taken the foundations of the track and twisted it into a shape all of his own. Elsewhere the mood takes a deeper turn, as "Deserted”, "Cave” and "Recover” all plunge into a vision of deep house that retains the emotion while pushing the rhythms into exciting, psychedelic new territory. Even if the tracks go very far out indeed, there's always a tangible beat to hold on to, testing the nerve of the play-it-safe DJ while giving musical explorers music as accessible as it is challenging. While there may be shards of experimentation flying out of these tracks at every angle, the warmth in between the unusual shapes makes Sines' music so very easy on the airs in the same breath.

Distangled brings us this re-issue of the highly sought-after House & Techno EP called Roadrunner by Dutch producer David Spanish. Originally released in very limited quantities back in 1996, this record now changes hands for quite some $$$. The tracks off of the Distangled release are re-mastered from the original master tapes and the EP includes 3 previously unreleased tracks. A very versatile 6 tracker!

Upcoming french producer Matthieu Faubourg, who has worked extensively with guys like DJ Boring and Black Loops, is firing up this heavy 12" on "Smile for a while." Stripped down House bangers all the way - from more laid-back, synth-oriended stuff over to some 90s-tingled House groover, ending up with a frantic 6 a.m. anthem on the B-side this EP is all you need to keep your floor dancing till the end of the year.

Solarism is the result of a common fascination for landscapes and a passion for contemplation.
After two decades of an unbreakable friendship, we have finaly imaginated this protean entity to express what contemplation
has offered us and how it connects us to the world, describing those experiences through music compositions, dj
performances and welcoming other artists to release their art.After our first release with Arno E. Mathieu "Existance Project",
we are really proud to welcome one of our musical friend on Solarism, the non-stop track maker from Home Invasion label, Franck Roger !On A1 Franck brings a real fusion of Cosmics and classic Deep House vibes, remembering his first love
with electronic music but definitely oriented to his nowaday modern vision of sounds. The melodic groove of the calimbas
percussions drives you till the heart of the track and his swinging drum, to never let you go and brings you up in a
neverending hypnotic mind dance. On B1, Arno E. Mathieu version push the hypnotic vibe of "Tiger in The Hood" using
the original arpegiator theme, and brings the track to a deep techno level for a textured and anthemic experience.
Ponctuated by a strings hit appearence and supported by a non stop heavy bass-line, the track progression brings us till a melodic synth conclusion true to Arno fusionned style...
Welcome back in SOLARISM !