Record Of The Week


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Although he’s been in the game for more than three decades, ‘The Clearing’ is the debut solo album by Anthony Khan, the producer/musician who’s probably best known as Twilite Tone.

Coming from a musical household - his uncle is the legendary Chicago bass player Hassan Khan, while he’s also related to bass giant Richard Davis - Twilite Tone has soaked up the sound of the Windy City since the early seventies, producing house tracks under a bunch of secretive aliases in the mid-to-late eighties, while simultaneously forming a group with and DJ-ing for Common.

That collaboration resulted in the 1992 co-production of Common’s classic debut ‘Can I Borrow A Dollar’ (1997’s seminal Lowrell and Patrice Rushen-sampling ‘Reminding Me (Of Sef)’ is also a Tone production) - before moving on to work with big names like Gorillaz and Kanye West.

Armed with only an MPC, a Korg Triton Workstation and what he calls a ‘secret Moog-like module’, Tone cooks up fourteen beatscapes on ‘The Clearing’, navigating between hiphop, funk and house - much like the city of Chicago itself. A sound he himself describes as ‘transgenre’.

Zigzagging between headbopping machine funk (opener ‘Journey Into Sound’, ‘The Lite’,) and spaced-out instrumental hiphop jams (‘Ancestors and Angels’, ‘The Sound’), Tone veers towards a more housey sound as the album progresses, concluding his fourteen track journey with the buzzin’ ‘Taxi Cab Confessions’, a track that’s equal parts Dilla, Theo and early Dance Mania - a modern yet timeless sort of sound that refuses to be tied down to any one genre but is a perfect addition to Stones Throw’s illustrious beat tape tradition. (RO) ⁣

Arp Frique - Minina Bem Li (Rush Hour Store Jams)

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I first got introduced to Arp Frique at the Magia Festival he organized in Rotterdam, a celebration of music based around the ‘Nos Magia’ theme. Arp Frique had the sort of sound that was instantly familiar, but I couldn’t quite put my finger on exactly where I heard it before. I wasn’t even aware of who created this music.

Was this eighties music? Was it released somewhere before? And was that legendary Cape Verdean musician Americo Brito on vocals? I had a lot of questions, so not much later I decided to give Niels Nieuborg aka Arp Frique a call.

Niels then proceeded to tell me the whole Arp Frique story. He had been a booker and event organizer for many years already, making music on the side and recording with a variety of artists of Cape Verdean and Surinamese descent, being deeply rooted in the Rotterdam scene and constantly developing new musical ideas.

I asked him about ‘Nos Magia’, the theme song of the festivaI and a song I was really into. It turned out to be new material, so I asked him if we could release it on Rush Hour. That’s how the first Arp Frique EP on our label came about.

Fast forward to 2020 - Arp Frique has outdone himself yet another time. After the full album that was released in 2018 he now delivers a strong four track EP which again dives into the world of Cape Verdean funana and Caribbean zouk, but this time with a more eighties feel.

Americo Brito is on board once again, as is Marissa Nyamekye, both integral parts of the Arp Frique family. There’s an exciting road ahead of them with loads more great music to share, as exemplified by the strong title track ‘Minina Bem Li’, ‘Mindelo Aoje’ and clubhit ‘Voyage’. (AH) ⁣


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You can imagine the excitement here at Rush Hour HQ when we heard ’Sceneries Not Songs’ was finally getting a proper reissue earlier this year. It’s safe to say each and every one of us here is a dedicated Larry Heard-fan and ’Sceneries’ has always been one of his most elusive albums, a mint copy fetching rather hefty prices on Discogs and Ebay, so getting our hands on a good copy (personally I’ve been looking for an affordable replacement copy for years) has always been somewhat of a challenge for most if not all of us.

Originally released in 1994 on Black Market, ’Sceneries not Songs Volume One’ (the second volume being better known under the alternative title ’Ice Castles’), the first album released under his own name, marked a departure from the four-to-the-floor deephouse sound Heard co-created in the mid-to-late eighties to dive deeper into the more introverted sound he started experimenting with on ’Introduction’ as Mr. Fingers.

There are only three four-to-the-floor house tracks here (albeit of the usual super high-end quality), the rest of the album consisting of blissed-out downtempo sceneries (not songs!) that could be considered lounge avant-la-lettre, but not in the sense of the dull and lazy sort of music that died out in the early 2000’s - Heard’s downtempo excursions are exquisitely detailed, beautifully sensitive and emotionally charged.

Despite being decisively downtempo, sceneries like ’Tahiti Dusk’ and ’Summertime Breeze’ (a veritable chill-out classic) easily rank among his best work, balancing a timeless melancholic Heard-specific longing with flawless production values. A dreamlike sound that transcends the trappings of everyday life and music, perfect for escaping the uncertain times we live in right now, making ’Sceneries Not Songs Volume One’ a strong contender for Reissue of the Year (RO). ⁣

V/A - New Horizons (Afrosynth)

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Here’s a record that’s been long overdue - Afrosynth’s ‘New Horizons’, a compilation of contemporary South-African jazz sounds - the very first of its kind.

In case you’ve been living under a rock for much longer than COVID-19 has lasted so far: it’s an exciting time to be alive for jazz enthusiasts, with incredible streams of forward-thinking jazz emerging from all sorts of places, South-Africa being one of the most notable.

Compiled by Mabuta bass player and allround creative force Shane Cooper (check out Mabuta’s 2018 masterpiece ‘Welcome to this World’ if you haven’t already) and Afrosynth labelhead Okapi, ‘New Horizons’ (not to be confused with the recent Bristol jazz comp of the same name) offers a perfect glimpse into the thriving local scenes in all assorted flavors.

Kyle Shepherd’s beautifully striking first chords on opener ‘Evolution part 2’ by the Benjamin Jephta Quintet alone should be enough to warrant the purchase of this veritable treasure box - even before the mindblowing trumpet an sax kick in.

