relax your ass 19

Track taken from the first DERWIN RECORDINGS maxi including remix by Peter Kruder // available May 25th 2011 (Derwin Recordings)

DERWIN 002-1/-3 
Format: 12” / download
BC: 673799310218


TRACKLISTING

Side A:
1. Dr. Jeckyll And Mr Hyde (Peter Kruder Remix)  

Side B:
1. Everything (Prommer & Barck Remix) 
2. Gladys Knight (Alex Barck Remix) 

Digital Bonus Track:
Dr. Jeckyll And Mr Hyde (Peter Kruder Remix - Alex Barck Edit) 

Prommer & Barck - Gladys Knight (Alex Barck Remix)

This is the stuff your parents will either love or hate.

Vinyl only!

Get it here: https://ancientfuture.bandcamp.com/album/af-extra01-alma-mater-disco-edits

Dance

Bison - Familiar Stranger (Night)

Lights up

B. DreadMan (John Talabot's Dusty Edit)

Magpie (Morgan Geist Remix)

Jules et Spatz — Rotwii Lied

VINYL ONLY - 250 COPIES

GET IT @WWW.SNORKELRECORDS.COM

Download

hubbabubbaklubb - Mopedbart 'Olefonken's Autostrada Miks'

A second selection of edits from Love Creation, this time with a more Balearic slant to enchant your dance floor. First one sold out mega fast, don't sleep.

Juno Review:

There's more dewy-eyed, loved-up re-edit action to be found on this second salve from the mysterious Love Creation crew. Opener "Turn My Back On You" is a sultry, late night delight; an impressively seductive rearrangement of a slow burning, Sade style shuffler full of lazy guitar lines, rising and falling bass, and crotch-stirring vocals. Stay tuned to side A for the psychedelic disco-rock trip that is "Mr Bates" - and, yes, it's definitely Balearic - or flip to the B for the freshly baked soul shuffle of "Take Me With You". All three edits are undoubtedly winners, and should suit warm up sets, afternoon jams, and dancers that don't need a hectic tempo to get down.

Take Me With You (Love Creation Edit)

Buy from Discogs

FABER

Hear & Now’s story is one of friendship and a shared passion for music. It began with a chance meeting on the dancefloor at Red Zone in Perugia, one of Italy’s most legendary clubs of the 1990s. Nearly three decades on, these glassy-eyed clubbers have joined forces to deliver one of the most magical and sun-kissed albums that Claremont 56 has ever released.

By the time Ricky L and Marcoradi first joined forces in the studio in 2016, both had become established producers within Italy’s vibrant deep house scene. Between them, they’d released records and remixes on such labels as Ibadan, Uomo, Reincarnation, Top Tracks, Restricted Tracks and Vega. Keen to step away from the dancefloor, they decided to simply create beautiful music for bleary-eyed after-hours sofa sessions, lazy summer afternoons and early mornings spent blinking at the rising sun.

Aurora Baleare, their debut album, follows on from a fantastic double A-side 12” for Claremont 56 in February 2017. Those two tracks take pride of place amongst an eight-track selection simply brimming with evocative workouts, gentle soundscapes and noon-bright sonic bliss. While you’ll find luscious instrumental cuts designed to inspire baggy, glassy-eyed shuffling – see the mid-tempo, spine-tingling brilliance of “Salsedine”, mind-massaging “Hirundo” and dreamy slow-house treat “Sabbia Magica” – it’s the effortless brilliance of Marcoradi’s improvised guitar playing and the duo’s atmospheric approach that really catches the ear. Check, for example, the heady horizontal shuffle of “Trasimeno”, where poignant ambient chords, jazzy electric guitar solos and deep space electronics tumble down over shuffling beats and a squeezable synthesizer bassline, and the sun-down Adriatic wonder of “Stella Dei Venti”, a track so effortlessly loved-up and blissful that you might be overcome by emotion (it certainly had us daydreaming of days spent exploring the intense natural beauty of Italy’s Adriatic coast).

Moments like this, where the duo’s dreamy electronics and smile-inducing melodies seemingly shimmer across the sound spectrum, can be found dotted throughout Aurora Baleare. There’s the darting digital synthesizer motifs, sparse hand percussion and ricocheting solos of “Airone”, the Italo-disco-inspired chugging positivity of “La Marsa” and the title track’s humid beachside breeze, where intertwined electronic and acoustic lead lines seemingly glimmer like rays of sunshine bouncing off the surface of a becalmed, crystal clear ocean.

