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Starting with the odd peaktime pusher My Dream where continental synth pop meets pumping Italo Disco, followed by the slow (100) cosmic jam Caligula 2009 and finally the balearic jam Karin brings in some synthetic emotions and the occasional shred. Highly recommended!
Partly UPTEMPO and hardcore Acid with proper machine funkvibes. Highest possible energy level... Hello Jeff! Not a record for the light-hearted! Vinyl shows 3 hairlines spread over 4 sides and plays NM.
This under the radar private Rave monster is not to miss. It's pretty deep and has megawatts of energy to emenate into the atmosphere. It has vocals shouted in a way that I initially thought this would be something like a pre-Scooter EP as it's from Hamburg too. Maybe these guys here just influenced HP and helped to get away from that boring pop trance they started out with... vinyl shows a few light marks and plays awesome
The very first outing of Fun Factory has little to do with the Euro Trash they released later in the 90s. It is the work of one man who didn't join the commercial success of the band: Rainer Kesselbauer. The Theme is a wonderful DIY Trance House goody with discreet oriental influences. BBB acked by a cheesy synth serenade for Vaporwavers. Theme on 33 also NICE!
It feels quite natural that the notoriously deep in the bin No Frills duo would reissue one of their prime digs. If that original Balearic Deep House gem wouldn't be enough they added a siiiick Acid instrumental version. And no cake without a cherry on top: the homemade downbeat version!
Get on down and party with this funky 80s dance oddity. James Brown is not dead! The B- Side holds an instrumental DUB, then the bass only track ana d finally drums only. This is absolutely fantastic to play with if you know how to use turntables and a mixer
An incredible document showcasing what was happening in Germany before the techno scene emerged. This is a mix of cut-up post freestyle electronics, acid house, new beat and then some. Some sick (yes sick!) exclusives here...
Pretty nuts Italo-Disco-Euro-Trash monster that wouldn't have been possible without the inspiration of a certain Stock Aitken and Waterman trio. I'd like to point out Heavy Hour - an instrumental version with a lot oe heavy guitar shreds. I've never heard something like that before and after.
The german 12" running on 45 rpm including the instrumental version of the amazing Prisoner Of My Principles. check what happens when played at 33 +8 !! I emphatically recommend the LP with the original version as well. The lyrics are awesome.....
Completely overlooked "Euphoric Ganja Trance" that won't let you off the hook. I'm on -6 but I'm sure there are folks who can go full throttle ... If you want to go deeper, Telestar also offers cavernous acid, with a 303 that sounds like it's been filtered through megatons of water (and a ping). Not to speak of Jello Biafras lovely voice...
Percy X's sickest piece of wax released in the golden days of techno. I can't tell you which tune I like best here. The dream of a soft electro jam New Ground, the hypnotic techno gem Inshot or the stomping Track 2 suitable for a stroll in the hain... Unplayed backstock!
Emotional in the Love Suite 2000 - these two truly uplifting and pumping deep house beauties on the first side are preparing you for the 140 bpm energy boost aka Dig Deep on side B. Breaking Ties is the ticket to the blissful Nirvana (or Detroit). Unplayed backstock!
The sun is rising over Detroit. Here is one of the most relevant 12"s for people knowing "in the end it's irrelevant if it's house or techno". Yes - there are lots of records out there that cover needs for house and soulful techno heads, but very few of this quality... Both tracks are absolute masterpieces. Please start with Mix 2 ...
Anushka played in Hamburg and I sadly missed it. All my friends that didn't miss it were blown away so I inquired a bit and - hell yeah - this is the good stuff and pretty unique too. Dreamy yet driven breaks for the next decade! (300 copies - just sayin'...)
Back in the 90s I was 100% sure these guys were french. They're not! They do sound like close friends of Thomas and Guy-Manuel and they already had a filterhouse track called One More Time in '97. In other words: This is an overlooked disco-house pearl! PS. they even had some slow disco numbers (around 115 BPM) that actually didn't get hip until 10 years later...
It is Professor Funk & The Chicago Hous'n Authority to be exact. They have Joe Smooth in the garage with them for electric piano repairs. But one can hardly see anything in there - 808 rimshots all over the place! Vocal version adds emotion and deepness...
As upliftung as the title promises. The Valentine Brother and Tony Humphries are a tight team. Drive your winter sadness into the summer garage and lock the door... damn - another secret weapon revealed!
Wonderful deep house gems by Roy Davis Jr. Side A brings another great and floorshaking version of the Source's You Got The Love and Roy adds som more magic to the B which might be the label's hymn ;)
An obscure and wesome none hit wonder from Munich. Boys being desperate for the Culture Club membership card, sharing memories of vogueing on Ibiza, pulling ballads out of exotic cheese whilst dreaming about the one hit record. It could have worked, but it didn't. Let's give 'em a second chance!