Shepherd’s inspired piano playing is also key on the soul-stirring ‘Dream State’, the kind of instant classic that makes you stop in your tracks immediately, regardless of what you’re doing. It’s followed by Lwanda Gogwana’s pleasantly upbeat ‘Maqundeni’ and the extraterrestrial spirit chasing of Siya Makuzeni’s haunting ‘Out of this World’.

Other highlights on this impeccable double album compilation include the contemporary postbop sounds of Bokani Dyer’s ‘Fezile’, Vuma Levin’s short and square ‘Hashtag’, The spaced-out jazz psychedelics of Reza Khota’s ‘Lost in a Place’ and Zoë Modiga’s afro-Brazilian flavored London jazz-inspired ‘The Healer’, but I assure you there are no weak moments to be found here. ‘New Horizons’ offers a unique window into a world that’s waiting to be discovered by all. (RO) ⁣


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Make sure you don’t sleep on one of the most interesting projects of the year - the unlikely collaboration of young electronic music maverick Oceanic (not to be confused with the cheesy UK eurohouse outfit of the same name) and Dutch free jazz improvisation diva Greetje Bijma.

Oceanic, who recorded for Nous'klaer, Bakk and De Nieuw (the Rush Hour bestseller ‘Live at De School’) met the awarded avantgarde vocalist who is best known for her work with groundbreaking artists like Jasper van ‘t Hof, Willem Breuker, Louis Andriessen and Han Bennink by chance and decided to pop the question straight away.

A bold move that resulted in an album that sounds great on paper, but even better on vinyl. It’s a combination we would never have thought of, but works out even better than expected.

Starting off with the understated title track, Bijma is quick to bend her vocal chords towards the unexpected, switching from conventional singing to indecipherable throat tones and strangely pitched operatic notes and back in a matter of seconds.

Things get even more interesting when Bijma’s vocal utterings are used as a more rhythmic companion to Oceanic’s more dancefloor-oriented backdrops. Quirky scats are woven into hypnotic patterns on the Stingray-inspired broken electro stepper ‘Step Snakes’ and ritualistic utterings, animalistic howls and operatic notes dance around in a frenzy on the housey ‘Never Done’.

Short vocal snippets are cut and flipped to match the breakneck speed of the neurotic ‘Technicolour Memories’, with Oceanic and Bijma moving into minimal music territory on ‘Mist and Tide’ and postmodern classical on ‘A Window Drifting’, resulting in a bold and freeflowing album that’s certainly not for everyone, but a feast for the open-minded (Ro). ⁣


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Three years ago Knekelhuis released 'Disparate Elements', an EP that quickly became somewhat of a Rush Hour staple. The Brooklyn duo's second EP for the Amsterdam powerhouse imprint was worth the three year wait.

'Array' perfectly balances Shawn O' Sullivan's love for clunky beats and hypnotically atmospheric textures with Katie Rose's (dream)pop sensibility, resulting in a hazy yet infectious work of pure bliss that gets more extraverted by the track.

The aptly titled 'Dense as Smoke' opens the Array EP in a sultry cloud of mist - a sonic fata morgana that has Rose reciting dreamlike poetry hiding somewhere behind an atmospheric thousand and one nights backdrop.

The sound opens up a bit more on the hypnotic title track, a slowly rotating thumper with spaced-out shoegaze vocals, before the tempo and mood pick up on 'Only in my Mind', that sounds like a drugged-out after hours take on a forgotten Gesloten Cirkel track.

The duo closes this great EP in style with the addictive 'More Than Just a Dream', a lingering earworm with stuttering Blue Monday-beats, droney bleeps and nagging synth loops that pull you in whether you like it or not. Another great EP by Further Reductions and a great addition to the ever expanding Knekelhuis catalog (RO).


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Very little is known about Dylan Henner, who appeared on the ambient scene last year with cassette- and digi-only releases for Brighton-based Phantom Limb and Belgian label Dauw and now makes his debut for the label formerly known as Whities.

Henner is not to keen on promoting himself on socials, instead choosing to communicate mostly through wondrously imaginative soundscapes and disarmingly poetic song titles (’The Sun Made the Sea Look Gold’, ’Marie Fell Asleep Witn Her Shoes On’, ’A Spring With The Remains Of A Fire’) and dito visual artwork.

Henner’s first full vinyl longplayer ’The Invention of the Human’ attempts to tackle a set of basic philosophical questions - what exactly makes us human? What good is civilisation when there’s so much misery attached to it? How will technology affect humanity in the long run? - through the mind and soundcard of a computer.

The result is a collection of superbly constructed human-not-human soundscapes built from synthesized vocals that are morphed into two pocket symphonies, with moods ranging from serene and cerebral to alienated and desolate, referencing classic Japanese ambient and more recent Visible Cloaks material.

‘The invention of the Human’ is a bleak vision of a future in which humans are only a small part of the equation. A new world that’s neither utopic or dystopic, with nature and technology in a strange yet perfect balance (RO).


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Earlier this year ambient pioneer Brian Eno wrote a note on behalf of fellow innovator Jon Hassell, who had ‘fallen on hard times due to long-term health issues’, setting up a GoFundMe page in order to ‘obtain a ‘safe and sustainable living situation’ (you can check it out and donate here:

In his letter Eno, who worked with him on his monumental breakthrough album ‘Fourth World Vol. 1 - Possible Musics’ calls Hassell ‘one of the most influential composers of the last 50 years’. ‘His invention of what he called ‘4th World Music’ opened the way for a fresh look at, and deeper respect for, the music of other cultures around the world. His recordings have had a big impact on other musicians, and, through them, have changed musical tastes dramatically.’

At 83 (!) his innovative spirit and desire to push musical boundaries is still what makes Hassell a unique force, creating one-of-a-kind material like 2018’s stunning ‘Listening to Pictures’ (the first part of Pentimento) and his beautiful new album ‘Seeing Through Sound’ (the second part). No small feat, considering his fragile health and the fact that he’s been composing groundbreaking music since the early seventies, working with anyone from David Sylvian to Talking Heads.

