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.


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!


Purchase VIBES 2 via the following links:

2 LPs + CD


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

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


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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We’re proud to present Rick Wilhite’s second Vibes New & Rare Music compilation on Rush Hour. Named after the Detroit house legend’s renowned (and now unfortunately closed) record store, Vibes 2 features material by some of the most promising and established producers from Detroit, Chicago and NY. Part 1 of Vibes 2 has been recently released, and the second LP will be out late August.


For more information and pre-order, pls click here


Vibes 2 part 1 is available at our


Vibes 2 will also be released on CD
For more information and pre-order, pls click here 


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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. 


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.


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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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, Awanto 3, Sahel Sounds’ Mamman Sani and more… To warm up for it, we decided to put Tom Trago’s feature online that we published in the first edition. 

We interviewed him when he was about to release his 3rd album called The Light Fantastic. Tom is doing really well, here you find photos of his The Light Fantastic North America Tour. That is just great. Enjoy the read!


Tom Trago wasn’t going to stick around in Amsterdam. On the contrary. He chose to escape his daily emails, phonecalls and whatever could distract him from his plan to create his third album ‘The Light Fantastic’. He had a set plan to make a concept album, and nothing should change that. So he activated his auto email reply, rented a van, stuffed it with equipment and drove off to the forest for a month. Trago came back only a few months ago, but to him it feels like it has been ages already. 

I went looking for Trago at his studio in Amsterdam and we spoke about his album and about how much the Dutch capital means to him.

“So this is the place where I have done most of my music”, the producer says when he shows the floor where his studio is at. “I recorded my first two albums here, ‘Voyage Direct’ and ‘Iris’.” He plumps down on a red couch in the hallway, just outside of the studio that he shares with Maxi Mill who is recording stuff as we speak. Since Trago returned from his forest adventure, it has been business as usual. He restarted his international gigs and continued his life in Amsterdam. One remarkable thing is that his friend San Proper got himself a studio just down the hall. After a long studio session and just before this interview, Trago finds Proper asleep, lying on his couch next to his guitars.

“When I came back I finished the album tracks here. Although they were completed, I thought I could change quite some a bit of the tracks again.” Trago continues: “That actually happens a lot. Sometimes it takes more than 10 phases before a track is completed. Most of the time I record something, people listen to it and have tips or whatever. I play with the feedback and change the track.  For example, ‘True Friends’ went through 16 phases. I talked with Maxim [Maxi Mill] about it, with my manager Christiaan Macdonald and Rush Hour’s Antal Heitlager inspired me as well.”

Musical journey
During the process of his second album ‘Iris’, really anything took him on a musical journey, Trago says. “A lot of people say the tracks sound very widely influenced. They are right. In general I dig into a lot of different kinds of music, like hip-hop, disco, house, folk, jazz, funk and so on. That is just the way I grew into music.” But for his third album Trago had a very strong vision of the road he wanted to take. “For ‘The Light Fantastic’ I wanted to use less samples and more synths. And it had to be for the dancefloor. I didn’t want to make songs, so I didn’t want to be influenced by jazz and folk. Of course, every now and then I had to get my head off topic and I created a hip-hop beat. That’s just the way I work. I do all kinds of things. But in the end I was very selective about the tracks that I found suitable for the album. In the forest I had a good distance to overview what I wanted.”

And after tweaking his third album, the title ‘The Light Fantastic’ suddenly arrived on top of his work. “It is based on a poem ‘Tripping the light fantastic’. It means something like imaginagy or fantastic dancing. It really points out what happens when we create music with the joy of dancing in our minds.” Trago takes a moment to overview his work. “I think that my three albums are very different, but on all you can definitely hear my sound”, Trago says. How did that happen? Trago doesn’t have to think twice. “Amsterdam has always played a huge role in my music. People like Antal, Cris Backer and KC the Funkaholic and a few other DJs here like Cinnaman and Mr Wix have been a big influence. Thanks to the Rush Hour store and because I knew these people, I have created my sound.”

Trago’s musical journey kind of started by a Kid named Sublime. Talking about the versatility of the Amsterdam scene; Tom Trago got in touch with Rush Hour, because hip-hop head Kid Sublime released a house track that was sold at the store. “I used to go to hip-hop record store Fat Beats a lot, where Kid Sublime worked. I would always buy double as much when he was working, because he knew exactly which records to pitch. One day I heard he had his first record out, and I had to search for Rush Hour to buy it. Back then I only bought hip-hop and jazz, but I did buy it! My first house record. And I really liked it, because I felt where the music was coming from. At Rush Hour I started digging for disco, house and I got in touch with the Rush Hour crew and Rednose Distrikt. Not long after I met them I decided to quit school. Really, Rednose and all these guys gave me the feeling that you can do whatever you want, however you want it. As long as you truly believe in it. That you can shape your fantasy in real life.”

