Ross Isaac

summer splash ???

Electro

I love driving around listening to Radio Los Santos while running over prostitutes... so I decided to remix this song.

DOWNLOAD HERE

Marion Band$ - Hold Up (feat. Nipsey Hustle) (Crizzly Remix)

The Nothingness

Believe Me

Lookin At Me

Ross Isaac & Bryan White - The Layout

Brice Kelly - (Live @ Nocturnal) Miami 2009

Download link ---> https://fanlink.tv/LikeThisByRossIsaac
Follow us everywhere ---> linktr.ee/phreakrecordings

Download

Ross Isaac - Like This (Original Mix)

Skrillex & Randomer - Jon E's Mix Meister Edit

MrGasmask - Katia Tonik.

Anti-pop intermezzo.

MrGasmask - Katia Tonik

electro techno session 100% vinyl @ Killing Time Ruzafa, what a wondeful party!! <3

ViiKs - HIERRO electro vinyl session @ Killing Time 12/8/2023

D.O.H. x Capo G - Chevy Riding Tall
Written and produced by D.O.H. featuring Capo G

Chevy Riding(D.O.H.  feat. Capo G)

TM 50  A2 Negative Glitch  Insomniac

Turbo 50
Tiga & Zyntherius
Sunglasses at Night Remixes

In Tiga’s Words:

Luck is everything, and it only takes an instant for your life to become your dreams. The fact that my life was changed, altered, and ultimately bettered by covering an MOR Canadian rockers 80's pop tune is a quirk of destiny that gives me faith in the magical comedy that we call existence. This is the short story of how the shit went down.

It was the winter of my discontent. I was supposed to travel to India with my family for Christmas 2000, but was unable to go for personal reasons. Upset but determined to make the most of the situation I invited Jori Hulkkonen to DJ with me at my club (SONA) for a NYE party. Jori had done a
mixCD for Turbo and we had cultivated a fine friendship based on ridicule, shared 80's obsessions and ridicule. I had a small home studio that was gathering dust and producing nothing more than frustration; and I threw out the idea (I think I did, although maybe he did) of "making some tracks". I didn't know what I was talking about.  My own creative career had followed a typical early 90's trajectory: houseclubs-ectasy-techno-rave-DJ-travel-raver-promoter-radio-recordstore-nightclub impresario etc... all successful ventures that, at the turn of the
millennium, had led me to a position of relative affluence and respect. But the elusive jewel in the crown was production; and this block  was slowly destroying me. Then came the J-fool.

My memory is bad. In school it was perfect, but it's been eroded by a potent cocktail of reefer, airports, timezones, sleeplessness, computers and time. Now, my memory is not to be trusted. I'll try my best: i think the show went ok. Jori probably played a few records I loved, and a lot that iI hated. It was very cold. New Years Day came, I think he was sleeping at my place. I had an MPC, a Nord Modular. an 808 and a JUNO, and a puppy named Uma. Recently, at a small record store in Calgary of all places, I had bought a copy of 'Sweet Dreams' by Miss Kittin & The Hacker. I thought it was incredible. It's hard to imagine now, but at the time the idea of covering a pop song in a techno style seemed interesting. This is before the world went crazy and eclectic. So we decided to try a cover.

I don't remember details of the day. I had no intention of "singing" but I couldn't really do anything else, so that became my job. I also had to walk Uma, make tea, take phone calls, make jokes. Jori did most of the work. We tried a criminally poor cover of "When Doves Cry" which thankfully is lost
to all mankind. We did a version of "Small Town Boy" with falsetto singing so bad that if you could distill the sound into a liquid it would be the pure essense of "embarrassing". We did a midi-file based cover of New Years Day, which I still love, that came out on an old Turbo comp. And then (I think it was last) we did Sunglasses At Night. Corey Hart was a Montrealer, it seemed fitting. Our lack of sample memory in the MPC combined with my hesitancy to sing complex notes (or ANY notes for that matter) is what resulted in the "genius" of eliminating the bridge and pre-chorus. I remember Jori thought it was amazing. I didn't really like it. Score one for Zyntherius.

I remember going to my record store , DNA, which was just on the corner and playing it: the first of hundreds of "listen to my new track" sessions..... my first taste of the cold sweat of public testing, and the sheer horror of hearing MY voice on speakers. I hated it.