Their roots may be on the dancefloor, but Hear & Now are fast becoming down tempo masters. You can dance if you want to, but you may just want to hug a stranger instead.

Hear & Now - Aurora Baleare (Clips)

Ready To Die (Mudd's Extended Mix) Clip

Jamie Lloyd follows up his last12 inch Adori’s Kitchen with an EP of low-slung disco grooves, vocal cutups and great songwriting showing another side of this talented Australian artist. New York’s Brennan Green opens proceedings with his Movin’ Out remix, a tasty 8 minute slab of disco space funk with slippery squelching lead synth runs and cheeky breakdowns throughout. Jamie’s original continues in the 107bpm disco electric vibe with nice sounds and a cool sense of space. Flip for Zooptron, a quirky, chopped up party tune in the spirit of Jamie Lidell and All The Honey, a spaced out minimal disco gem in a Metro Area or Kelley Polar vibe.

FEEDBACK

“one of my faves at the moment… supertrack” - Ame / Sonar Kollektiv

”Such a killer groove.  I’m playing it EVERYWHERE” – Daniel Wang / Balihu
 ”Really like the Brennan Green mix. Charted and played” - Charles Webster

“the brennan green remix is really good !!!!” – Lindstrom

“A few days ago I bought your jamie lloyd record! it´s really really great! I love the brennan green rmx. and I´m gonna play it for sure! amazing mixture of rocky, clubby and raggaeish feels! a perfect summer track!” 
– Trickski / Sonar Kollektiv

“Will defo get many many more plays” – Prins Thomas / Eskimo

”Was really, really into the Jamie Lloyd, I thought that was truly outstanding proper future funk!!” – Envoy / Soma

Feedback on Jamie’s last record on Future Classic … FCL1204 – Adori’s Kitchen
 ”Really into both Jamie Lloyd 12”s – have played them out regularly – especially the Putsch 79 remix – which rocks! Really like Prince-esq grooves of ‘Zoopton’ as well. All round quality! - Will Saul / Simple 
      ”I really like the 'Zoopton' track... really cool in an Akufen way, and I will play the 'Adori's Kitchen' remix by Putsch 79” - Agoria 
"The Jamie Lloyd record is bit of a cult classic round these parts " - Andy Whittaker / 20:20 Vision

“I like the new release by jamie lloyd very much. it is a funky dancefloor record!!!! in my bag!!!” - Steffi / Klakson 

Movin' In (Brennan Green's Movin' Out Remix)

Two years ago, Ferdi Schuster was a young multi-instrumentalist and producer daydreaming of releasing his music on Claremont 56, one of his favourite labels. Now he’s set to release his stunning debut album, “All One”, on Paul Murphy’s long-running imprint.

It’s been a long time between drinks for the German producer, who last graced C56 with his superb double A-side single, “Little River/Befreit”, in the autumn of 2017. Fittingly, it’s “Little River” – a babbling brook of audio bliss rich in samba-influenced drums, soothing acoustic guitars and spacey synthesizer licks – that kicks off “All One”, a seductive set in which every drumbeat, piano note, guitar riff, synthesizer flourish and fireside-warm bassline was played by the man himself.

Throughout, it’s easy to see why Murphy decided to snap up Schuster and push the producer to record a debut album. Check, for example, the dubbed-out shuffle of “Thinking of You”, where ghostly chords, soft-focus guitar solos and ethereal vocals drift across the soundscape, and the slowly unfurling bliss of “The Good Fight”, an effortlessly Balearic workout rich in sun-kissed guitars, bubbly synth lines and chords so snugly they could probably be used as a comfort blanket.

Schuster’s greatest strength is undoubtedly the evocative and enveloping nature of his instrumental music, which draws on a variety of complimentary influences but never sounds anything less than original and fresh. Some listeners may be enchanted by the loose and languid pulse of “Fading Away” or the lo-fi reggae-jazz of dusty closing cut “Night Talk”, though others may prefer the stoned funk shuffle of “Interaction” or the spacey vibrations of “Pulsa”, where intergalactic synthesizer lines wind their way around heady bass guitar and sparse, off-kilter deep electro drums.

