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House Of Music - Sadar BaharAfter RH’s second House Of Music magazine, it is now time to start working on a third one. We are so pleased that disco king Sadar Bahar is coming back to Somewhere In Amsterdam to play more fantastic hidden gems from his huge record collection. Reason enough for us to share Bahar’s story that we featured in the second HOM edition.

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Theo Parrish calls him one of the best American DJs around. His record collection is as large as it is famed. And because of the ‘Soul in the Hole’ compilation he did over a year ago, Sadar Bahar made quite a few new friends. Despite of all this, the endearing American has been struggling for years. “Chicago is a gangster city. Throwing parties is a huge challenge, but I have to do it.”

If you ever witnessed a DJ-set by Sadar Bahar, you know the crowd indulges in his great vibes. That happened at a Somewhere in Amsterdam party (regularly thrown by Rush Hour), at s sold out Lowlands festival or in the dampy caves of a former train station in Rotterdam. His sets of obscure disco, boogie and shreds of gospel usually win everybody over. Many fans even compare it to a spiritual experience. A few hours of dancing to Bahar’s history lesson leaves you with a huge smile on your face, a sweaty back and many new friends. Sadar Bahar is one of those DJs who bring pure joy to people.

For Bahar joy comes in a record sleeve: vinyl. He doesn’t play anything else. CD’s don’t interest him. Memory sticks and mp3’s even less so. “If it ain’t broke, don’t fix it”, he smiles. “When you’re behind your computer downloading music files you simply do not feel the same excitement as when you dig out a record.”

Treasure Hunting

Vinyl. Even Sadar Bahar’s dreams are captured in grooves. The record collection of the American DJ is so extensive; his own house is not enough to stack it all. Even his mother’s basement is filled with records. He confesses he sometimes owns as many as nine copies of a single release. “I know, even for me that’s pushing it, haha.” Wherever Bahar travels, he always pays a visit to the local record stores. Dusty old shops with boxes scattered all around are the best, he knows. “That’s where you can still find the gems “, he claims. Places where not even the owner remembers what he has in store anymore. Kneel down and wear out your jeans for hours on end, going through all those bins. It’s paradise, according to Bahar. No wonder he is looking forward to visiting the Netherlands again. “I always end up missing the record fair in Utrecht, but not this year”, he says, beaming.

Bahar has been specializing in singles lately. 7inches. He noticed the sources running dry. It’s now or never. “A while ago I drove for hours to visit a shop where I used to be a regular back in the days. When I finally arrived, a sign said ‘no disco’. Turns out the whole collection had been bought up by Japanese collectors.”

Later, when Bahar went to Japan for a show, he understood why. “Japan has some very fanatical collectors, their record stores look like ours did in the seventies.” Friends of Bahar tell him he probably owns more records than he could ever possibly play. He knows they are right, but giving up collecting is simply impossible. “It’s an addiction. Whenever I hear a super funky record I just have to have it myself.”

Frankie Knuckles

Sadar Bahar (1968) starts DJing on his thirteenth. He learns the technical tricks from DJ Charles Breckenridge, while Frankie Knuckles shows him the magic of the dancefloor. Later Bahar will play back to back with the Chicago house legend in Club Fisque. At the Music Box he meets Lee Collins, DJ and future soul mate.

Together with Collins, Bahar starts organizing dance parties in Chicago. First under the Goldmine Productions banner, later as Soul in the Hole. It turns out the name is derived from a record store in Detroit where both friends spend a considerable amount of money on a weekly basis. “We asked the owner whether we could use his name for our DJ and dance collective. He was cool with it and said: ‘I am not mixing and I am not dancing. I sell records. So go ahead’.”

Towards the end of the eighties house emerges in Chicago. Many colleagues of Bahar switch to this new and exciting genre. Sadar himself however stays true to his own style of disco, soul and boogie. “I did try it” he sighs, “but I just wasn’t feeling it. I need a drummer and a real singer who knows how to hit notes. This combined energy of a band is something that really resonates within me. My soul runs deep.”