‘Seeing Through Sound’ has Hassell once again exploring new pathways through a vast forest of both worldly and otherworldly soundscapes, moods and spheres. The characteristic sound of his modified trumpet is both strangely familiar and distinctly out of this world on this exceptional album that uses elements of ambient, dub, minimal music, sound manipulation, electronica, world music (for lack of a better term) and jazz to create a parallel dimension that makes total sense in Hassell’s universe - a Fourth World that’s only accessible to those who are truely willing to listen.


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Ever since the first copies of the reissue of Hiroshi Yoshimura’s ‘Music for Nine Post Cards’ hit the shelves of our store in 2017, it has been a certified Rush Hour store staple. An album of staggering beauty, it has become one of the most loved and best sold ambient albums in Rush Hour history. And for good reason.

‘Green’ was released in 1986, almost four years after ‘Music For Nine Post Cards’, and has been a cult classic since. Although it went largely unnoticed outside Japan for decades it has become one of the most sought after Japanese ambient albums in recent years, a clean original copy going for a neat six hundred euros on any given day.

Yoshimura, who died of cancer in 2003, was a true polymath; a composer, designer, historian and architect pushing the boundaries between sound, construction and art while composing music for exhibitions, installations, fashion shows and subways. Music that was always as functional as is was beautiful. Not art for the sake of art, but art for the sake of beauty.

It’s a philosophy that’s best demonstrated by the breathtaking title track,. Based around a simple electro-acoustic melody. It has Yoshimura cracking the code for composing the perfect amalgam of synthetic and organic sound, caught in a deceptively effortless composition.

While the title track alone should be enough to justify the purchase of this stunning album, there are no weak moments on this meticulously produced work of pure beauty. Could this be the best reissue of the year?


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‘Prelúdio’ is the third album by Fabiano Do Nascimento, the virtuoso Brazilian guitarist who traded in Rio de Janeiro and Sao Paolo for L.A. to become one of the most sought after players of the Brazilian musical diaspora.

Three years after ‘Tempo dos Mestres’ - somewhat of a Rush Hour store classic - Do Nascimento returns to Los Angeles powerhouse imprint Now Again with another perfectly executed and meticulously produced masterpiece that’s rooted in the classic bossa nova tradition of the sixties and seventies, with some extra samba, MPB and tropicalia influences thrown in for good measure, playing like a modern day Baden Powell without the extra cheese.

Baden Powell, Jobim and Vinicius de Moraes are the most obvious influences here (just check out the stylistic similarities between the opening track and the classic ‘Berimbau’), as is the breezy melodic approach of the unsurpassable Edu Lobo.

Do Nascimento’s virtuosity is most apparent on fast-paced compositions like ‘Partiu’ and ‘Trem-Bala’, but he never lets his incredibly skilled playing get in the way of the sensitivity of his work, the same way he makes sure his elegance doesn’t turn his compositions into light music - A risk that’s always there when playing largely instrumental bossa-based music.

‘Prelúdio’’s timing couldn’t have been better either - it’s presented just in time for those long hot late summer nights (to prove my point: this was written on an all but deserted beach under the last rays of the blistering Portuguese sun). Now excuse me while I go get another caipirinha.


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Ever since his first releases as part of the Needs (Not Wants) collective (with his older brother Marek and DJ Yannick) Lars Bartkuhn has been one of the brightest lights in the international deephouse scene, but simply calling his music ‘deephouse’ wouldn’t do him any justice.

A multi-instrumentalist by ear and a jazzcat by heart, Bartkuhn always infuses his house compositions with enough musicality to stand out from the crowd of modern deephouse producers - broken beat, jazz, funk, fusion, ambient influences, it’s all in there somewhere without ever sounding contrived or passé. Bartkuhn has a natural gift for natural sound setting him apart from the rest.

On ‘Lost Tracks Part 2’ (the follow-up to 2003’s first part that was just credited to ‘Needs’) he delves deep into the archives to come up with a beautifully sultry house scenery that easily ranks among his best work to date - warm pads, swirling melodies and hypnotic percussion sounding like a sunlit ride to a secret beach on a remote island somewhere. Beautiful, timeless stuff.

Sultriness is also key on ‘The Chase’, a bouncy but smooth broken house fusion affair with freaky seventies-inspired jazzfunk keys, funky wah wah licks and a driving nu jazz groove.

Don’t be misled by the title of this EP - ‘Lost Tracks 2’ is nothing but premium material.


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Memoires by Beliz already came in a few weeks ago, but it was on such heavy rotation at the store it would be unfair to not let you know about this great record, especially since it turned out to be somewhat of a grower.⁣⁣

⁣ Hailing from the beautiful island of Guadeloupe (or archipelago, to be exact), it is centered around the sounds of percussionist extraordinaire Olivier Maurières, Edmony Krater, former member of Gwakasonné and much loved around here for his albums ‘Tijan Pou Velo’ (with Zepiss) and ‘An Ka Sonjé’ and the serene and compelling harp sounds of Anne Bacqueyrisse. Recorded over ten years ago, It’s an unlikely meeting of the minds that sounds both completely natural and fresh.⁣⁣

⁣⁣ Opener ‘Gwadloup’ (a largely acoustic version of an earlier Edmony Krater et Zepiss track) has become something of a store mantra over the last weeks. A trance-like modern gwo ka composition that is seized halfway by Bacqueyrisse, slowly building her harp patterns from a gentle breeze to a sweeping tropical whirlwind. A recipe that is repeated on uptempo tracks ‘Mazunga’ and ‘Natibel’. ⁣⁣

⁣⁣ The title track ‘Memoires’ is another favorite here - a timelessly melancholic and slowly swirling folk song evoking ancient memories. It has a serene and uplifting vibe similar to that on the exceptional ‘Metamorphoses’, that is highlighted by Bacqueyrisse’s beautifully transcendental melodic patterns.⁣⁣

⁣⁣ ‘Arawak E Karayib’ is a tribute to the native West-Indian people that has Krater reciting his poetry to a powerful grounation-style rhythm to great effect before getting into a meditative state with closing tracks ‘Armelance’ and ‘Nou La’, concluding an album of pure bliss - a perfect companion for advanced mind travelling.


