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We recently released the second edition of Rush Hour’s House Of Music magazine. This edition also featured an interview with Chicago’s Vincent Floyd, that we partly shared on this website before, around Vincent Floyd’s first Rush Hour 12″ , the repress Your Eyes/I’m So Deep.  To warm up for Floyd’s second release on the label, his EP called Moonlight Fantasy, we like to share the entire HOM article. Moonlight Fantasy will be out very very soon, and consists of unreleased material…

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Last winter Antal met Vincent Floyd during his stay in Chicago to ask him if he had any more tunes lying around, since his quality output didn’t come in big quantities. It turned out that Floyd had enough tracks, and he selected some of the finest tracks to compile an EP. Of course, Antal was intrigued to find out more about the man behind the music, so he asked him some questions…

Can you tell me how you got into music?
I have always loved all genres of music, and was fascinated by the guitar when I heard Jimi Hendrix, The Beatles, and Prince. I got a guitar for Christmas when I was 11 years old, and I started taking lessons and writing songs. My uncles played the guitar and the piano, and my older brother, Lee, played the saxophone. I was always surrounded by musical people and listened to a lot of music on the radio.

How did your first house productions happen?
My best friend Armando Gallop was a DJ, promoter and house producer. When we were in high school, he bought a Roland TB-303 groove machine and a TR-707 drum machine.  We programmed a lot of tracks in his basement. I later purchased Roland and Yamaha drum machines and keyboards, and started recording songs.

When did you think of putting out your first 12 inch record?
I had been recording r&b songs as well as dance music. Armando had released Land of Confusion and introduced me to Ray Barney at Dance Mania. I let him hear the house tracks that I recorded and he released my first record.

Why did you basically limit your output to only five releases and a few side projects?
Although I have recorded hundreds of tracks, my output has been limited because I released music during a time in my life when I had less responsibilities and commitments.  Since the release of my music, I became a single parent and spent the majority of my time on obtaining an education which included earning a master’s degree and becoming a full-time music teacher. This was necessary to support my family, as I needed a stable income. So life changed, however, my passion for and practice of music has been consistent and now that my life has settled some, I intend to focus more on recording and producing music. My love of music includes r&b, jazz, rock, dance, classical and blues. I am always playing, writing, producing, and learning new things. I love house and dance music, but I also spent a lot of time on the other genres of music that I am interested in.

How would you describe Chicago in the 80s and 90s? How did that influence you musically?
During the 80s, rap and house music were both growing in popularity. There seemed to be more of a house scene in Chicago during the 80s, rap caught up in the 90s. I was sort of a low-key house head so that was my thing. I spent a great deal of time working in promotions: going to clubs and interacting with different people influenced my music.

Which Chicago musicians are your heroes?
When it comes to people from Chicago, I would have to say Mr. Fingers, Jamie Principle, Mike Dunn, Terry Hunter, Bobby Broom and Common are the artists I admire.

Who has been the artist in Chicago that you felt you could relate to most?
I grew up with Armando, he lived across the street when I was a child, and we were together a lot until he passed in 1996 from leukemia. I learned most things about house music, house music artists, and event promotion from Armando. I was inspired musically by Larry Heard (Mr. Fingers). I played keyboard with Larry on some of his tour dates when he was signed to MCA; his recordings are classic.

How did you get in touch with Chan, the vocalist on ‘Your Eyes’?
Chan (Dwayne Chandler), like Armando, is a childhood friend who lived next door to me growing up. I wrote the music and lyrics, Chan did the vocals. He is an awesome singer.

Can you name a few records that influenced you back in the days?
I have a fairly large record collection of thousands of records. The artists who influenced my house music were Kraftwerk, Yellow Magic Orchestra, Mr. Fingers, Pet Shop Boys and disco music in general. My biggest musical influence is Prince, I am a big fan of his music and have seen him live over a dozen times.

Have you been active in Chicago’s dance music club culture? Did you go clubbing to the famous places where the history of this music gets referred to so often?
When I was younger I went to the Music Box and the Warehouse, as well as promoting parties at many different venues. I am not really much of a party-goer. I’ll treat a dance music venue the same as I do going to a jazz club: I go for the music.

Text: Antal
Editing: Max Cole

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Rush Hour are overjoyed to repress Sumy’s complete “Tryin To Survive” album! Limited to 500 copies!

With an estimate of 500.000 inhabitants Surinam has a lively music scene. Although Surinam is a relatively unknown country, it has a strong influence on the Netherlands where many of the Surinam people have been living. The music from the Surinam is mainly known for it’s kaseko (which evolved out of the traditional kawina music) and soul music, but the Surinamese have also been active in other genres such as pop, funk & jazz.