City of Gangsters

While house music explodes everywhere around him and mutates into various different sub styles, Bahar keeps on doing his own thing. Steadily he builds up an enormous collection of disco records; buying up entire collections, and at the same time organizing his own parties. Chicago is known as the birthplace of house, but Bahar and his fellow promoters have experienced nothing but hindrance by the law. “Throwing parties is an enormous challenge. The police want everybody home at two. Twelve-to-twelve parties have become impossible. Chicago is a gangster city, you know. Everybody wants their cut, even the authorities.”

According to Bahar that’s the most important reason why clubs in the “Windy City” could never last. “The Music Box, the Warehouse and my own Kings & Queens have all been closed down within two or three years. At the same time, politicians are asking why the murder rate in Chicago is so high. People here are tense, ready to explode. So why not give them a place to release?”

Nowadays Bahar turns down most of his American booking requests. “To us it’s about the music. But often local promoters are more interested in making money”, he sighs. No wonder he prefers playing in Japan and Europe, where he has built up a dedicated network of music fans that love having him over. “There’s a lot of disco heads out there”, Bahar smiles.

He even lived in the Netherlands for a while and was determined to settle permanently. “I needed a break. Some peace of mind. In Chicago I became too distracted by side issues to be able to focus on music.”

But finding a permanent place to stay proves more difficult than he anticipated. As a foreign DJ with no steady income, getting a mortgage is too much of a challenge. These days Bahar is back in the Chicago, the city he continues to have a love-hate relationship with.

Lollipop

As a DJ, Sadar Bahar is all the way old-school. Not only because he solely plays vinyl (coming from cute briefcases filled with 7-inches), but also because he swears by the American technical set-up, that consists of a ‘lollipop’ headphone and a rotary mixer. Equipment used in legendary clubs like Paradise Garage and the Music Box that have become part of vinyl culture, according to Bahar. “If it ain’t broke, don’t fix it”, Bahar repeats. And again bursts out in laughter.

Will Bahar be doing the same thing in 10 years from now we asked him? “Definitely.” Even though things like reading the small print on labels and travelling have become a bit more demanding for him these days. “Already as a kid I knew I wanted to be a DJ my entire life.” Bahar sees DJing as his calling. Someone should spread the gospel. Let it be him. “There’s so much music around that doesn’t get the appreciation it deserves. Often made by musicians that aren’t even around anymore. On top of this, on a good night I get so much back from the audience. Even though they don’t know my music, they understand what I’m trying to do.” When Bahar played in the famous Panorama bar in Berlin last year, some people left crying of joy; one person even fainted. “That gig gave me more confidence. If I can even emotionally move people in a techno club, I must be doing something right.”

Text: Rene Passet
Translation: Andrei Vilcov
Editing: Max Cole
Cover photo: Joss Kottmann

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Somewhere In Amsterdam ft. Sadar Bahar
26th of April, 2015

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Soichi Terada

Hunee compiles Soichi Terada’s works for the fascinating album ‘Sounds From The Far East’. This LP features highly sought after material by the legendary Japanese house producer.

Soichi Terada is an adventurous multitalent and over all a good sport. He was born in the sixties, and as a child he loved to play on his fathers’ electric organ. Terada majored in Computer Science and Electric Organ and after he graduated, he founded his Far East Recording in 1989, because he couldn’t find a label for his compositions at that time.

The sound of Far East Recording is very much inspired by early nineties US deep house. Soichi Terada went out to parties in the late eighties, were he was equally influenced by house and hip-hop. A few years later, Terada took on producing music by using digital sampling. In the early nineties he occasionally DJ-ed with a DAT player and some reel tapes, instead of using records and turntables.

‘Sounds From The Far East’ shines new light on Soichi Terada’s label and consists of material that was originally released in the early nineties. Next to Terada’s music, Hunee also selected a few tracks by fellow artist Shinichiro Yokota for this compilation, as well as ‘Sun Showered’, based on the incredible Paradise Garage gem called ‘Sunshower’, by Terada and Nami Shimada.

