Glitterbox 2025 Extended

Winter 2017

112 kbps files for preview - don't be a dunce!

Munich duo COEO joins the RNT family with a pack of reworks destined for dance floor greatness! Heretofore known for deep house goodness on Let's Play House and Toy Tonics, the boys flex their edit muscles on these 4 tracks which range from the soulfully sublime 'Like It Is,' to the disco house fury of 'Long Night Ahead,' to the best damn Fela edit we've ever heard.

Disco Volante EP

COEO - Long Night Ahead

*Watch on YouTube:  https://youtu.be/zJyF0zRLZlc
*Read More: http://boltingbits.com/jacques-renault-youre-gonna-want-me-back-kaviar-disco-club/

New York City disco party freaks @kaviardiscoclub Club are planning to inject their flavor into the vinyl game. The label (which shares the same branding as the event collective) is kicking things off with a four track V/A showcasing cuts from Philly and NYC based producers, including @JacquesRenault of Let's Play House (@lphnyc) fame, as well as Matpat, Evan Michael and co-founder Higgins (@higginsaudio). The imprint - both for this release and going forward - aims to curate slick, New York style disco vibes from regional producers.

For today's premiere, we take on Jacques' "You're Gonna Want Me Back". It's NYC disco all the way, with the neat edit of Delia Renee brandishing a silky string section and funky bass and guitar licks reminiscent of late 70's/early 80's disco/postdisco jams (think Solar and Prelude). Renault bumps the tempo and bolsters the drums to a house-ier fit for his flip, cleverly teasing in vocals while maintaining extended instrumental sections as the focus. It's a tasty cut that's sure to sit nicely as a later night groover.

The remainder of the EP is equally solid. Matpat's soulful "Searchin'" rounds out the A-Side with a vibey and cleverly-chopped arrangement suited for warm, breezy evenings. On the flip, Evan Michael takes things to boogie territory with "Just Like That". A mean bassline gets looped and filtered nicely before bringing the disco house arrangement into full swing, with vocal snips and saxophone being sprinkled smartly on. Label bossman Higgins handles closing duties on the record via "Goodtimes", a groovy clav and synth-led slammer with an irresistible electroboogie bassline.

All four edits on the release are expertly orchestrated for maximum effect on the dancefloor. If you're looking for well-curated, feel-good and beefy four to the floor jams: well, you've found the right record. KDC001 hits stores March 6th at an array of major vinyl retailers. Jump on it!

PREMIERE : Jacques Renault - You're Gonna Want Me Back

Read More: http://bit.ly/2lAQHIJ
Watch on YouTube: http://bit.ly/2lhHHWq

Brooklyn-based label @razor-n-tape have maintained a certain prolificness over the last few years that has raised them to royalty status in the disco game. The imprint's formula is simple: straight-up, party-rocking edits for their RnT Edits line, and more house-leaning deep grooves for their Reserve sublabel. In the latest entry in the Edits series, we have a tasty little EP from Ron Bacardi, which is the disco and house alias of London-based techno hotshot @ben-sims.

On the flip comes our premiere for today, "Let The Music Play". Again, Mr. Bacardi brings the uptempo disco feel.  The edit focuses in on the more mesmerizing aspects of the original; with repeating funky riffs, a big time bassline, and a soaring synthesizer looping and layering to great effect.

RNT024

PREMIERE : Ron Bacardi - Let The Music Play

Caribbean king/undercover techno behemoth Ron Bacardi joins the Razor-N-Tape massive with a 4-track inferno of disco edit heat! The A-side races out of the gate with the galloping "Back For More", a stonking, tonking mile a minute romp through filter disco, spectral echo and searing female vocals. Straight out the C/O/M/B/I playbook, this is gonna fuck the dancefloor up! Next up we cop a feel of 'Circles', a slow and stomping looper which twists turns and churns through jazz funk licks, wah guitar and filthy brass. Beaty, bouncy and thicker than Nicki, this should have sweat drippin' from the roof. The B side kicks off with 'Music Play,' an easy-breezy synth-string, electric piano, and horn-laden affair which should go down a storm with the Rahaan fans. Swirling percussion and soaring falsettos take us home on 'Never Dance,'but don't get it twisted: with Señor Bacardi at the controls, dance you WILL. Buy it here : http://www.juno.co.uk/products/ron-bacardi-edits/641413-01/

LISTEN ON YOUTUBE

PREMIERE : Ron Bacardi - Never Used To Dance

112 kbps files for preview - don't be a dunce!

Ron Bacardi aka @ben-sims joins RNT with a 4-track inferno of disco edit heat! The A-side races out of the gate with the galloping ‘Back For More,’ followed by the soulful bounce of ‘Circles,’ which loops a gritty guitar-driven hook to perfection. The B side kicks off with ‘Music Play,’ an easy-breezy synth-string, electric piano, and horn-laden affair. Swirling percussion and soaring falsettos take us home on ‘Never Dance,’ but don’t get it twisted: with Señor Bacardi at the controls, dance you WILL!

Ron Bacardi Edits

Ron Bacardi -  Circles

Freak It!