Between 1976-1983, Surinam had a lively soul scene, and the output varied from eccentric Surinam soul tracks to more uptempo disco and boogie cross-overs. Nowadays, these tracks are becoming increasingly rare and hard to find.

Kindred Spirit’s “Surinam! Boogie & Disco Funk From The Surinamese Dancefloor ’76 – ‘83” gave us a proper introduction to these hidden gems and included “Soul With Milk” from Sumy’s LP “Tryin To Survive”. Rush Hour now continues this uncovering mission by making this complete eighties boogie and disco-funk album available again for a wider audience.

“Tryin To Survive” is quite one of a kind. Expect a-typical pounding rhythms, striking guitars, stabbing keyboards and synths and bursts of harmonies combine. “May Allah and the invisible god of Sumy repay my dues, for all beings are in me, but I am not in them. Ayathola Sumy! I did my best to create this product with the ones who believe in me”, the creator commented.

After Sumy’s masterpiece, the reissue story gladly continues… More Surinamese funk tracks will hit the surface, as the digging continues, deeper and deeper in the vaults. Another “Surinam!” compilation is in the making, and will be released somewhere in 2015…

 

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Release date will follow soon

More info + pre-order:

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The Chicagoans team up for another release! The ones who know Mutant Beat Dance, know they are out to push music into a different realm every time they collaborate. Together they are taking us to unknown districts again, with their exciting eccentric production work. The Mutants call it Jakbeat, inspired by the early days of house music. Heavy dance floor stuff, that needs to be played on heavy sound systems…

Mutant Beat Dance - PolyfonikDizko is set for release early December.

Limited to 450 copies, with beautiful hand made silkscreen covers by Ruben Verkuylen. 


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Pre-order Mutant Beat Dance – PolyfonikDizko via:

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A Far East Recording compilation with material produced by Soichi Terada will be released on Rush Hour Music in December this year. This compilation is curated by Hunee.

More info will follow soon…

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RH RSS 12
2×12″

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The truly deadly album from Terrence Dixon on Rush Hour Music is out! Under the Population One codename, Detroit citizen, Terrence Dixon, has realised some of his most vivid, esoteric portals to the Motor City mindset. ‘Theater Of A Confused Mind’ is Dixon’s 2nd album in this mode and marks a timely return to Rush Hour twenty years after his debut album, ‘Unknown Black Shapes’, and the ‘Hippnotic Culture’ 2LP, whose ‘Rush Hour’ track inspired our company’s name.

In both the literal and figurative sense of the album’s title – theatre as a space for performance or an operating table, and equally in terms of psychogeography – ‘Theater Of A Confused Mind’ plays out an affected Afro-futurist narrative over eight tracks of haunting and furtive sci-fi techno. It’s riddled with cryptic connotation, systemic from the track titles to its deft, subtle mix down, all drawing upon the city’s emotions, industrial architectures and post-industrial panoramas to better express it’s sense of soul.

Between opener ‘Out Of Control’, where Dixon is the voice-in-Detroit’s-head, a dark interpreter on a dérive whispering to
himself “Detroit, Out of Control/As I Walk Through The Mists Of Detroit/And You Don’t Know What We Be”, and through to the mind-blowing sci-fi projections of closer ‘All Of A Sudden’, it renders a unique perception of Detroit’s enduring export. Tracing circuitry like grid-iron avenues, Dixon deviates down back alleys, through warehouses and across mental space, divining the ghosts of jazz in the coiled double bass of ’For Only You’, or long lost SOS transmissions in the tribal patterns of ‘Code Urgent’, whilst the prickling electro of ‘Battle For Space’ condenses that fractured flux at the album’s core, and the kaotic harmonies of ‘My Own Shadow’ encapsulate a Kafkaseque sense of raving paranoia.

In light of recent news that Terrence is set to retire from making music, the already incredible ‘Theater Of A Confused Mind’ is imparted with an ever more impending sense of gravity. It’s little short of Population One’s magnum opus, and should be treated with due respect.

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Population One – Theater Of A Confused Mind (RHM 013)
1. Out Of Control 
2. Code Urgent 
3. For Only You 
4. Battle For Space 
5. Inner City Circus 
6. All Together 
7. My Own Shadow 
8. All Of A Sudden

Purchase Theater Of A Confused Mind via our shop and distribution:

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Over the last few months Rush Hour has crossed Europe and hosted label nights from Berlin to Bordeaux.  The touring hasn’t finished yet, and it’s time for nightspot Dude Club in Milan next Saturday, featuring Anthony ‘Shake’ Shakir, Antal and the Milan locals The Barking Dogs. Also Interstellar Funk is jumping on the bandwagon; the young man who is better known as Olf van Elden here at Rush Hour HQ, where he works.

