An obscure release from 1984. As far as we can tell this is the first time the mp3 has ever been available on the internet. Also included is the instrumental version b-side titled "All Night Party"
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Monday, August 31, 2009
Saturday, August 29, 2009
Franek Kimono - Dysk Dzokej (Zambon Disco Edit)
It's a very popular song from the year 84'. The title means as much as "Disc Jockey":) The whole LP has very ironic funny lyrics about dj's, going to clubs or hooking up girls. The singer on the whole LP is Piotr Fronczewski a very popular polish actor who played lot's of great roles in polish films (and does this till today). The music was made originaly by Andrzej Krzyński who mostly made film and televison music in the 70s & 80's who is also responsible for the creation of Franek Kimono (who is a male macho living in the communistic Poland). The whole project was a huge succes back in the days and almost all of our parents have still the record put out on vinyl somwhere hidden in thier homes. So much for the story behind it
Download
Tuesday, August 25, 2009
EXCLUSIVE by the godfather of Italian Electronic: DJ BEPPE LODA (Typhoon)
Captain Future - Feinde greifen an (Beppe Loda re_edit)
Download
BIO:
Percussionist composer and real eclectic DJ.
Beppe Loda start his experience as a dj at the end of 1973 at Kinky Club in Manerbo his native town. Distinguished immediately for his style: an unusual sound of rock music integrated in a context of funk-disco. Towards the end of 70’s, confirming his different style, his passion for African music, electronic, new wave, etc. begins.
At the end of the year 1980 the cooperation with the discotheque Typhoon starts.
Thanks to this cooperation many music trends were born and influenced the upcoming years, the first of all was electronic new-wave industrial pop. Beppe Loda is in fact the first dj in Italy who raise this type of music, which is now called wrongly “Cosmic Music”, when he started at Typhoon no other club offered this music style in Italy.
But the most important revolution was the so called "Afro” which created a big fan group as defined as the "Afro movement” from which followed the brazilian, rare groove, blaxploitation, obscure jazz/fusion etc…
In the eighties he expands his activities; he not only works as a dj but also for productions discography. He advises various productions of italo-disco music by contributing his music skills. In this time he also mixes in various registration studios a lot of tracks, including some hits of this Italian music style. In the eighties he founds the band "MC1" with which he Creates a kind of unique electronic sound called italo-synth.
He enters the group "EGOTRYA" and changes their music performance by implementing a style oriented in the direction of synth-prog. In the same decade he works as a adviser for various import/export companies in the discography sector. He is also the owner of a record shop.
In 1990 he creates a new project "SIRUS" which is orientated towards a new type of space music. In the mid 90’s he starts with his dj friend Macro a new project, "ITALOWERK" which focuses on the Style “italo-disco synth".
Still in the 90‘s he initiates with HD recording and becomes a pioneer in this sector. He realises in this then years more than 60 rmx of tracks from other artists.
In 2006 he was invited to exhibit at the Swedish National Cultural Centre and in the same year in the well known “Moma - Museum of Modern Art” in New York from where is tour through the USA starts.
(Courtesy of Support Agency)
Monday, August 24, 2009
Friday, August 21, 2009
Marcello Giordani - Disco a GO GO! Vol.1
Tracklisting:
1- The Quick - Zulu (Instrumental)
2- E.S.G. - Moody (a new mood)
3- Modern Romance - Can you move? (Instrumental)
4- Tantra - Wishbone
5- Macho - I'm a man (DJ Harvey re_edit)
6- Faze Action - Got to find a way
7- T.W. Funkmasters - Love money
8- Shalamar - Right in the socket (Larry Levan mix)
9- Eddie Drennon - Disco Jam
10- Jermaine Jackson - Erucu (12" version)
11- Cro Magnon - Love traveler
12- Heatwave - Goin' crazy re_edit
13- Charlie Mike Sierra - On the moon
14- Deodato feat. Jones Girls - Keep on movin' (12" version)
15- Rhythm Makers - Zone
16- Sylvester - Over & Over (Marcello Giordani Super Disco mix)
Download
Tuesday, August 18, 2009
Sunday, August 16, 2009
(Preview) Acos CoolKAs "Pulsar EP" on Brown Eyed Boyz
In this EP we managed to unite some of the hottest artists of the moment ...
Omsk-based duo Acos CoolKAs are releasing with this EP their first tracks with us ...
Each & every track confirm that they are truly on fire these days & that the atmosphere they established has now became very succesfull ...
