
Three monstruous tracks straight from the basement featuring one of the original house music creator Ron Hardy. Tullio de Piscopo – Stop Bajon, Eberhard Schoener – Why Don’t You Answer and John Forde – dDon’t You Know Who Did It.

Three monstruous tracks straight from the basement featuring one of the original house music creator Ron Hardy. Tullio de Piscopo – Stop Bajon, Eberhard Schoener – Why Don’t You Answer and John Forde – dDon’t You Know Who Did It.

”Civil Defense” was—and still is—a tone poem. It was written in 1984 and first performed in various beatnik-esque coffee houses (with a simple beatbox) in and around Chicago. (I went to college on a full poetry scholarship– believe it or not!)”, as Danny himself says, and we think it’s right. It is considered to be one of the earliest vinyl releases of House Music. LDdlm is honored to bring you this ” long lost piece of the puzzle” in the retelling of Chicago House Music history. The LDdlm edition of the original recordings documents the enduring legacy of this iconic piece of audio history, including the long lost Ron Hardy edit and a reshape of the edit of Ivan Smagghe for the first time on vinyl.

Back to basics with two heavy rhythm edits/tools. A-side features label boss Paul du Lac’s edit of T.O.Y.’s ‘Drum Electronic Sound’, a dark and menacing mid-eighties instrumental italo/electro track, B-side features a simple yet highly effective and relentless minimal drum cut by herr Mick Wills.

Two tracks one from each Rim & Kasa recent albums out in latter part of 2015 on BBE get the official edit treatment from Mukatsuku that have never been out before as official singles.

Merc return with the first in the next phase of E-Versions. As ever, MARK E’s best selling and precision club jams project delivers big things for discerning dancers We’ve witnessed first-hand the damage that A Side cut ‘Horn Jam’ visits on a sweaty dancefloor, with its insistent frug and layers of rising synths – a hypnotic bomb as only Mark can deliver On the flip Sanctified makes a meal out of a killer soul sample, working the arrangement into waves of subtle frenzy.

Bastedos returns with more signature weirdo disco not disco (but disco) cut-up cuts. This time the painstaking editing comes from A.M., Last Waltz, and Bastedos themselves.

Rinder & Lewis – Lust, The alan parsons project – mammagamma (instrumental) and an 120 BPM rhythm track.

Maneuvers out of Dresden for Sneaker DJ under his Dunkeltier alias, with 4 cut’n’pastes library, EBM, industrial and proto groove for Bahnsteig 23 imprint.

All three tracks here are on a stretched-out, dubbed-out electronic disco tip, beginning with what appears to be Hardy’s reel-to-reel extension of Disco Dream & The Androids’ quirky 1979, Moroder-ish arpeggio-jam “Dream Machine”. Flip for an all-instrumental dub take on Craig Peyton’s decidedly wonky, electro-disco cover of “Be Thankful For What You’ve Got” and “116 BPM Trax”, an un-credited, boogie-era, proto-house jam full of bubbling electronics, cheeky synthesizer riffs and clanking drum machine hits.

Following strong releases on Disco Deviance and To Rack n Ruin, Dutch Disco fiends SHMLSS return with 2 killer reworks on Special Edition. Both cuts work the trackier and clubbier side of the discotheque and are 100% guaranteed to shake the dance floor.

As Benedikt Rugar’s superbly illustrated cover art for the recent CockTail D’Amore compilation Nothing Matters When We’re Dancing proved, the Berlin collective proudly celebrate their status as a forum for Berlin’s gay community to fully express themselves. With no releases on the label since that compilation arrived in January, Discodromo and DJ Boris have now unveiled a sister operation with a focus on edits under the wonderful name CockRing D’Amore. The debut release features contributions from label regular Massimiliano Pagliara, the unheralded Trent and founders Discodromo.

This latest release of Prego (a division of Vielspass records) comes up with two epic tracks reshaped by Mick Wills. The Wall – Fire on the A side is a bright disco-ish wave hymn raised with the M.W. style. The Stallion – Hope on the B side is a hypnotic floor killer with haunting lyrics and atmosphere.

Fonogrammi Particolari is a new record label based in Milan whose main goal is to reissue old school Italo classics in their original form but backed with brand new edits and remixes. The first issue is this essential cover version of Material’s noisy disco classic Take A Chance’ made popular by Mr. Flagio and originally released in 1983 by the Squish label. This cult track appears on the A side in its original form and on the B side in re-edited and reworked form by Fred Ventura and Paolo Gozzetti aka Italoconnection. Enjoy the old and new sound of Mr. Flagio!

This is the second release of the ‘Obscure Cuts’ series, curated by Berlin’s Oscillator party resident Beppe Loda. This EP sets us off on a magic carpet ride of Middle-Eastern-influenced Italian obscure disco gems from the 70’s. This release is a great ambassador for the Oscillator parties from which the label originates.

”Back in 2009, DJ Harvey came knockin’ at PBRC HQ to deliver a special project he had in mind. Having a long and healthy relationship with the dudes at Pacific Beach, Harv essentially produced a couple of edits that could’ve well been next in line on his revered Black Cock label. Eventually released in 2010, the 12” cuts caused a stir as some will recall. Doc Severinsen is an accomplished American jazz/pop trumpet player, and as a band leader gained considerable notoriety on The Tonight Show with Johnny Carson. Like most musicians in the 70’s, Doc took his shot at the disco and funk sounds of the time, gathered stellar musicians, and released impeccably sounding works. Two of these cuts, ‘Be With You’ and ‘Shine On Me’ are featured on this release. Harvey’s unfailing magic touch has yielded two DJ-friendly edits with a lot of punch and galactic energy, yet with a velvet undertone. Staying true to the mission, the label took great care throughout the production process in order to preserve the quality of the original recordings. Proprietary equipment was created to transfer the original cuts from the source. The mastering was conducted at Bernie Grundman in Hollywood, CA, known for its work on the greatest albums of all time, such as Michael Jackson’s ‘Thriller’ and Steely Dan’s ‘Aja’. The 2015 edition is noticeably different on the exterior. The cover art, having been designed by Harvey back in 2009 for the original release, commands attention. At the time, however, the prevailing design had been already put into play leaving these amazing creative elements put aside for a later time – and so here we are.”

The fine folks at Moton, that’ll be Diesel and Jarvis, hook us up with something a little special this summer, slimming their usual 12″ format down into superb colored 7’s of edit delights. A-side cut “Sister To Sister” does its thang with plenty of soul and sass, blowing our minds with far out funk, and full on frequencies. Last but not least, Diesel and Jarvis go beachcombing with the blue eyed boogie of “We Are The Sunset”, a jazzed out, funked up cut ripe for early hours or end of night play.

Esa returns with the final instalment for this Highlife World Series which included previous releases Cuba and Kenya. Having been invited to attend the East Africa music conference DoaDoa in Jinja, Uganda back in 2014 and again in 2015, Esa shares the sounds of a new breed of talent and ideas emerging from East Africa and beyond, showcases music not only from Uganda but artist from Burundi, Rwanda, Kenya and South Africa who all attended the conference.

Three monstrous tracks straight from the basement feat. one of the original house music creator Ron Hardy. Set the tone – Dance sucker, Starflight – dance to the beat, Electronic Drums# 5.

Four monstruous tracks straight from the basement feat. one of the original house music creator Ron Hardy. Connie case – Get down, R.E.M. – Computer communication, Electronic Drums#3 & #4.