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Tracklist:

01. Soichi Terada – Saturday Love Sunday
02. Shinichiro Yokota – Do It Again
03. Soichi Terada – Sun Showered
04. Soichi Terada & Manabu Nagayama – Low Tension (Alternative Version)
05. Soichi Terada – Hohai Beats
06. Soichi Terada – Good Morning
07. Soichi Terada – CPM
08. Soichi Terada – Rising Sun Up
09. Shinichiro Yokota – Shake Yours
10. Soichi Terada – Voices From Beyond
11. Soichi Terada – Purple Haze (Edit)
12. Soichi Terada – Binary Rondo
13. Soichi Terada – Into Desert

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Rush Hour Trouw

Today it is Saturday December 6th, 2014. A big day, to never forget. The pre-sale is sold out, and there are limited tickets at the door for the night’s real early birds. In a few hours we will entirely go for Rush Hour’s last label night at Amsterdam’s highly acclaimed club Trouw. The last Rush Hour night ever there.

Stoked as we are – like with any important football match – we like to properly preview the party before we go out with a bang. There’s a name on the bill who can tell us all about it, and that’s Boye ‘t Lam. He has been a Trouw local since the start of the club, and worked at Rush Hour way before the club even opened it’s doors. 


Boye, you were partly organizing quite some Rush Hour label nights in Trouw. What was typical about Rush Hour nights in Trouw compared to those in other venues?

Various things. First off, the size. Trouw feels pretty small, but its capacity is over a thousand. So the Rush Hour label nights are a lot larger than for instance the more low-key ‘Somewhere in Amsterdam’ parties, or festival hostings we did in the past couple of years. And there’s Trouw’s vibe of course. For the larger Rush Hour nights, it is by far the best club in Amsterdam, as at Trouw it is really all about the music. No flashy decoration or extensive lighting rigs, there’s just a ground level DJ booth and great sound. When we start a new project at Rush Hour, the first question we ask ourselves is: Is this of good quality? And if so, than all of the rest follows. I believe that Rush Hour and Trouw share that value. You get a very good over all club experience, but the main emphasis is on the content and thus music.

Trouw’s 24 hour permit also allows to offer various club experiences in one weekend. For instance you can program various DJs on a Saturday afternoon in order to attract the somewhat older Rush Hour crowd, who regularly have family obligations, whereas for the younger crowd you can go on until 8-9 in the morning. Finally the Rush Hour nights at Trouw also serve as a showcase moment of what’s the latest stuff on the label.

How is it to work for Rush Hour? 

When I started working at Rush Hour I was around 18 years old, and it was during a very exciting period in Amsterdam. Young promoters and DJs gathered in a sort of counter culture, opposed to the dominating minimal and later on tech house sound. This grew exponentially up to a point whereas now the former ‘mainstream’ festivals are all moving towards the underground sound. Apart from organisations such as Dekmantel, who organise one of the sickest festivals in the world nowadays, Rush Hour also played a pinnacle role, serving as a home base for everybody who needed records or music in general. Most people link Rush Hour to the house and techno sound, but it serves so much more genres than just that. I was right in the middle of it all, absorbing new music and music styles every day and finding out ways and projects to offer that music to our audience.

The one thing I will always remember, and can’t go without acknowledging, is one of the driving forces behind the company: Antal. You might almost say that the guy is mental, mental about music. We were on a two week trip to one of the most beautiful countries in the world, Brazil, in order to sort out some new projects and I believe in total we spent five hours of those two weeks relaxing, and in bars. We payed a cab driver a fee for two hours in order to drive us past all of the great spots in Rio and that was everything we saw during that trip haha. Antal got up at five in the morning scavenging marketplaces and cellars in order to find new shit. Played at the D-edge till six in the morning, got breakfast and went off on a four hour digging trip again in order to be the first one on the market. This was not an exception. Every trip he got back from, he had 30 records with him, stating it was a new compilation of some sub sub sub genre from the suburbs of whatever metropolis he had visited. Its highly inspiring working together with somebody like that.

