As with Rahman’s previous Xosar releases on Rush Hour, the 12″ version of “The Calling”/”Rays of Babylon” features her own bespoke sleeve artwork. And it looks mighty fine!

Pre Order your copy at your favorite mail order!

http://www.rushhour.nl/distribution_detailed.php?item=70043

“WOW i love this so much So dope… b” (Breach)

“feeling the UR vibes on rays of babylon, thx!” (Ben Sims, Theory Recordings)

“Rays of Babylon is great, lovely chords!” (Deetron, Deetron)

This month we will be releasing a reissue of the classic track “On & On” (1984) by Jesse Saunders.
Some consider this might be one of the first house tracks ever made. The suite of drum tracks he created – raw, analogue rhythms, full of repetitive synthesized handclaps and cowbells – became a staple in his sets, through his use of the drum machine (the TR 808) at the Playground. Inadvertently, they also became the blueprint for house music as we know it today.

On its release in January 1984, “On and On” would become a huge hit on the Chicago
scene, inspiring other local DJs and musicians to make their own house music. Listen
carefully to many early house records, and you can still hear the influence of Saunders’ brutal “808” programming. Back in 2013, remastered by Saunders from the original master tapes, this 12” includes all the tracks from the Je-Say release – including the drum tracks that changed the course of musical history.
Now, thanks to the remaster, they’re sounding more powerful than ever.

“Drum Machine House Heaven  thnx for re-issuing this !!”

Pre Order your copy at your favorite mail order!

http://www.rushhour.nl/distribution_detailed.php?item=69196

Gerd Janson compiles an exciting ambient-not-ambient compilation that includes exclusive tracks by Âme, Move D, Quiet Village Marco Passarani, Roman Flügel and Tom Trago.

Musik for Autobahns is the result of asking Gerd Janson for a collection that starts where previous efforts left off.

While Computer Incarnations for World Peace (his compilations for Sonar Kollektiv) concentrated on tipsy new wave music done by jazz-funkers or neo disco-ists, Autobahns has an unintentionally strong leaning towards ambient-not-ambient, kraut pleasers and codeine house, i.e. Industrial Ambient and Electrifying New Age.

It’s all new and exclusive material by people who once or twice crossed paths with the compiler.

You will hear Âme with their modular slambient concept sitting next to Amsterdam’s Tom Trago off peak time duties, Roman Flügel with an old DAT tape wunderkind that shares a side with Heidelberg’s very own Move D in love, outsider dance from CF & Daywalker alias Entro Senestre and Willie Burns as well as a greasy sounding Marco Passarani and finally Tensnake’s romantic pop appeal that is a counterpoint to Maxxi & Zeus (better known as Quiet Village) and their “Passion” for all beauties that lie beyond.

This sometimes unlikely gathering is hopefully unified by its non-parochial view of dance- and living-room floors, ambient noise and its effectiveness as a soundtrack to long rides up and down the Autobahn.

Pre Order your copy at your favorite digi store!

Without revealing too much, this tasty sampler is a prequel to some very nice things ahead. For now, we can treat you to two Music Box inspired edit tracks. … TIP!

First up is Derrick May’s edit of Let No Man Put Us Under. An edit that he did in the late 80s, which was directly inspired by his trips to the Muzic Box, where he would hear Ron Hardy play the song. The edit only existed on an acetate, from which this recording was made, and marks a remarkable moment in dance music. One which marks the direct influence that Chicago had on Detroit dance music. Such a landmark piece, with the reverse parts edited in. Amazing stuff!

On the flip we find a track from another child of the Box, Gene Hunt. ‘Sound Drome’ is an amazing building drum track that totals over 13 minutes (a shorter version was released on White Owl on his Maad release). This version takes direct influence from the Muzic Box and Ron Hardy with the acapella intro that Ron used to play as well. The real insanity starts 8 minutes into the track when the tempo is pitched down (and then back up). The kind of madness that only Ron would create on the dance floor. Turn the lights down low!

Essential stuff!

Order your copy here

A little chat with Rush Hour’s latest signing Policy whose album “Everything Hits” just came out, he also found the time to make us an awesome mix.

* How did you get started?
Well, I’ve always been a musician. I started out playing piano, then flute, and then the guitar. Growing up in St. Louis, I was heavily into classic rock. Luckily, I developed a taste for jazz and instrumental music, which I think were important to eventually coming to appreciate electronic music. It wasn’t until about seven years ago, when I was active as an independent filmmaker, that I started experimenting with electronic music production for soundtrack scoring purposes. I didn’t start regularly producing the kind of music I’m doing now until about late 2009.

* How did you hook up with Rush Hour for this album?
Back in 2010, I got hooked onto their Direct Current series, and on a whim, I decided to contact them one day. It was probably the second label I’d ever sent demos to. They checked out my Soundcloud page and got back to me the next day asking to reserve a couple of tracks (Disco Report and Lost and Free), both of which will be on the album.

* Tell us a bit about your studio set up
My set up is pretty simple, but I do like the hands-on element of hardware. I use an Akai sampler pretty heavily, along with some rack synths. I also use a 4-track cassette recorder, and some effects I’ve built as part of my chain. In general, I like bringing sounds from outside the computer into my recordings – it’s just something I’m used to. Cubase is the software I’ve used since I got it free with a cheap audio interface years back.