A few months before that day in studio i had done a mixCD called Mixed Emotions, which is still one of the best things I have ever done: it featured an "electro-funk" cd and my face on the cover. Both attracted the attention of DJ Hell in Munich, who of course at the time was a hero of mine. I had a contact thru licensing a song from them, so I think I sent him the sunglasses demo. He fell in love as well. I still didn't like it.

The rest of the story is like a montage in a movie, albeit a small film, Hell came to montreal, burned dubplates, played 6 times at Love Parade,  SAN got huge in germany, , ended up selling a quarter million, doing TOTP,  and being one of the big "electro" anthems of the period. I got to ride my own
coatails  all the way to where i am now. All my dreams came true, including the one about being voted #41 on the DJ top 100 list.

I still marvel at how easily it could’ve NOT happened: My dog stepping on the power switch a little earlier, or Jori getting tired, or the phone ringing at the wrong time. And I cant help but wonder how different my life would have been. While I was never a huge fan of the record I will say that
it was a very pure creative effort, in its own way a real punk track: two friends making something without any label or plans or scene......and crucially without any expectations. To spend 90 minutes on that, in a vacuum, and to then feel your entire life altered by the results.... that
is the magic of pop culture, and testimony to the awesome transformative power of ....... the Roland Juno-60.

Love from Montreal, and love to Jori Z and a special shout out to Hell and Josef.

In Zyntherius’ words:

When I was a child I dreamt about being a god.
When I grew up I realized I could become one.
In 2000 I noticed that the post for the god of synthesizers was not taken. I didn't even have to apply for the job. No real god would have to do that. I just declared myself as ZYNTHERIUS - the god of synthesizers.
Nowadays I'm feeling much better, but occasionally I still get the urge.
Which is why you should be aware of the wrath of Z and respect the holy Oscillators.


Sunclasses at Night Remixes

Tiga & Zyntherius - Sunglasses At Night (Original 12  Version)

Remix of Eric B and Rakim - I Know You Got Soul.

Enjoy!!!

Code Rising - Gotta Have Soul

PHREAK RECORDINGS: Soundtracking the Underground's Next Mutation
By Phlipsyde

In a digital landscape ruled by algorithms and aesthetic minimalism, Phreak Recordings is a beautifully chaotic outlier. The label doesn’t play to the gallery and couldn’t care less about genre loyalty. What it does offer is far more vital: an uncompromising space for sound system futurism, breakbeat nostalgia, and audio experimentation that hits like a pirate radio transmission from a parallel future—raw, unpredictable, and resolutely unfiltered. This isn’t a label chasing charts. It’s not here for shallow virality. Phreak exists for one reason: to give voice to the phreaks, the outsiders, the innovators hiding in plain sight.

Founded as a response to the creative stasis in contemporary electronic music, Phreak Recordings emerged with a singular purpose—to amplify the strange, the raw, and the sonically fearless. And it hasn’t looked back since.
Phreak Recordings is powered by a decentralized network of producers, streamers, DJs, and noise scientists who span cities and scenes across the globe. Each release feels like a cultural transmission from another outpost of the underground. Some of the label’s artists are veterans of the scene, others are total unknowns—but they all share a commitment to sound as resistance. To subverting expectations. To using music as a tool for tension, release, and reimagining reality. Ask anyone in the Phreak circle and they’ll tell you: this isn’t about fitting in. It’s about blowing open new portals.

The label’s signature sound is hard to define—and that’s by design. One release might channel dark, hybrid-style Drum & Bass, while the next pulses with powerful progressive emotions, dirty electro beats, or euphoric vocals that send chills down your spine. It’s unpredictable, often abrasive, always unique. This is music for sound system obsessives, warehouse dwellers, and headphone hermits alike. It’s not designed to go viral — it’s built to last.

At a time when so much of electronic music is either chasing the past or pandering to platforms, Phreak Recordings is doing something rare: creating space. Space for new sounds, new voices, and new ideas. Whether you're a seasoned raver, a bedroom producer, or just someone who still believes music can change your state of mind, Phreak Recordings invites you to tune in, drop out, and go deep.

If you're tired of the same sounds. If you're searching for the spaces between. If you believe that music still has the power to challenge, to awaken, and to rewire—then welcome.

To Phreak Recordings.

All you have to do is listen.

www.linktr.ee/phreakrecordings