Van Elden is known for his “House Train” track on Voyage Direct, and for his cuts released on Tape Records, the acclaimed record label that he runs together with a couple of friends. As a member of Tape DJs, he also organizes great parties here in Amsterdam. Since he’s on the bill of the Rush Hour label night in Milan next weekend and he spent last weekend recording tracks with Dutch electro pioneer Das Ding, it is time to ask him a few questions.

1. This is the first time you join a Rush Hour label night abroad…
Yes, it is. I am traveling together with Antal, thats fun already. So far I haven’t played much abroad. The Rush Hour night is a great start now for the rest of 2014, because I am having two more shows in Italy this year…

2. You are playing with Shake, Antal and The Barking Dogs. How are you looking forward to this night?
It’s a big honor to share the bill with those artists, especially because this night represents the label. I’ve never played with The Barking Dogs before, and also not with Shake – which is a huge honor of course. He is a techno pioneer and has been a big influence.

3. You have already played at quite some Rush hour label nights. When can we expect your music released on Rush Hour?
There is some music around for those in the know…

4. Last weekend you went jamming with Das Ding. That is special. Can you describe what it was like? What did you record and what will happen with the output?
It was a very interesting experiment. The sessions were also a preparation for a live performance, that will happen the day after Dude Club in Milan. I will head to Nijmegen to play some of the jams live with Das Ding at a venue called Brebl. We never met before the jam sessions but it felt really confident. We started jamming on Friday afternoon and left the building on Saturday night. We recorded the whole session, let’s see what the future will bring.

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We are happy to announce two Rush Hour ADE label nights!

On Wednesday October 15 we will start Amsterdam Dance Event with a Rush Hour club Trouw takeover ft. Ron Trent, Traxx, Hunee, Antal, Robert Bergman, Young Marco, Interstellar Funk and San Proper. This will be the last ADE at Trouw and the line-up is so promising… we have to go out with a bang! Let’s make it a night to remember for a long long time…

And then there’s the Saturday with Transmat! This year Detroit techno pioneer Derrick May resparked his label with the symbolic catalog number MS200 and the promising French producer Karim Sahraoui (aka Djinxx). Both artists will be present, next to Dimitri, Tom Trago, Awanto 3 and Deep’A & Biri. The Transmat label night is a collaboration between Rush Hour and pop temple Paradiso.

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Tickets available via these links below!
Rush Hour – Amsterdam Dance Event Special @ Trouw
Rush Hour & Paradiso present Transmat  

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One of the stars featured on Wilhite’s Vibes compilation is NYC house legend Jovonn…  It’s a huge honor to have him over at Somewhere In Amsterdam this Sunday.

Over the past decades Jovonn has made numerous classics. It already started for him in 1991, when his second release “Turn and Runaway” hit the Billboard top 10. Since then he has excelled in every role he has played in the dance music industry. These roles have included singer, song writer, musician and record label owner. Jovonn has produced more than 200 records in the dance, r&b, hip-hop, and neosoul genres, but his true love is dance music.

Here you find some of our favorites.. Enjoy and hope to dance with you all this Sunday!

Let’s start with his first hit: “Turn and Runaway”

Jovonn – “It’s gonna be right” was released In ’92 on his Goldtone label….

Big smile when somebody drops this tune..!! Appears on Jovonn’s “House A La Carte” 12″, also released in ’92 on Project X Records.

Join us at Somewhere In Amsterdam!!

RSVP and find your tickets here

 

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We are proud to present the long awaited second (and last) part of Rick Wilhite’s Vibes 2 compilation. A follow up to the first LP, released last May, part 2 is out now and available in record stores worldwide. The CD version is set for release on September 8th, and will feature a selection of tracks taken from the vinyl compilations.

We already spoke to Wilhite in occasion of the release of the first LP, and we met him again during Dekmantel festival – capturing his vibe in this short video… Enjoy!

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Purchase VIBES 2 via the following links:

2 LPs + CD
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Join us at the Vibes 2 release party! Somewhere In Amsterdam, 28th September, ft. Rick Wilhite, Jovonn (NYC) and Specter (Chicago) + friends.
Tickets

Upcoming Rush Hour nights ft. Rick Wilhite:

26 Sep 2014, Rush Hour Records Take Over @ Village Underground – London

27 Sep 2014, Rush Hour Label Night @ Panorama Bar – Berlin

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Director: Bernie van Vlijmen
Story: Mijke Hurkx
Camera: Fabio de Frel
Edit: Bernie van Vlijmen
Sound mix: Jesse Koolhaas
Color grading: Kevin van Kleef
Production: Mijke Hurkx

Thanks to: circusfamily.com and Dekmantel festival

 

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In September Terrence Dixon will release his new Population One album on Rush Hour Music (RHM 013). More info will follow soon…

Find track previews via our shop and distribution channels

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Rush Hour is going on tour! We are so excited to represent a lot of the label’s artists across Europe. In the next months there will be nights helt in Paris, Barcelona, Bordeaux, London, Berlin and Amsterdam.

