📣 Exciting News! 📣
Discogs_Diaries is now on YouTube! 🎉
You can now enjoy all the tracks posted here on Instagram in monthly curated playlists on this new YouTube channel with an added bonus: a playlist just with official video or archive clips of those tracks.
Starting today, January playlist is up, with even more comment vault to dive in 🎶💬
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#discogsdiaries
@doubleorupture / THE LOVE OF JAH on #hiddenhawaiirecords « was originally released in 2011 and remastered in 2023? » #discogsdiaries « Love the darkside feel and long intro on Niaibingi with those tearin breaks. »
#cluekid / DOLPHIN on #aquaticlabrecords « is one of my favorite dubstep tunes of all time. I could listen to it all day, just makes me want to be cruising around on a summer day. » « Dolphin was a dubplate for maybe 3 years before it got a proper release, I remember being so excited when it came out. Amazing vibes, great tune for the beginning of a night to warm the floor up and get some forward momentum. Field tested it last night to satisfying results : ) » #discogsdiaries « Looking back, ‘Dolphin’ was absolutely my favourite dubstep tune of 2013. Definitely a song for the summertime, the skippy percussion, warm subs and a monumental piano riff all complement each other so nicely, truly a slept on release in my opinion! B-side ‘Fossil’ is decent, more tribal sounding with the percussion but still very melodic. »
101 feat. #jade4u / ROCK TO THE BEAT on #speedrecords is « A major ‘mix-thing’ track in the New Beat / Acid House era that got played EVERYwhere - To simple for todays crowds but worth a spin every now and again for nostalgic purposes... deadpan Female vocals pre-date Miss Kittens nonchalant delivery and the later ‘Electroclash’ movement. » « Although "Rock To The Beat" is, and shall always be, a stone cold classic in its many variations its "Move Your body" that is a real ‘slept on’ classic in its own right. It obviously takes alot from "Rock to the beat" as regards to the sound and percussion but its the way this does thats so interesting... The subtle key changes in this track turns it into a full on piece of Belgium sound for the NewBeat Generation.
Coupled with the beautiful if not monotone voice of (if I’m not mistaken?) "JADE 4U" and the TB303 acid i cannot help playing this time and time again. Excellent stuff... » #discogsdiaries « The ‘European Techno Mix’ of 101 is truly one of the most important New Beat classics. The original track was made by Saunderson & Echols, but this version of 101 was the most famous one in Europe due to the Acid House & New Beat fever. » « The story of this track started at the other side of the Atlantic Ocean, with the "Rock To The Beat" track by Reese & Santonio. Maurice Engelen heard this track and liked it a lot, but apparently the track was very hard to get here in Europe at that time. So he decided to do a "remix / cover" of the original Saunderson / Echols track, when sampling was something less strict than these days, with some vocals of Jade 4U over it.
The track of 101 got a HUGE success in Belgium and nearby countries during the New Beat era, where there was no night this track wasn’t played in Belgian discotheques. Indirectly this was also probably the biggest US contribution to the New Beat genre. »
@skreamizm / SKREAMIZM Vol: 1 on @tempa.ltd is « Still an absolutely stunning album. This is the most "dubstep" dubstep can get, not a single miss. » « This was my own soundtrack whilst playing Mario Galaxy. Worked so well. » #discogsdiaries « 1. Hag is a pretty good track, with a nice synth and sub. A pretty decent track from Skream here.
2. Lightning is a typical Skream track and has nice vibes, gritty bassline and drums. Overall a very good track from Skream on this one.
3. Rottan is pretty good, however I don’t like listening to it, due to it is inferior in every way to Skream’s later release, Rutten.
4. Smiley Face is a great track, with amazing vibes and awesome bassline, definitely the best track on this release, definitely has a lot of dub elements to it. Absolutely incredible track from Skream here.
5. Untitled is pretty good, however it is a bit too slow for me, making it a bit boring for me. Up the tempo and this track would be amazing with it’s awesome sub bass and drums and vibes.