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If you haven’t heard of her before, now is the time to start paying attention to Angel Bat Dawid, the Chicago composer, clarinetist, singer, multi-instrumentalist and spiritual jazz whirlwind that debuted with ‘The Oracle’ on International Anthem last year - a stunning album she created entirely by herself performing, overdubbing and mixing all instruments and recording the stellar results on a mere Iphone. A rare work of limitless free flowing creativity that deserves a much wider audience.⁣

⁣ Bat Dawid’s latest effort was created in response to Emma Warren's 2019 book ‘Make Some Space’, that chronicles the history of London DIY music institution Total Refreshment Centre. The wondrous three-and-a-half minute workout was composed and recorded alone in her space on the Southside of Chicago and named ‘Transition East’ in commemoration of the legendary Chicago community center that was a hub for the AACM and icons from the Black Arts Movement in the 1960s. Centered around a rambling yet insistent rhythm box it has Bat David playing her imaginative melodies proudly looking East in the finest Yusef Lateef-tradition.⁣

⁣ ‘No Space Fo Us’ was recorded in Salvador de Bahia with fellow Chicagoans Ben LaMar Gay and Damon Locks and Brazilian artists Edbrass Brasil, Romulo Alexis, Tadeu Mascarenhas, Nancy Viégas and Germano Estacio. It’s based around a repetitive minimal music-inspired piano pattern somewhere halfway between John Cage, Philip Glass and Sun Ra with Angel ripping on clarinet sounding like she’s chasing a ghost on this haunting composition. ⁣

⁣ Take it from us - you owe it to yourself to tune in to these cosmic vibrations or you’ll be missing out. Be sure to also check out the healing frequencies of Bat Dawid’s 2019 album ‘The Oracle’ if you haven’t already and prepare to be blown away completely.


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Ever since her early contributions to Whities, Nous'klaer and Die Orakel in 2018 Upsammy (real name Thessa Torsing) has been regarded as one of the biggest promises of Dutch electronic music, carving out a sound that's quite unlike anything else out there at the moment. With 'Zoom' she's keeping that promise and more.

Opener 'Melt in My Heated Hands' has Upsammy sculpting an otherworldly dream forest echoing both early Black Dog productions and Arca's work on Björk's 2017 masterpiece 'Utopia' before moving firmly into nineties braindance territory with 'Growing Out of the Plastic Box' and the expertly fragmented polyrhythmic 'It Drips', that sounds like early Squarepusher abducted by friendly aliens.

Side B of this well-balanced double album ventures even deeper into the brightly coloured soundscapes of nineties UK IDM (think of an updated DIY version of Bola and Black Dog’s side project Plaid, with darker traces of Autechre thrown in for good measure), but somehow Torsing always manages to sound like herself. She does get all Aphexy on 'Overflowering' (check out the similarities with 'Fingerbib', one of the key tracks featured on the classic 'Richard D. James' album), but that's not necessarily a bad thing.

The three closing tracks on 'Zoom' seem to hint at future directions for Upsammy, veering towards a faster and more bass-heavy sound that sits somewhere in between the hectic stumble sounds of modern-day Squarepusher and the advanced sound design of Four Tet and Floating Points' most recent albums, all underlined with a clearly written Upsammy signature, sounding more handcrafted than your average.

‘Zoom’ is a double dose of picture perfect headphone isolation music and one of best albums we've heard this year so far. ⁣


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Ever since her early contributions to Whities, Nous'klaer and Die Orakel in 2018 Upsammy (real name Thessa Torsing) has been regarded as one of the biggest promises of Dutch electronic music, carving out a sound that's quite unlike anything else out there at the moment. With 'Zoom' she's keeping that promise and more.

Opener 'Melt in My Heated Hands' has Upsammy sculpting an otherworldly dream forest echoing both early Black Dog productions and Arca's work on Björk's 2017 masterpiece 'Utopia' before moving firmly into nineties braindance territory with 'Growing Out of the Plastic Box' and the expertly fragmented polyrhythmic 'It Drips', that sounds like early Squarepusher abducted by friendly aliens.

Side B of this well-balanced double album ventures even deeper into the brightly coloured soundscapes of nineties UK IDM (think of an updated DIY version of Bola and Black Dog’s side project Plaid, with darker traces of Autechre thrown in for good measure), but somehow Torsing always manages to sound like herself. She does get all Aphexy on 'Overflowering' (check out the similarities with 'Fingerbib', one of the key tracks featured on the classic 'Richard D. James' album), but that's not necessarily a bad thing.

The three closing tracks on 'Zoom' seem to hint at future directions for Upsammy, veering towards a faster and more bass-heavy sound that sits somewhere in between the hectic stumble sounds of modern-day Squarepusher and the advanced sound design of Four Tet and Floating Points' most recent albums, all underlined with a clearly written Upsammy signature, sounding more handcrafted than your average.