What do you hope this last Rush Hour party at Trouw will be like?

Well… I know for a fact that it’s going to be crazy. The Rush Hour crew is stoked about the night, everybody in Amsterdam is stoked about the last couple of parties at Trouw, so it can’t go wrong. The line-up is also sick, on the one hand you’ve got legend Lil’Louis on the other hand you’ve got Rush Hour’s finest Interstellar Funk and upcoming hero Robert Bergman. Oh, and in between you also have my personale favorite Hunee playing together with Antal, plus DJ Deep and San Proper. Ah yes, I am also playing :).

What I hope to see is all the Rush Hour affiliates, fans and supporters there. I believe the pre-sale has sold out way in advance, but Trouw always keeps a stack of tickets for the door, so I’m urging everybody who wants to get in to come down early!

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Trouw:

Lil’ Louis
DJ Deep
San Proper
Boye

Verdieping:

Antal & Hunee
Interstellar Funk
Robert Bergman
Rush Hour allstars

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Dutch techno representative Steve Rachmad mixed up his 10 favorite Kenny Larkin classics for a special occasion! In 2015 Rush Hour will repress the label’s Kenny Larkin catalogue.

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Rush Hour co-operated with Kenny Larkin/Art Of Dance in ’05/’06, and released a collection of highlights from Kenny Larkin’s 1991 to 1997 period, including the stand out tracks Azimuth and Metaphor for instance.

These 12’s have been out of print for years and will be available again!

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Since their start, both artists have had great influence on the techno genre and in their carreers their paths crossed several times. It’s not an exaggeration to say that Steve Rachmad has been integral to the development of the scene in his native Netherlands. Detroit’s Kenny Larkin began producing in the early nineties, influenced by Juan Atkins and Derrick May, as well as the Chicago house music scene and has produced many techno classics.

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Kenny Larkin’s music on Rush Hour is released in a series of 6 separate 12″s; A-F. Purchase via the links below:

A: KENNY LARKIN – PRESENTS: POD – THE VANGUARD EP

B: KENNY LARKIN – PRESENTS: AZIMUTH EP

C: KENNY LARKIN – PRESENTS: METAPHOR EP

Set for re-release January 2015

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D: KENNY LARKIN – PRESENTS: DARK COMEDY PT 1

E: KENNY LARKIN – PRESENTS: DARK COMEDY PT 2

F: KENNY LARKIN – PRESENTS: ART OF DANCE SAMPLER EP

Will be re-released somewhere in 2015

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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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‘Moonlight Fantasy’ features a selection of Vincent Floyd’s previously unreleased classics, mastered from the original DAT tapes. All tracks are soaked in warm leads, dreamy drums and gripping melodies.

The ‘Moonlight Fantasy’ digi release features four bonus tracks, that were not included in the vinyl EP.

EP: http://bit.ly/MoonlightFantasyEP
CD: http://bit.ly/MoonlightFantasyCD
iTunes: http://geni.us/vfloydmoonlightfantasy

 

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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 Surinamese people live. 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 and 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 to 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 “Trying To Survive”, the digging efforts continue… More Surinamese funk tracks will hit the surface, as we dig deeper in the vaults. Another “Surinam!” compilation is currently 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. 


Pre-order Mutant Beat Dance – PolyfonikDizko via:

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Compiled by Hunee, ‘Sounds from the Far East’ features eccentric and highly sought after material by legendary Japanese house producer Soichi Terada and fellow producer Shinichiro Yokota!

Soichi Terada is an adventurous music multi-talent and over all a good sport. Born in the Sixties, Terada majored in computer science and electronic organ; not being able to find a label for his eccentric compositions, he founded Far East Recording soon after his graduation, in 1989.

“Sounds From The Far East” shines new light on Soichi Terada’s label and work, and consists of material that was originally released in the early Nineties. Next to Terada’s music, Hunee also selected a few tracks by fellow artist Shinichiro Yokota, included in this compilation, and the incredible Paradise Garage gem that is ‘Sunshower’, by Terada and Nami Shimada.

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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:

LP

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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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