6. Glamma is a very good track, with amazing sub bass, but with good drums and synths.
Overall, this is a good release from Skream on this one. » « B1 is only a couple BPM slower than the others so the difference is negligible »
@roydavisjr / GABRIELLE w/ @everett.peven on #largerecords « is one of the most memorable garage tunes every made. Created by a house producer, the live garage mix has made an everlasting impact on the UK garage scene. With its smooth vocals and deep bassline it sounds great as a chill out tune or one to get you raving in the clubs. A definite classic. » « Peven Everett says he produced the entire track..Roy David stole the rights and put his name on there...Anyone know more about this? » #discogsdiaries « Peven Everett on FB:
It’s funny that folks talk crazy without knowing the business well enough to comment on the particulars. Fun fact.... Who owns my records Gabriel? Not Roy Davis Jr. Not Large records. Guess who???????? Yep. The answer is ME !!! I OWN IT!!!! How is it possible that Roy Davis Jr. let this happen if he really produced this record? hmmm? He has his name on it it but he DOESN’T OWN THE RECORD????That doesn’t make sense right? EXACTLY!!!!! That is proof that you all have gotten swindled. Bamboozled. THE WHOLE GLOBE HAS BEEN LIED TO FOR DECADES!!!! London, France, Japan, Germany, Spain, Italy, Africa, China, Australia, Netherlands, Brazil, U.S. you name it. All of you ask him over and over and he lies over and over in your faces. You’ve all been lied to for decades. Folks hire this dude because they think he made Gabriel. NOT FOR ANY OTHER REASON. The other 3 records with my name on them were stolen too. I’ll talk about them later. It’s the same dat tape series of recordings. Year after year the record gets re-released with the same information so the label doesn’t look like it messed up it’s biggest hit record. I get the royalty statements and that song won’t be ANYWHERE unless I say so. Please share this post all over the globe so folks can stop getting disappointed by this charlatan. I played ALL of the instruments on Gabriel. I wrote the lyrics, sang the record, played the trumpet parts, which are out of tune because the record was stolen before it was finished. He didn’t notice that because he does not have perfect pitch. Meaning, he didn’t know it was out of key. They are sharp & out of tune but not on my un-stolen version. »
Boyz N The Hood (Music From The Motion Picture) on #qwestrecords « has a mega rare clean version of "How to Survive in South Central" with different lyrics! » « Worth mentioning that even though Main Source ‘Just A Friendly Game Of Baseball’ is listed as ‘Remix’ on both label and sticker on this radio promo, it is in fact just a clean version of the original and definitely NOT the remix. » #discogsdiaries « How can The Five Stairsteps - O-o-h Child not on this Soundtrack? » « Wish ooh child was on here...still a great record. Black on Black Crime is stellar. »
Schicksal aka #rudihuybrechts / 24 HOURS on #subwayrecords is « Dark hypnotic New Beat at its best, especially B2 "Manipulation$". » « Schicksal is the alias of Rudi Huybrechts, born in Hoboken, a small town near Antwerp (Belgium). As a teenager he spent some time studying music and piano, but got quickly tired of the rigid way of teaching. With the money earned from his first student job Rudi bought a Roland SH-101 synthesizer. The year is 1982 and he is just 15 years old.
Rudi decided to name his project Schicksal (best translated as “Fate”) which was the word Jews used in WW2 when they were deported by German soldiers. Heavily inspired and impressed by Front 242 first album “Geography”, DAF’s elektronische körpermusik “Alles Ist Gut” and of course Kraftwerk’s “Man Machine” and “Computer World”, Schicksal started experimenting with synths and drum computers. All this in a tiny 3x3m bedroom. » #discogsdiaries « In 1988 the hype of New Beat started in Belgium. Rudi persuaded Marc Grouls, the resident DJ of discotheque Prestige in Antwerp, to play the track “24 hours” that he just composed. What happened? All the people on the dancefloor just got wild and the next day Schicksal signed a contract with Maurice Engelen for the release of a maxi-single on Subway Records (SUBWAY 48).
The day of the production for “24 hours” started a little bit chaotic. Rudi forgot at home his floppy disks with all samples so he had to drive back and forth losing some hours of expensive studio. In the evening, Jos Borremans, aka producer Chris Inger, left Rudi alone in the studio and he secretly recorded some synth tracks on the mixing desk with a Roland D-50. Chris thought these sounds came from Rudi’s Akai sampler and so were used to create the B-side “Manipulation$”.
Schicksal is still active and keep looking for that perfect bodybeat! »
Aural Imbalance aka @s.huxtablemusic - PROXIMITY ALERT / ASTRAL FOREST on #ascendantgrooves is « Definitely among the best of GLR camp’s artists this single just rolls so nice and atmospheric. » « On the one 12" you get nearly 20 minutes of absolutely sublime deep atmospheric jungle from one of the best in the business in Aural Imbalance, if this is your kinda thing then this record should be in your collection. 100%. » « "PROXIMITY ALERT" is a good track with its own gorgeous moments but I always love the other side "ASTRAL FOREST".
Very progressive (as in many AURAL IMBALANCE’s tracks in fact), the different keys and other fx elements combine sweetly together along with a real dancefloor friendly drumline, resulting in a surprising trancey impression.
Finally, a big muffled bass rises towards the end.So good !! » #discogsdiaries « Simon Huxtable has been one of the most consistent atmospheric drum and bass producers across almost three decades now. Top quality production on all his tunes. One of my favourites in the atmospheric sub-genre of drum and bass. » « He’s been fantastic. The early material on Cadence Recordings is his highest point in my view. Deep & moving. He was out on his own & following the set standards. » « Top notch Drum and Bass GLR sub label that leans towards the older Jungle sound while predating the Liquid end of things. Plenty of nice intricately crafted breaks, not the usual repetitive boring loops that dominate the later liquid sound and recent drum and bass. You can tell that this stuff was made on hardware samplers and so forth. The music is always inventive with some hefty nods to that Warp artificial intelligence sound and there are some very nice Source Direct/Photek end cosmic Amen jams amongst the label.