‘Zoom’ is a double dose of picture perfect headphone isolation music and one of best albums we've heard this year so far. ⁣


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If you visited the store this last week, chances are you walked in to the sounds of IG Culture’s new LCSM (Likwid Continual Space Motion) project, which has been on heavy rotation for a few days now.⁣

We’ve been IG Culture fans since the inception of Rush Hour, but since the UK broken beat don has always operated on an exceptionally high level it’s hard to see how he’d be able to take his sound to the next after thirty years in the game. With ‘Earthbound’ he’s done just that. ⁣

Originally conceived as a score for the accompanying science fiction theatre production that goes by the same name, this rare work of art is based on the work of author Zecharia Sitchin, who translated ancient Sumerian tablets that explain the origins of humans. The story revolves around the ancient people of Nibiru who return to earth, only to discover that the humans they had once passed down their knowledge are now living in a world of chaos. A tale that couldn’t be more timely for the world we live in today.⁣

The resulting album is a steaming concoction of grade A broken beat (or London bruk boogie, as the man himself calls it) and post-space age jazz with subtle traces of UK garage and Detroit house that seem to have seeped into the boiling pot. The storming ‘The Box’ is a firm favorite here, but each and every one of the eighteen tracks on this triple album is a trip. The fast-paced and fittingly titled ‘World Order is Chaos’ for instance, a fierce jazzstepper that’s propelled forward by a frantic sax and zooming keys. ‘Weapon X’, ‘Ma’at Life’ and the title track are roughly made of the same cloth - insistent, hypnotic dancefloor stormers that keep on moving forward relentlessly without ever dropping the pace. Bustling organic energy is key on this stunning piece of work that will no doubt prove a strong contender for the Album of the Year lists. Great artwork by Machine too! ⁣


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Plafond 06 is the long-awaited follow-up to Haron’s 2018 tour de force ‘Wandelaar’, a largely piano-centered modern classical ambient album that appeared in a whole bunch of end-of-year lists that year. For his new project on Bakk Haron enlisted the talents of Finnish-Glaswegian artist Cucina Povera (make sure to check out her totally awesome 2018 album ‘Hilja’ and the more recent ‘Zoom’ and ‘Tyyni’ if you have the chance), whose ethereal experimental vocals add a new dimension to Haron’s exquisite soundscapes. ⁣

⁣ By trading in the piano that was a dominant factor on ‘Wandelaar’ for a more organ-based sound, Haron is directing his artistic vision into new directions to great effect. Opener ‘Riffittelyä 1’ starts out as an esoteric dreampop lullaby that morphs into an abstract sound collage slowly giving way to the eerily quiet poetry of second and third parts with its ominous cinematic strings. The last part of ‘Riffittelyä’ may well be closest to a song in the traditional sense of the word - a melancholic and slowly meandering sound saga with vocal experimentation in the finest Enya/Elisabeth Fraser-tradition with a DIY-twist, underpinned by a heavy yet crystal clear church organ. The instrumental ‘Maandag, Spiegeldag’ (‘Monday, Mirror Day’) is the most introverted piece here. It’s an emotionally charged ambient piece that leaves plenty of room for reflection. Povera experiments with ancient Northern song structures and vocal drone on closer ‘Ajatus’ by layering harmonies and melodies to mesmerizing effect. It’s the perfect finale to this wondrous and wonderfully adventurous miracle music mini album that can turn from ominous to pretty in a matter of seconds at any time without ever losing its unique charm ⁣


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Less than a minute into the first track of 'Ce Es Music', Jordan Zawideh slams a relentless loop of a chopped lo-fi vocal sample: a jacking "House Me!". That sample will linger, distorted and reassembled, throughout this double-pack, freshly released on the consistently unpredictable No 'Label'. Zawideh channels the raw and ardent machine rhythms of classic early Chicago house era. Interspersed literal and hypnotically repetitive short vocal loops recall the Muzique crew's edgier iterations of this classic sound. It's a relatively straightforward idea, but one that's meticulously executed with such an individual touch to shape classic tropes into refreshing and unorthodox sonic forms.

Jordan Zawideh's music reflects, in a way, his personal migration from native Detroit to the birthplace and spiritual Mecca of house music, Chicago. Witnessing the warehouse party scene in Detroit from the early to the late Nineties, Zawideh relocated to Chi-town in his 20s: a stalwart presence as a DJ and producer for almost two decades, you could have also found him behind the counter of Kstarke Records (the city's legendary record shop and label). It should come as little surprise that his sonic output is deeply rooted into the rich music heritage of both these cities. His previous material released on Kstarke, Nation and Detroit's Interdimensional Transmissions shares an appreciation and genuine love for the raw power of the cassette era of Chicago house. Twisted acid, slamming Jakbeat and an encompassing DIY warehouse vibe, make this sound highly compatible with output from fellow artists such as Traxx, JTC, Deecoy, Hieroglyphic Being and Beau Wanzer.

Most of the tracks on 'Ce Es Music' are dancefloor demolishers: from the acid-leaning, percussive 'Work Delay' and 'I'm Busy', to 'House Me', 'Music Music', 'In A Dream', where chopped vocal loops establish busy rhythmic patterns, repeating sound is bruised into new forms, or is sliced up into further percussion. The DJ tools that are included stand alone too. 'House Me Accapella' & 'Oscillator Accapella' are radical lo-fi reassemblies of voice and drum samples - at times expanded or contracted past breaking point that find new and danceable senses in the phonemes.

It might sound trite when describing a record that falls into the 'dance music' category, but these are tunes that will quicken your pulse and stir your body into a cathartic dance. Dancing like nobody's watching. Whether in a club or, more likely given the time of it's release...your own living room.

Jordan Zawideh's latest release proves that you can push musical boundaries while staying true to the roots of an established music tradition. A testament to the continued vitality of the Chicago house sound, it reveals its endless potential. As D. Morris puts it in Frieze mag, "the experience of something constantly reconfigured from within its own constraints is what makes such scenes so vital and exciting."