On the remix duties we have Italian Duo Supersonic Lovers & another Duo from Lithuania Downtown Party Network who decided to provide us some classic DPN work after tremendous works on Discoteca & Eskimo ...
Massive Support from : Add2Basket , Jody Wisternoff , Hisham Zahran , Tom Morgan , Neil Quigley , Desyn Masiello & many more ...
01 . Separation Point
02 . Separation Point ( Downtown Party Network Remix )
03 . Pulsar
04 . Pulsar ( Supersonic Lovers Remix )
05 . Robot Love
06 . Robot Love ( Downtown Party Network Remix )
Listen on Juno!
Saturday, August 15, 2009
Monday, August 10, 2009
Kasso - Walkman
Hi everybody ! Here's my first post with this 12" found in a second hand few months ago for 1 euro... For those who don't know me you can find my own blog here. Thx to Marcello & all the team.
Kasso - Walkman
Thursday, August 6, 2009
R U ECLECTIC? PART 1
It could look as a paradox, but the formal and ontological concept of modern Dance music (meant as intelligent & underground, not as mainstream and commercial) derives from Punk, and more precisely from the type of Punk music which developed both in Europe and in USA, from 1978 on, the so-called Post-Punk. This can be our starting point for an analysis of the concept of eclecticism in the field of dance music. A paradox, as we said, because both from a strictly musical point of view and for its contents, Punk music is not “dance” music at all. The aesthetics of “no future” do not tally with the idea of “sharing” which inspires the concept of dance. It is also a paradox that this artistic revolution generated from a new way of considering and playing an instrument, the guitar, that has nothing to deal with what we consider modern dance. And again, it is a paradox that one of the key men of this “revolution” was Jonny Rotten that up to some time before spat on the audience.
New York at the end of the 70s was a breeding ground for artistic experimentation, (Basquiat and Haring, just to name the most famous ones), in each and every field, and it was exactly at this time that No-Wave was born, a kind of Punk-Jazz free form that will pave the way to a crossbreeding of styles and habits that would “make the Punk dance” (true DIY style!). Solo guitar rejection in favour of a bare rhythmic guitar turning each piece in a mantra, and an interest for afro and then dub rhythmics (for bass guitar and drum) represented the main stylistic elements for most art-punk groups: from the Contorsion to D.N.A. not forgetting Slits, Pop Group and PIL of Lydon or the Talking Heads of Eno/Byrne. They were all guided by an idea of nervous and radical dance that went against traditional rock Chuck Barry-like stylistic elements. In the same period two “absolver units” played an important psychological and formal role.
Most groups, from Pop Group till Liquid Liquid began to use rules and stylistic elements from non-Western types of music thus creating a different concept of music beat.
In non-Western music, we find a perceptive “music beat” representation; real time becomes “music” when intentionally synchronised in a “rhythm” thus entering a “cyclic” dimension that allows to live different moments as repeatable units of “present time” (state of trance). In Africa “music” is all that can be danced to, where bass guitar and drum act as “rhythm carriers”. Modern mixing techniques imported from Jamaica thanks to the keen minds of Lee Perry and King Tubby, and the use of electronic tools (samplers, above all,) led to a new concept of Disco Music, Mutant Disco, Hip hop, disco funk, electro, tallied with post punk first of all because these genres were played in the same locations (CBGB, Mudd Club, Hurrah’s); John Lydon was introduced from Don Letts to the dub and roots nights at the Roxy; Afrika Bambaataa wore a fuchsia mohawk and deejays as Larry Levan started to mix music with extraordinary eclecticism, turning the role of the deejay into a myth. Dance music didn’t need beat and style anymore, all that made people move was good. The invention of 12” discs, of remix and re-edit helped to fill the gap between dance and punk. Dub obsession would offer creative input to groups with very different roots and style: from the Clash to the PIL but also from Generation X (!) and Grace Jones, androgynous disco goddess that owed her success to the rhythmics of the Jamaican Sly and Robbie.
One of the people that acted as a link between the gay-disco scene and the heterosexual post punk world, was Arthur Russell. A white gay, literally “stuffed” with the dub and avant-guarde, from Satie to Steve Reich, he founded the Sleeping Bag label and started to record art-disco pieces that were minimal and intentionally not easy to be danced to. Obsessed by Situationism and by the sci-fi imaginative world, he once said to David Toop: “ You cannot bring drums into space, you can only bring your mind”.
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