Pushing (not pulling) the pitch-fader to the limit on this Acid Techno gem from the turn of the century. These slowed-down Keta Rave jams sound from atop the bavarian alps into your inner ear to give you a proper Mindfuck at -8.
I just rediscovered this one whilst looking for electro jams for a mix. Listened to this with jaws somewhere near my belly button. Sick acidic electro plus sci-fi jazz workouts (Lisa Carbon is just another alias) and then these insane remixes!! My fave might be Herbert's underwater mix, but hearing Pooley again bridging the gap between Acid and Discohouse after all these years is real fun too.
Unplayed backstock copy of this overlooked masterpieceby a 18-year old genius. Playful and elegant - from downbeat to filterhouse to I'm bound to wreck your body and say turn the party out speeded up to 131BPM. Just check what he did with Freddie Robinson's Off The Cuff in Introe and you know what's poppin...
\u201CEventually this innocuous sentence will be worth millions of dollars, because it was written by me, a human. Humans have many problems but they don\u2019t have the problem of not being a human. The problem of being inhuman is going to become a bigger and bigger problem in the next five hundred years.\u201D -Drake
Drake made some kinda mid stuff the past 5 years and now is his time to shine. Cov's over, the club\u2019s open, and Drake is really sad and emotional about girls. And he\u2019s singing a lot now. Welcome to Honestly, Nevermind. No come on Aubrey, tell us. What is it. What\u2019s got you down.
Falling Back is definitely a low key club night ender, perfect for feeling those feelings post-dance. I think this sets the tone for the album because this could have ended another Drake album, but this is the one that begins it. The song that actually ends this album is not like this song. There\u2019s a dope 80s Chicago house vibe, think Mr. Fingers, and Drake sings repeatedly \u201CFalling back onto me,\u201D and we fall into his hypnotic trance, that\u2019s true. Think: \u201CSeeing your ex girl at the club, and feeling those complicated feelings, goosebumps from past memories. You want her comfort but you\u2019re scared of that love too.\u201D
Texts Go Green is a meditation on Drakes feelings over spacey afrobeat. He\u2019s expressing regrets here, \u201CKnow those days when I was gripping on it\u201D either using a poetic persona of a woman referencing gripping his own penis, or meaning something else. He\u2019s hurting here, being lied to, he wants her back bad. \u201CWe could do it this time, just have some faith.\u201D The beat is a constant here, that constant aching rhythm. Eventually his voice drops out and the beat continues for a good 30 seconds, and ends with a digital string chord going into emptiness.
Currents brings us a singing Drake and a constant sexual bedspring noise, there\u2019s also an airy Sampha-like singing voice that could be Drake but I don\u2019t know, and a choppy section, reminiscent of the choppy section on One Dance, that switches into a beautiful pad with filtered out drums while Drake sings about looking for that special girl, and the bedspring beat and kick drums come back in while he\u2019s singing about desiring more but being scared of coming on too strong. Sonically this song took a risk and it paid off with that little spring noise, it gives it serious character while remaining catchy and listenable.
A Keeper\u2019s got another 4/4 deep house beat with a deep but noticeable bass. Despite the title, Drake is flexing on his old girl a bit callously, bragging about his new girl. He\u2019s very victimized here. When the emotions are rising halfway through, the song begins to build up and high hats come in and a wave of white noise builds up into an instrumental, continuing the house beat. It\u2019s very lush, perhaps expressing his satisfaction with his decision, and then boom. The next track hits without warning.
Calling My Name is a sexual one. He\u2019s speaking about his primal desires for a woman. He\u2019s discussing his desire to make his woman cum, he\u2019s speaking sweet things over lush synths, and then suddenly an absolutely filthy deep house beat cuts in and a sexual sounding voice is repeating \u201CYour pussy is calling my name, so came on baby, let\u2019s not play games.\u201D And an emotional synth comes in shortly after this repetition eventually gaining a high hat. It\u2019s instrumental, this song is almost incomplete. But it could be like sex, emotional sweet talk, and then the sex, the pounding, the dirty talk. It\u2019s definitely a sex song.
Sticky continues the theme of not having any trap beats, this has a pounding and almost tribal kick drum with a continuously simple mid tempo hi hat pattern. Gated and lowpass filtered vocals sparkle a bit deep into the mix, Drake\u2019s voice is very present here. Here\u2019s some classic bragging yet contemplative Drake. The track fades with a lush and quiet pad, and those gated vocals get sunk down an octave, and the sounds of a woman humming take us into the next cut.