CE ES Music was recorded in Chicago, 2019. Ltd Edition Double Pack. Artwork By Cosmo Knex

( Ivana H.) ⁣


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Here's another record we've been playing a lot in the store lately: Favorite's impeccable reissue of Twylyte '81's 'The First Coming', a⁣⁣ criminally overlooked and notoriously hard to find soul jazz album that sank without a trace almost directly upon release, but sounds more beautiful than ever almost forty years later. Led by the honey-voiced Frank Jones Jr, whose voice sits somewhere between Jon Lucien and Leon Thomas sans acrobatics, the trio only released one record that sounds wonderfully accomplished considering the three were all only around 18 at the time. From the first bass notes of opener 'Like a Ferris Wheel' you know you're in for something special. 'Ferris Wheel' is a deep and spiritually charged soul jazz statement that echoes the warm and folky⁣⁣ sound of Terry Callier, an influence that can also be heard on the slow and compelling 'Chance To Love' that's carried by John Belzaguy's plucky bass guitar and session player LeeAnn Ledgerwood's beautifully lyric⁣⁣ piano. 'A Dreamer' is the centerpiece of this album. Ledgerwood absolutely kills it with her hypnotic piano patterns creating the⁣⁣ perfect backdrop for Belzaguy to go all out on bass in the elongated instrumental part of the song before the whole thing suddenly drops into a breakfest deluxe (get your samplers out, everyone!).⁣⁣

⁣⁣ The jury is still out on 'The Love We Lost', a brave but ill-advised organic attempt to attack high energy disco that nonetheless has its moments. The disco experiment works better on 'Time', but 'Some Go Up'⁣⁣ makes it clear that the trio is at its best when they reach for a higher spiritual plane. That doesn't mean the tempo has to be low though; the dazzling jazzdance stepper 'Can I Change' proves they have the capability to shine bright at any tempo, as long as they refrain from attempting to go full disco. Just to be clear: the disco discussion doesn't take anything away from this fantastic album that easily ranks among the best reissues we've heard this year (RO).⁣⁣ ⁣


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Knxwledge has always been one of our favorite hiphop producers of the post-Dilla era. We all love his beat tapes here and ‘Hud Dreams’, his 2015 debut album for Stones Throw, is nothing short of a Rush Hour store classic.

Personally I may have taken it a bit too far with the Knxwledge love though - in the months after the Anderson Paak collabo NxWorries came out (an album that arguably features Paak’s best work to date and that’s saying something) I played it in the store so much I was repeatedly asked to please put on something else for god’s sake by my esteemed colleagues - something known here as the Quasimoto-effect. Apparently you can have to much of a good thing.

‘1988’ is only his second proper solo album for Stones Throw, but that doesn’t mean he’s been taking it easy recently. It’s been raining digital Knxwledge albums, EP’s and tracks on Bandcamp for years now, but he’s clearly been saving up some of his best beats for this one.

‘1988’ (the title referencing to Knxw’s year of birth) still has the character of one of his many beat tapes, morphing 22 tracks into a thrilling 38 minute collage of slick grooves and blissed out loops borrowed from seventies symphonic soul, bouncy boogie, jazzy modern soul and syropy swingbeat, interspersed with clever samples and spot-on vocal appearances. Sultry and understatedly funky, it’s the perfect companion for comfy home listening - and we need way more of those right now (RO). ⁣


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It's one of the coolest comps out there right now: BBE's 'A Taste of Chicago', lovingly compiled by extended Rush Hour family member Jamie 3:26, the broad smiled Windy City veteran who's been dominating dancefloors for decades with a potent mix of raw Chicago house, bold disco, heavy funk and whatever else works to whip the crowd into a frenzy. On 'A Taste of Chicago' he shares some of his secret dancefloor weapons in the form of personalized edits and reworks of both timeless classics and lesser known floorburners, opening with a track that falls firmly into the latter category, an edit of one of Chicago's best kept secrets, BSTC's highly percussive 'Venus & Mars'. It's followed by one of Jamie's biggest crowdpleasers, the crazed out scat track that is 'The Lesson' by Mighty Science. Jamie moves into classic Chicago house territory with his rendition of Jungle Wonz' deephouse anthem 'The Jungle' and Quest's equally anthemic 'Mind Games' only to crank it up another notch with the high energy handclapping house of Braxton Holmes' 'Stomps & Shouts'. Proceedings slow down a bit on Chip E's mechanic 1985 house banger 'It's House', before Jamie goes all out on his version of raunchy New Jersey funk outfit Calendar's 1976 monster 'Comin' on Strong'. Anything goes with Jamie, as long as it's funky and lights up the dancefloor - It's that Chicago attitude that makes this compilation for BBE such a strong one (RO).⁣ ⁣ ⁣


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A pair of high voltage fairy-tales from the ever psychedelic Leisure Connection crew.

Leisure Connection is a side project of Rahdunes, a band comprising of Aaron Coyes (50% of Peaking Lights) and his long time friend and partner in noise, Nate Archer. The band carved out their sound jamming endlessly for days on homemade equipment and have colourful history together - back in the early 2000s they would turn up at underground parties with tons of electronic gear, load in like they were booked and just start playing. They also performed live on cult US cable TV show 'Lets Paint TV' (youtube that!). The L.C. guise came seemingly out of nowhere in 2013, when the duo dropped two highly original percussive pounders on their, now classic, No 'Label' 12". Aside from a few remixes that followed, no new material surfaced for a long time. That was until a year or so ago when they announced completion of the soundtrack to an obscure indie movie by L.A. by artists, the Haas Brothers. No release was initially planned, but now two pieces from the OST have found their way to this cracking 7" vinyl release.

The tracks have twists and turns aplenty along the way, with the studio sounding gloriously badly wired and sparking. March of the Imbecile is indeed pretty stupid.... stupidly pretty that is. It's a fantastical and aptly cinematic ride through immersive harmonies and gorgeous tape bent melodies that are underpinned with a solid, plodding old school drumbox. Worries go on hold during this the duration of this one. Every spin. Over on the flip, Love from the Astroplane begins with an obscure, synthetic, field recording like scene, then takes a stark dive into thundering psychedelic tribal realms. There's a wild atmosphere on this one, like a vivid scene from Jodorowsky or Kenneth Anger movie.