Freak It! (Original Mix)

Freak It! (Black Science Orchestra's Last Days Of Disco Mix)

Freak It! (Pete Heller's Raw Flava Mix)

Beach Disco Sessions Volume 6

Carry On Turn Me On (AN2 Remix)

Buy / Stream: https://ffm.to/takenallthistime-lp

Praise coming in from Groove Armada, Laurent Garnier, Erol Alkan, Crazy P, Louise Chen, DJ Bone, Fred P, ABSOLUTE and Horse Meat Disco.

Prolific disco/house producer James Curd is perhaps one of the undersung heroes of the scene. With hundreds of production credits to his name on every label worth its salt from DFA Records to Classic Music Company to Permanent Vacation to Lumberjacks In Hell — and of course, Exploited — he has serious skin in the game. It’s finally time for his debut album to make its mark on the world, rounding up 14 of his finest moments to date for Exploited and packaging them up into one joyous blend.
“‘Taken All This Time’ is a catalog of music that stays true to my life growing up in my critical formative years in Chicago” he explains. “I used to make tracks from beginning to end on an MPC2000. I had a studio in my room that was set up on a door that was held up by two overturned trash cans. If I was recording on the mic I had to shut my windows because I lived on the third floor above 90/94. Sometimes I would get WGCI bleeding into my speakers while I was trying to work. It was the best of times. I worked at a record store called Supreme most days. Then I would work on music till late and head out to the club. I had a residency with Derrick Carter, Gene Farris and Diz. I made so much music — especially in the brutal winters.”
You wouldn’t know that much of this record was made in the depths of winter, given the warm, balmy vibe that surrounds much of it. With his magical synth wizardry cutting against jazzy keys, disco/funk basslines, and sublime vocals, it’s a beautiful mix of sounds that is at home on the dancefloor as on the home stereo. Each track contains elements built on his MPC, with all keys, vintage synths, guitars and bass played live. “ In a time where so much music is pieced together by sample packs and drum loops this album is created brick by brick.... or beat by beat. Every keyboard sound was played on an actual keyboard in my studio. Guitars and bass were played in.”
The album draws its influences from ‘70s disco, ‘80s boogie and ‘90s deep house in equal measure, serving as a musical document of Curd’s upbringing. Beautiful vocals are provided by a diverse cast of singers and rappers, including Bear Who? Luke Million, Likasto, Natasha Lillith and KE, with other collaborative moments featuring Fred Everything and Karmon.
The prolific producer has previously worked with James Murphy for a release on his DFA Records label, and works on many film, TV and video game score projects, including for the ‘Grand Theft Auto’ series and 50 Cent’s show ‘The Oath’. But right now, it’s all about this beautiful collection of tracks, providing a milestone in his career that he will be able to look back on very proudly in years to come.
Single and Album artworks were done by James' friend Cody Hudson who is a Chicago based artist known for his graphic design contributions under the name Struggle Inc. and for the production of clean, multi-dimensional graphics, Cody's design aesthetic is part urban modernism, and part organic visual deconstruction.
His graphic work and paintings have been exhibited throughout the US, Europe and Japan including the Museum of Contemporary Art (Chicago), New Image Art (LA), Rocket Gallery (Tokyo), The Lazy Dog (Paris), & Andrew Rafacz (Chicago).

Artist: James Curd
Release: Taken All This Time
Label: Exploited
Cat: EXPDIGITAL222
LC: 15799 
Publisher: Exploited Ghetto Music Publishing
Releasedate Beatport & Streaming: 24.09.2021
Releasedate Global Download: 08.10.21

Taken All This Time (Album)

I Get Up To DC

Buy / Stream

James Curd - I Get Up To DC I Exploited

Send demos here: https://www.tstack.link/exploited-GBaXdMGvJLHubDbFJtn9O
Exploited Rec promises to strip the wallpaper from the walls of your home stereo.
Shir Khan started Exploited in 2007. Exploited Rec now plays host to some wide-ranging and innovative electronic talent - including Adana Twins, Claptone, Budakid, Joyce Muniz, James Curd, Shir Khan (to name a few) - and its artists have been receiving numerous supportive spins from the likes of Solomun, Pete Tong, Soul Clap, Wolf&Lamb, Azari&III, Jesse Rose, Axel Boman and A-Trak.
This is serious dance music at it's most cutting edge with all the juice to really get you going. It's totally contemporary, innovative and has a chunky dirty feel. "Exploited" take you on an invigorating roller coaster ride back to your youth when you first listened to dance music with all the thrills and spills you so enjoyed about clubbing. It's heavy, exciting and special.
'"Exploited Records" is a seamless melting pot of varied styles that simply can't fail to please even the most discerning ears. Highlights here are plentyful. Not to be missed at any cost.' (Clash)
'Musical hybrids are truly the flavour of today, but few have managed to capture the atmosphere of an unpredictable microcosm of a night out on a recordlabel - until now. Shir Khan's label "Exploited" bottles the zeitgeist's giddy thrills with plenty of style and substance. This is dance music hybridism in all its most glorious forms, and Shir Khan is an expert at making square pegs fit round holes.' (DJ-Mag)
'"Exploited Records" boss Shir Khan has been gaining a lot of acclaim recently, and deservedly so - as he has shown us the high quality, diversity and forward-thinking nature of his label. Engaging, riveting and diverse.' (Data Transmission)