I was lucky enough to get a full set of the twelves and the compilation on vinyl a long while before the prices shot up. They are all good with Control, Future Engineers, Funky Technicians, PHD, Aural Imbalance etc bringing those deep Ambient vibes, without falling into cliche coffee table bland outs. This is seriously deep electronic music of the highest quality! »
@undergroundresistance313 / WORLD 2 WORLD on their label #undergroundresistancerecords is an « Outstanding EP in UR sound signature. Blueprints everywhere. Detroit Techno classic. » « Maybe my favourite UR ever...I mean what the fuckety fuck?! 4 undeniable traxs on one slab of sexy waxy. Personally I would have made all tracks 2/3 minutes longer...but this is a stoned cold motherfucking classic of all classics. » « Back in the 90s, I used to worry about wearing out this album and not being able to replace it. The internet fixed that, » « still gives me goosebumps every time I hear "jupiter jazz" - mad mike was channeling some high frequency consciousness when he created this slice of musical genius - oh to have been a fly on the wall in the studio when he wrote this ! anyone know if Jeff mills involved at this point or if a solo mad mike excursion ? » « The whole point of UR was, it doesn’t matter. No heroes, no villians, just music. But that said, I wish I knew who played the solos on Jupiter Jazz. Live, hands on involvement at the time of recording, injecting real soul into the music we were told is fake and lifeless by all those outside of the scene during that era. But again, it doesn’t matter, the feeling I get when I hear it, that is what it was all about, why UR wore the masks! » #discogsdiaries « Hard to believe this is 1992. Incredible record, one foot in rave, one foot in breakbeat, three feet in techno, timeless » « You know it’s a special night when the dj pulls out something like Jupiter Jazz, or either of the b-sides of this one.
Amazon is the kick in the teeth set opener.
one of THOSE records. own, cherish, break out every few monthes dust off, give a listen and get misty eyed over the beauty. » « This EP had a big influence to poducers all over the world.
Tracks like "Jupiter Jazz" are favourites for 4 Hero and
of DJ’s/producers like the same calibers » « Just perfect. Each song is heaven. ten nine eight 7 »
Muslimgauze aka #brynjones / UNITED STATES OF ISLAM on #extremerecords was 1st released in 1991. « Dead quiet, sonically outstanding pressing » « If like me your first impression of MUSLIMGAUZE has been of their political ideals you may be forgiven for pre-judging this album as a vehicle for their political views. This may have put me off, as the aforementioned beliefs are rather radical but let me assure you that this album has no actual lyrics to it, and the only voices heard are those snatches from Radio Rabbat which occasionally poke through.
The album opens with "United States Of Islam (Pt 1)", a ten minute piece of percussion and noise. The whole structure transforms and mutates stopping and starting if and when it likes. Apart from a vocal loop mixed to a miles distance, and a warn hum, the entire range of instruments used are percussive. #discogsdiaries « The last track on the album, and the shortest one, clocking in at a mere 9’45" is "United States Of Islam (Pt 2)" - a more upbeat version of the first track, with the same ‘running water’ sounds and percussion, although a bass drum’s steady thump-thump-thump keeps it together a lot more. It could be considered a dub version - the vocal samples & slices have echo-a-plenty. And as per usual, their 1001 percussive sounds weave in and out of each other, making ever-moving patterns.
MUSLIMGAUZE rarely use anything but percussion. This doesn’t seem to limit then or what they do, although it does make the music travel in an unswerving straight line. This is no criticism - the World would probably be better off with more like MUSLIMGAUZE. Trance music for the Fast Lane. (Originally reviewed for Soft Watch.) « A really amazing artist who terrifically went ahead of his time and produce what is a proper experimental electronic music.Sad to read about his early death, therefore, I wish all the best for y’all music diggers. Let’s live our days at once!.
Bryn Jones ++ »
Rhythm & Sound aka @moritzvonoswald & @markernestus w/ Tikiman / MUSIC A FE RULE on #rhythmandsoundrecords is « Total dankness. Mi favourite Oswald/Ernestus dub prod. » « incredible record to get in the mix .part 2 in partic. awesome to mix with other styles as its a relentless groove. absolutely classic house music dub style deepness » « Wow. What for producers these guys really are. Easy listening » « Just bought this one, fantastic tracks!
But is it me not hearing that good, I don’t hear the difference between part 1 and part 2 ... Do they are just the same tracks on both sides or? » « part 2 has more vocals i believe. » #discogsdiaries « Ernestus & von Oswald are the guys who rose up from their roots as the originators of minimal techno to bring Pole’s digidub into the next century. What we have here is a powerful revision of the dub sound, stripped down, full of space, dynamic range, and shimmering with analog wash and broken textures. Dirty and deep enough that it feels as powerful as the best roots dub. Perfect music for Freeside, the Rasta spacestation in William Gibson’s Neuromancer. » « Perfect Neuromancer analogy. Floating free, dreadlocks winding in slow motion. Speakers thumping. Nice. » « props for the review and for the WG analogy, nailed » « One of heroes in electronic music. Dub techno and other styles. A CREATOR! » « The icon of Techno and Dub Techno, who is a true genius of the modern intellectual society. »