This record is a good example of how some things just really work on a 7". R=A are channeling their love of the format - putting out nuggets from the electronic sphere, involving Beau Wanzer, Robert Bergman, Tribe Of Colin, Jamal Moss & Black Deer to name a few. Check them out. ⁣


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At Rush Hour we have a few artists we would follow to the end of the earth and beyond. Aux 88 is one of them. The Detroit electro legends’ new album ‘Counterparts’ has been awaited here with bated breath, so we are delighted to dedicate this week’s ROTW to them. ⁣

⁣ ‘Counterparts’ is a yet another masterpiece of topnotch timeless retrofuturism by Keith Tucker & co. The double LP starts with a Kraftwerky vibe that crescendoes into classic Detroit techno. You Don’t Want None Of This warns listeners with the title before launching into a futuristic instant electro classic. The vocals maintain that almost robotic feel that Aux 88 is renowned for. It’s a definite club shaker. Moon Walker experiments with leftfield electronics, creating a bassline few artists can pull off to this standard. Electro In The Key Of Funk is slightly slower, again maintaining the classic electro sound in an electronic undulation of wonderfulness. ⁣

⁣ There is an almost computer game feel to Pothole Paradise. The track is fast, funky and melodic with its long synths, paying homage to the Detroit jitters. Manic sounds just that - manic. It has an incredibly heavy-hitting bass and is hectic but mystical, nodding to space like sounds that are consistent through the album. Personally, this is my favourite, it draws out everything I love about electro, a heavy but surreal vibe. The message that this album is futurist and space-like has been pushed enough, but no track encapsulates that like My Electro Visions Acapella. It takes a step away from the heavier sounding tracks, relying on distorted vocals and lyrical genius to create another Aux 88 classic. My other favourite track from this album is undoubtedly Stereolized, it captures the repetitive harsh-sounding yet playful tones that have always been a given in their earlier work. The final track My Electro Vision is intense with an almost B-Boy beat and again, elements of Kraftwerk with an added Detroit spice. It concludes an album that easily lives up to expectations and is absolutely essential for anyone who has even a mild interest in Detroit electro. (KAT)


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Brazilian composer and multi-instrumentalist Priscilla Ermel has been long-loved by Music From Memory, and this LP, “Origens Da Luz”, is utterly Brazilian, with influences from all around the world, resulting in an ethereal and relentlessly beautiful concoction of fifteen tracks that each encapsulate the nomadic question: where is the line that separates and defines global sounds? Priscilla blurs it entirely.⁣

⁣ Luar is the first track, opening with an eerily stunning classical melody that sets the scene of a romantic summer evening, bird sounds to boot. Martim Pescador is both calming and chaotic, with clunky offbeat percussion, it is both unique and borderless. Campo Des Sonhos encapsulates an almost Studio Ghibliesque tone and immediately makes everything feel slightly more exciting in a melancholic animated way. Origens Da Luz is hypnotic, the instruments combined with haunting voices create an unusual atmosphere and appear to draw on Priscilla’s anthropological roots. Meditaçâo is calm, melodic and classically Brazilian in its tone and delivery. Americua is upbeat and really shows how Priscilla’s music opens up a mystical space. Cine Mato Gráfico integrates a slow pace, merging and connecting a multitude of cultures simultaneously. The intense echoing slowness of Cristal De Fogo is simple yet effective, it underlines the point where ancient and modern music evolves into a new language. ⁣⁣

⁣ Sete Quedas highlight’s Priscilla’s flawless vocals once again, the track is layered and tells a story of its own. Following on from this, the dramatic and heavy hollow tones of Corpo Do Vento have an almost warlike drum beat, with whining melodies and a wobbling mouth harp that creates an incredibly beautiful tribal feel. It is 15 minutes long and in that time, we are taken to... (read more via link below or in bio) (KAT)⁣ ⁣


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Elena Colombi created the label Osàre! Editions in 2019 to shine a light on daring and future-facing artists “rooted in free-spirited musical abandon”. Her releases are deeply thought through and represent a unique and refreshing approach to music, therefore it isn’t surprising that “A Retrospective” by Thanasis Zlatanos has caught our eye for Record Of The Week. This compilation album has been prepared by Elena and Zlatanos, pulling tracks from his previous work to shine a light on an inventive and imaginative artist who has previously been overlooked. ⁣

⁣ “A Retrospective” links genres while simultaneously obliterating the need for them altogether. Wave, pop, ambient, proto electronic and Macedonian folk music are all heard, but the overall tone is something that certainly cannot be put in a box. The album’s opening track, “Master Chameleon”, has a plinky melody that takes you into a dreamy daze alongside a grounding, darker sounding synth. “Nor The Reflection” is rough around the edges, with effortless wave-style vocals and a Lo-Fi sound. The third track of the album, “Without us” is dramatic and theatrical. The folky voice, over heavy percussion, is suddenly interrupted by a grounding vocal. “Psychedelic Clown” is slightly offbeat, giving a feeling of confusion and slight creepiness, something the title already adheres to. This is one of my personal favourites from the album, it’s weirdness is on a different level and it sounds like nothing I’ve heard before. Time to chill out a bit, with “The Crystal Sight (Excerpt II)”, the ambience is ghostly but calming and beautiful. The next track is titled (and sounds) “Distorted”. It maintains a sereness but in an intrusive way that conjures the image of a weird hymn. ⁣

⁣ The slow-paced, undulating eerieness of "Surreal Moment", blends perfectly into the warping continuum and beautifully quirky lyrics of "No Explanation", which sounds like a trippy pop song for the early hours and is another personal favourite. "The Crystal Sight (Excerpt I)" isn't at all similar to its sibling track. It has more of a new-age electronica feel, with a futuristic, space-like vibe, clinking and plinking into a satisfying abyss. "The Dead Don't Remember" is wonderfully robotic, again with a hymn feel and lyrics that sound like a mantra. "The New Barbarians" is Vocoder-laden, operatic, performative and marvellous. "Macedonian" is heartbreaking. The melody feels hopeful and agonising simultaneously. The album concludes with "The Light", a guitar solo piece that is completed with electronic-effects that make it, like most of the tracks on this album, unlike anything else. Listen to "A Retrospective" in one sitting and you will be taken on a journey into part of your brain that is rarely visited. It is truly a masterpiece, Thanasis Zlatanos and Elena Colombi both deserve praise and left no question in our mind when choosing Record of the week (KAT). ⁣