“All One” is that kind of set; an atmospheric and musically accomplished collection of cuts capable of muting the mundane and distracting from the stress of 21st century life. As debut albums go, it’s something of a stunner.

Thinking Of You (Clip)

Over the years, Claremont 56 has played host to some memorable collaborative projects, most notably Bison, an unlikely super-group whose members included Holgar Czukay, Ursula Kloss, Liquid Liquid’s Sal Principato, Ben Smith and label boss Paul ‘Mudd’ Murphy. Now Murphy is at the helm of another collaborative outfit, Hillside, whose seductive debut single contains two deliciously pie eyed instrumental workouts.

Hillside is very much a family affair, with Murphy joining forces with two old friends: bassist/guitarist Alex Searle and percussionist Patrick Dawes. The trio has a collaborative history that stretches right back to Murphy’s time in Akwaaba in the mid nineties. For their debut outing, Hillside has also welcomed a very special guest musician: award-winning jazz violinist and long-time Bert Jasch collaborator Mike Piggott.

As opening gambits go, “Hidden Port” is an emphatic statement of intent. The audio equivalent of sailing slowly around a cluster of sun-baked islands in search of shelter from an approaching storm, the track sees Searle wrap bluesy, Peter Green style guitar passages around a shuffling, Latin-tinged groove rich in Dawes’ distinctive percussion patterns and Murphy’s languid electric piano and synthesizer lines. As the track progresses, Piggott steps up to make his mark, with his undulating electric violin lines complimenting Hillside’s impeccable instrumentation while adding extra emotional weight to proceedings. It’s a stunning beginning to the Hillside story.

Piggott also makes a big impression on accompanying cut “The King’s Tun”, delivering fluid and energy-packed solos that weave in and out of a bright and breezy instrumental track rich in jangling acoustic guitars, subtly spacey electronics, fireside-warm bass and more sparse-but-intricate percussion courtesy of the effervescent Dawes. Searle’s eyes-closed, rock style guitar solos cap another memorable excursion from Claremont 56’s latest in-house band.

Hidden Port (Clip)

arlier this year, Claremont 56 served up something rather special: the atmospheric, claustrophobic debut single from Greek band Sillyboy’s Ghost Relatives, “In A Small Place”. A warm, drowsy and evocative commentary on smalltown paranoia, the single showcased a band not afraid to embrace their love of blue-eyed soul, soft rock, West Coast jazz-rock and hazy AOR.

These influences shine through on the band’s eponymous debut album, which will be released worldwide (with the exception of Greece and Cyprus) by Claremont 56 this September. It’s a slight diversion from an imprint renowned for its sun-kissed Balearic grooves, pastoral soundscapes and dubbed-out dancefloor moves, but one fully in keeping with the imprint’s love of warm, beautiful and atmospheric music.

It’s certainly a confident debut from Sillyboy’s Ghost Relatives, an Athenian four-piece founded by titular hero Sillyboy (AKA experienced musician, producer and vocalist Charalambos Kourtaras, who has previously released a string of solo albums to wide acclaim in his home country). The band is modeled in his image, with a warm and hazy sound marked out by bold, toasty basslines, effects-laden guitars and a mixture of retro synths and thickset electric piano motifs.

Sillyboy naturally takes centre stage throughout, delivering his loved-up and lovelorn lyrics like a latter-day Michael McDonald. His vocal performances, and that of his similarly experienced colleagues, lend the album a dreamy, visceral quality fully in-keeping with the languid richness of the music.

Highlights are plentiful throughout. Check, for example, the dewy-eyed, string-laden bliss of opener “Secret”, the 1960s style dream pop cheeriness of “High Life” and the drowsy, late night drift of “Daylight”, an impassioned plea for reconciliation rich in close harmony backing vocals and soft focus saxophone solos. Or, for that matter, the chunky blue-eyed soul grooves of “Muscle Cars”, the slow and seductive “Favourite One”, the tropical wooziness of “Better Than Words”, the vintage Steely Dan shuffle of “Learn To Forget” and the breezy Americana of closing cut “Wasted”, which delivers a stunning conclusion to an album of rare cohesion.

hubbabubbaklubb - Mopedbart 'Olefonken's Autostrada Miks'

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