* How did you go about writing the album? And did you have a specific idea in mind when you started?
When I first signed to Rush Hour, we discussed making an album, but there wasn’t a specific idea that I was to follow. The next year I started trying to work towards completing a set of tracks for the album, but I eventually gave up because it was a lot harder than I had expected. I just kept making tracks as I’d always been, taking a few weeks per track and just kept sending them off to Christiaan. In the end, he had like 40+ tracks to choose from and I think he had a better perspective than me for seeing which tracks went together cohesively.

* Have you always lived in New York? What do you think of the music scene here? And who are some people locally who you find inspiring?

I’ve lived in NYC since 1997 and had my first club experiences at Twilo. That was ages ago. But I really appreciate that there seems to be an increasing number of events happening and places to hear great underground electronic music. Even since I started going to Turrbotax in early 2010, I’ve noticed a difference in the crowds. I love the enthusiasm here. And I think the musical output of this city is really inspiring. When I think of music that is synonymous with the energy of this place, I can’t help but think of Falty DL. I’ve followed him since his first album, and his music actually helped me realize where I might fit in.

Gerd Janson compiles an exciting ambient-not-ambient compilation that includes exclusive tracks by Âme, Move D, Quiet Village Marco Passarani, Roman Flügel and Tom Trago.

Musik for Autobahns is the result of asking Gerd Janson for a collection that starts where previous efforts left off.

While Computer Incarnations for World Peace (his compilations for Sonar Kollektiv) concentrated on tipsy new wave music done by jazz-funkers or neo disco-ists, Autobahns has an unintentionally strong leaning towards ambient-not-ambient, kraut pleasers and codeine house, i.e. Industrial Ambient and Electrifying New Age.

It’s all new and exclusive material by people who once or twice crossed paths with the compiler.
You will hear Âme with their modular slambient concept sitting next to Amsterdam’s Tom Trago off peak time duties, Roman Flügel with an old DAT tape wunderkind that shares a side with Heidelberg’s very own Move D in love, outsider dance from CF & Daywalker alias Entro Senestre and Willie Burns as well as a greasy sounding Marco Passarani and finally Tensnake’s romantic pop appeal that is a counterpoint to Maxxi & Zeus (better known as Quiet Village) and their “Passion” for all beauties that lie beyond.

This sometimes unlikely gathering is hopefully unified by its non-parochial view of dance- and living-room floors, ambient noise and its effectiveness as a soundtrack to long rides up and down
the Autobahn.

Order your copy here

This compilation holds 21 of the best tracks Rush Hour has put out in 2012. Includes music by, Âme, Braiden, Carl Craig, Boo Williams, Elbee Bad, James Mason, KiNK, Recloose, San Proper, Tom Trago and many more.

Rush Hour continues to serve up a combination of the best electronic music from around the world, both new and old.

On the new front, Rush Hour offers music by Braiden, Fudges Fingas from the UK. Overlast, San Proper, Simon Weiss & Tom Trago hold it down for Amsterdam, Bo Willams represents Chicago and KiNK does the same for Bulgaria and Policy for NYC. The list goes on..

There were quite some scoops on the reissue front as well. The re-release of James Mason’s proto-house track ‘NightGruv’ caused quite a stir, as did the reissue of the Dream 2 Science album, which is the brainchild of Newcleus’ Ben Cenac, who is also responsible for Sha-lor’s ‘I’m In Love’.

Other highlights were two early NYC house compilations. One by The Burrell Brothers, represented here with tracks under Metro and Equation, and the other by Elbee Bad, who is also featured on this best of with two tracks.

To top things off, there is an exclusive, new track by Âme which is taken from an upcoming compilation called Musik for Autobahns, which is compiled by Gerd Janson and will be available soon.

Digital Only

Order your copy at your favorite digital store.

Andres and The Oliverwho Factory on remix duties and Recloose delivers a new club bomb!

Recloose has been putting out some choice music over the past few years on Rush Hour. To celebrate this, we asked fellow Detroiters Andres and The Oliverwho Factory to remix some of his material. Recloose got so excited with the outcome the he through in a new original track as well.

Andres remixes ‘Electric Sunshine’, which originally appeared on the Saturday Night Manifesto EP in 2011, into a laid back and smooth house track for which Dez is so well known.

The Oliverwho Factory touches up Magic, which came out earlier this year. They roughed up the original version into their signature tough, yet soulful Factory sound, complete with new vocals.

Recloose swings back into party mode with his new track, ‘Chamois’. Its fun times all around here!

Order your copy here

Four exclusive tracks from Elbee Bad that conclude the True Story of House music compilation on Rush Hour.

Following the recent Elbee Bad compilation, we bring you four more tracks that were not included on the album. This EP showcases tracks that he produced for and/or with other artists. More classic stuff that was released on some of the leading NYC house labels at the time. Keith, Kat & Blondie for Nu Groove, Lord KCB for Easy Street and The Wizard & The Prince for City Limits.

This release again shows the early house mastery of Elbee Bad as well as his diversity. The Keith, Kat & Blondie shows his deep, eerie side, his freestyle vibe on The Wizard & The Prince track (which became an early UK warehouse/breakbeat hit) and his hip hop roots on the Lord KCB track.

Again, a fine example of the formative years of NYC house music. Unmissable!

Order your copy here