Record of the week 6- Trenton Chase - Planar Array (Artificial Dance)

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Artificial Dance has released yet another banger of an album, this time from Trenton Chase. As half of Manie Sans Desire and the co-owner of June records, he’s known for his uncompromising sound that touches a wide range of genres. His latest LP, titled “Planar Array” is no different. The release is heavy-hitting with distorted vocals, industrial textures and dagger-like synths. It’s a satisfying array of wave, EBM and experimental music. ⁣

Transit Decay has a consistent clunky bass line and depth at its core. Its tone is hostile, something you can definitely imagine spurring excitement in some smokey dark room at the dead of night. Wind Shear is like riding around in a convertible Chevrolet in the 80s. It’s uptempo and exciting, with drone sounding synths that are simultaneously melodic and chaotic. Narked is defined by its aggressive electronics. The kick is consistent and angry, with distorted vocals scattered here and there, giving it an unusually uncomfortable vibe. ⁣

The title track Planar Array deserves an extra bit of attention, it stands out. It merges the classic tones of wave, EBM and experimental all at the same time. It’s melodic high synths compliment the almost calming vocals in the intro; it will be a popular one out and about this spring. Anamnesis is probably the most cheerful track of the album. It maintains the heaviness that runs through the LP, but is full of melodic, positive synths. Rto again has a slightly lighter, more synthy sound, however its harmony is less bouncy and more minor. Doppler Shift is dreamy. It’s clunky and offbeat, with a weird metronome feel that has you bobbing your head very slowly. The result is an excellent album that gets progressively more destructive. It really deserves its title as this week's Record of The Week. (Kat)⁣

Record of the week 5 - V/A - America Invertida (Vampisoul)

Let’s face it. Especially this last decade so many new archival compilations were thrown at the record buying public (which is ultimately a good thing - don’t get us wrong - there’s always room for more music) that by now it’s virtually impossible to still come up with something new or cover new ground. The infamous Vampisoul imprint has done just that with ‘America Invertida’, an essential collection of rare Uruguayan music from the eighties.

While the music of larger neighbouring countries like Brazil and (to a lesser degree) Argentina has been documented extensively, there has always been a shortage of good Uruguayian music on the market, even though we knew it was out there somewhere. That’s what makes ‘America Invertida’ a true treasure chest with glistering diamonds and other precious gems that have been hiding under the surface for decades.

Opener ‘Desencanto’ sets the tone perfectly, starting out as an ethereal folky groover that slowly moves further into bossa territory. It’s followed by the stunning ‘Tras Tus Ojos’ by Estela Magnone and Jaime Roos - a beautifully intricate and wonderfully groovy slowstepper with breathtaking ethereal shoegaze-avant-la-lettre vocals (think Slowdive and Lush five years before they even existed). A song so beautiful it would be worth getting the album for alone, but there are no weak moments on this stellar comp. Things get a bit more psychedelic with ‘De Los Relojeros’ and ‘Kabumba’ before the unmistakingly eighties smoothness kicks in on the B-side with ‘Llamada Insolita’ and ‘Y el Tiempo Pasa’. Another undisputed highlight is the chilling ‘A Ustedes’ by Fernando Cabrera, a menacing minimalist statement that ends in a dark haze of haunting choir vocals. ‘America Invertida’ is an absolutely flawless and amazingly accomplished work of art opening the gate to a beautiful, largely unknown musical landscape that’s waiting to be rediscovered (RO).⁣

Record of the week - Vegyn - Only Diamonds Cut Diamonds (Plz Make It Ruinz)

Vegyn is by no means the new kid on the block. You probably know him as the producer of Frank Ocean’s legendary albums “Endless” and “Blonde”. ROTW is Vegyn’s debut album “Only Diamonds Cut Diamonds”, an incredible piece showing his stand-alone work is set to be as iconic as his collaborations. The album is hard to define to one genre, it has chasms of hip hop, jazz and electronic sounds with an esoteric dream-like edge. What stands out about this is the contrast within the tracks, making the personality of this album multiply the further you listen.

We start with a dreamy futuristic vibe, the track “Blue Verb” is wintery with echoing vocals. These continue into “Nauseous/Devilfish”, in the breaks between verses from JPEGMAFIA. “That Ain’t No Dang Cat!” is a crescendo of hecticness, mellowed out only slightly by the glitchy but slow and melodic “Aspenz”. “Cowboy ALLSTAR” is the track on this album for me, it’s complex, melodic and spicy all at the same time. “Thoughts Of Offing One” again feels more emotional, whereas “Debold” has a broken beat, with abstract breaks and an atmospheric tone. “Fake Life” is beautifully constructed, and really fits into the genre of modern classical music, this contrasts entirely with “I Don't Owe U NYthing”, a more off-kilter hip hop track from the London talent Jeshi. “Fire Like Tyndall” crackles and opens into a slow jam, with trap-like rhythms and distorted vocal recordings. “Unknown, Forever Unknown” again points to modern classical music, the delicate melody is just beautiful, “Retro OTW” is equally as calm and classical, enriched by the beautiful monotone voice singing. “When I Strike” is a mashup of everything mentioned previously; it’s broken beat, melancholic, futuristic and glitchy. “You Owe Me” is another favourite of mine, simultaneously hectic and dramatic and calm. “It’s Nice To Be Alive” lives up to its title, the positive chords shine through. The album finishes with “Blue Verb Reprise”, a fuller version of its opening counterpart with a calming outro. The intensity changes, the style is eclectic, yet within all this Vegyn maintains a consistency of the utmost skill.⁣