Rick Wilhite * San Proper * Jovonn * Hunee * Awanto 3 * Tom Trago * Carl Craig * Volcov * Antal * Young Marco * Maxi Mill * D…

Looking forward to dancing with you all!!

You can find exact dates, places and line-ups via our Facebook page

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After the first edition of the RH House Of Music magazine, we really liked the idea of doing a magazine, and that has lead to the second edition in the making!  The upcoming HOM features stories on Invisible City Editions,  Sahel Sounds’ Mamman Sani and… Awanto 3! To warm up for it, we decided to put a part of Awanto 3′s interview online that we will publish in the second edition. 

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Steven van Hulle aka Awanto 3 has been a key figure in the Amsterdam electronic music scene for a long time. For more than 20 years he has been in all kinds of music and art projects like Rednose Distrikt, PIPS:lab, Klakson and more. Just a few years ago, he had the urge to create his first solo album under his Awanto 3 guise: and again we are hearing something so diverse. Opel Mantra is house music, but a lot of tracks go far beyond that, fusing exciting rhythms and musicians into a surprising whole.  Van Hulle tells us more about the versatility of his music and art…

You have been into music for such a long time, what have you been up to all these years?
I was born in Belgium, and in the mid eighties, when my parents decided to move to Noord-Holland in the Netherlands, it was all about electric boogie, skateboarding, graffiti, Doe Maar and Ciske de Rat for me. Thanks to Grandmaster Flash, the Furious Five, Herbie Hancock and of course Michael Jackson, dance music started to crawl through my veins. When I turned 17 years old, I started DJing for real with my uncle’s records. I started to buy hip-hop, disco, jazz and house records for myself… Later on I got also into spaced out jazz and funk and then there was also electro & techno… too much to handle.

But we are only now talking about your solo debut album. Why’s that?
Don’t know. I’ve put out quite some music, but most of them were collaborations, because I am quite a team player. I have never had a real long-lasting focus, I’ve been doing all kinds of projects with different people. I started with graffiti back in the days, and visual jokes and projects have always remained in my life. So like a lot of other graffiti artists, I ended up being multidisciplinary. I grew into a lot of different forms of ‘art’. Yes, it all has kept me really busy for a while.

Can you give an example of your diversity when it comes to your music projects?
I started Rednose Distrikt with Kid Sublime, and Aardvarck joined later. We used to combine weird musical contrasts, in a typical Rednose way. We took it quite far, sometimes to a level that we really annoyed the dance floor. People would have been dancing and enjoying themselves in the flow of the music, and suddenly we kind of scared them off with grind core fragments or carnival hits that fucked or hyped up the vibe totally for a few seconds. We kind of had that punk attitude, liked to be a bit wanton. On the other hand I like to point out Klakson, Steffi and Dexter’s label. I started Klakson with Steffi and released the first three records with music from my friend Dexter. I grew up with him musically as well. That was something completely different from Rednose Distrikt. The music was more electronic, more serious and dark. The crowd we reached was different, the parties as well, and so on. I mean you can see it now. Klakson has become big, while Rednose has never made it, due to a lot of reasons. One reason is that we not really had the intention to become popular with Rednose, and that was a part of our punky attitude.

The Awanto 3 album ‘Opel Mantra’ is very diverse, but consistent at the same time. It is house music, but it goes beyond that. The fact that you have worked together with musicians makes it sound very live, almost like a band. Is this the result of all those years of experience?
I actually hadn’t planned to work with musicians. After I finished the tracks on my MPC, I found out that everything was recorded mono. I was so disappointed in myself, I insisted to overdub all the samples with stereo layers. Then Jameszoo tipped me to go to the Red Bull studio, he had recorded a lot there too, and it was for free. I called up my favourite musicians – New Cool Collective’s Jos de Haas and Frank van Dok, and Zuco103’s Stefan Schmid for instance, musicians that I had worked with before. And Jungle By Night’s horn players Ko & Bo and and Tom Trago joined as well. So that is actually how it happened.

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Awanto 3′s Opel Mantra consists of 3 12″ and a CD. 
Find more info or purchase via the following links

Opel Mantra pt 1
Opel Mantra pt 2
Opel Mantra pt 3
Opel Mantra CD 

 

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