Massive begins with an almost countdown sound, maybe making you expect something harsher, but then some syncopated deep synths come in, very beautiful, and Drake is singing about his desires towards a woman. A very very intense jungle kind of beat come in, actual breakbeats are being used here, and a chopped vocal style drops in, rising up. Then a classic EDM kind of piano pattern comes in with Drake singing, there\u2019s a few sonic elements here creating something really unique. The countdown sound is prevalent throughout the song. This sounds like something out of a 90\u2019s jungle/house mix. It switches between that upbeat club thing and the deep synth with Drake\u2019s beautiful singing. \u201CBaby we could find us again.\u201D Mirroring the sentiment on Texts Go Green, Aubrey is resisting the loss of a lover, grieving, in denial. The incredibly dope classic house beat is almost like Drake trying to make everything okay, like telling his girl it\u2019s all green, they can still go hard together, but there\u2019s always that hint of sadness from the past. The beat buries itself in a low pass filter then comes back, instrumental, Aubrey nowhere to be found. It breaks itself down a bit and then takes us to Flight\u2019s Booked.
Sounding straight out of a Bandcamp vaporwave release, Flight\u2019s Booked has a pitchshifted Floetry sample from the song \\\"It's Getting Late\\\" and a tremolo'd retro synth. The sample gets cut up for a sec and then a shuffling, cascading vocal sample shakes us towards Drake expressing his pain and desire for a woman. Four on the floor here, with a reverberating, twangy guitar pluck throughout, this could be produced by Jamie XX in 2014. Drake\u2019s not discussing anything surprising here, just kind of vibing about wanting to see his girl again. The Sampha like voice comes in toward the end and sings and repeats, and a One Dance type beat takes us toward the end. The kick here is mixed badly and is blowing out.
Overdrive comes in with an Eye of the Tiger ass guitar sample, and in fact Drake is almost singing in a rock ballad way until about a minute and a half in, and then a 4/4 kick comes in. Drake is expressing wanting to party with his girl, and expressing how he wants to make it with his girl. \u201CI hope we can make it,\u201D he sings. The key and inflection he sings \u201Cand I know\u201D and this is unique. He also says the word \u201Crival\u201D which makes me think of words like survival, tiger, eye of. To top it off the song ends with an electric guitar solo straight from Prince or such, and a quiet voicemail sample with reverb that sounds like Burial sweeps us out. Goodbye song.
Down Hill starts with a video game type beat and a prominent snap sound. Drake is expressing usual sentiments here. There\u2019s no bass in the song for a while, and there\u2019s a layered chant going \u201CWe try try try\u201D. Two minutes in and the only beat is that video game jungle beat and the snap. \u201CWe spent summer so differently, I can\u2019t pretend it was final.\u201D Drake says. It gets very beautiful around 2 minutes in, and Drake is singing \u201COvernight, overnight, we\u2019re done\u201D paired with that \u201CWe tried\u201D vocal. It\u2019s quite heartwrenching. The barren landscape of this song makes a little hole in your heart. \u201CWe don\u2019t connect anymore, far far far gone,\u201D Drake cries out. This is one of Drake\u2019s saddest songs. Everything here connects cohesively to create an atmosphere of gentle sadness. A layered \u201CWe\u2019re going down, we\u2019re going downhill.\u201D There\u2019s no blame here, just pain.
I think Tie That Binds is the point of the album where I\u2019m losing the thread a bit just because it\u2019s been a bit repetitive for about 40 minutes. This song has a beat and Drake is sad, and there\u2019s an interesting and close-up flamenco style guitar twanging through the middle of the song between Drake\u2019s verses. This whole album feels very close-up and Drake-like, there\u2019s not many features, and there\u2019s some complimenting from unlisted guest singers and samples, but this is mostly just Drake. Drake is a really good singer and he\u2019s singing on this song and it sounds good. \u201CI\u2019m feeling all sorts of things, I never wanna ever see you leave, maybe take you to my family, change your name.\u201D Drake wants to marry a girl, he\u2019s serenading her with this flamenco guitar. He\u2019s playing the guitar and the song is a lot better if you imagine him playing the guitar for his beau. The guitar really takes this song all the way into a final outro beat with cymbals pondering and pianos looming around sadly and various shaky percussions. A lightly distorted kick ends this serenade. This was basically some Four Tet type shit.
Liability is straight up a premade \u201CDrake slowed\u201D youtube upload. This entire song was made and then slowed just for a vibe, and I hella respect that. The ones who disliked this song actually meant to say \u201CDis I like.\u201D
Jimmy Cook\u2019s has a Playa Fly sample and is the only song with a conventional rap beat. Drake is rapping here. The beat switches up and there\u2019s a cool part where Drake says \u201CYou a\u201D and 21 Savage finishes his line \u201CPussyyyyy\u201D. For me the album ended at Down Hill and the rest is extra. He made a good album.