And around that time, Trago met Cinnaman. “Yuri [Cinnaman] was working at Rush Hour back then, and he was doing the Beat Dimensions project. I saw him being way ahead of time, dropping unreleased stuff on Myspace for example. I was collecting jazz and hip-hop while he was doing that future stuff, creating beats without sample loops.” Trago borrowed some synthesizers that he started using next to his Akai MPC and his beats started to sound more electronical. But one important thing was missing for the beat-creator. “In the club I couldn’t do jack shit with those slow, deep and heavy beats.” Trago started playing more and more housy DJ sets, at pop temple Paradiso for example. And one day it was really time for something else. “I hooked up with Yuri, he said: ‘let’s put the drum machine on 120 BPM, grab some Chicago synths and see what happens’.” And something did happen, it meant the release of the Yuro Trago record, and Trago’s next step in his music. Not very long after that, he dropped his first album, a collection of his first house productions.

Trago grabs the flabbergasting sleeve for ‘The Light Fantastic’. It looks really futuristic. “This is done by Machine. They do a lot of artwork for KC’s label Kindred Spirits as well. We talked about the idea and vibe, what I wanted for this album. This artwork and also that of ‘Voyage Direct’ and ‘Iris’ looks very digital, futuristic in a way. But if you look closer, you can see it still looks analog and organic. Like my music, it is a bit futuristic, but it hasn’t forgotten its heritage.”

Back to the forest, because that’s the place where most of ‘The Light Fantastic’ found life. Despite the fact Trago escaped his home town, he never intended to escape his friends. “I was staying in some hut in the middle of the woods and lots of people dropped by.” What was that like? “Well, Hollywood visited me for example and she wanted me to do a Chicago house track for her. She asked me what to sing on it, and I told her to just express her love for house music. So she popped a pill, and we recorded her vocals in one take. That became ‘Jack me’.” Trago shows lots of pictures of his friends playing instruments, chilling out in the hut or running around in the forest at night. “On my second album I chose to work with well known artists like Tyree Cooper and Romanthony, but now I want to show that the local people here are as great as those super stars, great enough to do a complete album with.”

And that is exactly what he wants to show with his label Voyage Direct as well, on which he only releases artists from the Netherlands, like Awanto 3, Maxi Mill, Dexter, Interstellar Funk and William Kouam Djoko. “There are so many talented producers around here, and that is much more important to me than the big names from abroad. The releases on Voyage Direct get great reviews at international music platforms. But how many people know that all these artists are friends that hang around with each other? I really recognize a typical sound from Amsterdam and I hope that in a few years people will hear our sound next to the typical Detroit and Chicago sound. At least, with Voyage Direct I’ll try my best to make that happen.”

Text: Mijke Hurkx
Translation and editing: Max Cole

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When Antal travels for gigs or other occasions, he uses that privilege to travel wisely. Recently he went to Detroit for Wilhite’s VIBES 2 pt. 1 release party, and that motivated him to comb out as much glorious records possible at shops and retailers in a radius of 2000 kilometers. Roel de Boer joined him on his digging trip from Chicago to New York, and of course via Detroit. He brought his photo camera in search of particular sights and sceneries. In the following weeks we will expand our Facebook digging album with those.

Roel, you guys only went for two weeks, so the trip must have been quite intense. Can you introduce what the days were like?
We had a jetlag when we arrived, still we took little time for sleep and woke up around 6, 7 am, and started digging in Chicago. Of course we left early, because it’s huge there, not like here in The Netherlands. We drove a rental car, and it could take even a few hours before we would arrive at a location. Especially at the start of the trip the long days could make us quite dizzy, because of that jetlag. But digging was not the only nice thing. We ran into a lot of situations, and sometimes I tried to capture those with my camera.

Can you give an example of such a situation?
It is hard to give one stand out example. It is just what travelling is. You get inspired by all kinds of things, even on the road. We met a lot of people with fascinating personal stories. For instance… I have never been at the pioneering club the Music Institute. So it’s quite magical to speak with some one who has worked there… When we just walked down the street we all of a sudden saw Theo Parrish just sitting outside. We also ran into Ron Trent’s percussionist, Sundiata O.M. That is just funny, awesome.

When you dig in the States, what in particular do you expect to find?
You can find quite some soul, funk and gospel. A lot more different titles. It doesn’t mean that you can find it al lot. I think only 5% of what we dig is really worth taking home. Or maybe even less.

You also went for Rick Wilhite’s VIBES 2 pt. 1 release party ft. Interdimensional Transmissions, Josh Milan, Glenn Underground, Vincent Floyd, Terrence Dixon and Recloose. How was that?
Musically it was a real experience, so nice. As expected. If I have to point out one performance, I’d like to point out Terrence Dixon. He came with a band, five or six people, percussion, keys for instance. It is quite weird, feels adverse, when you see a live band playing raw abstract techno.

These are a few of the photos by Roel de Boer. You can find more foto’s here.

1. The start of quite a road trip!


2. One of the first stops is KStarke in Chi-town.


3. Holy towing…


4. Good ol’ 8-tracks!


Pls find more and stay updated on our digging trips!

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The utterly brilliant VHS mangling/guitar looping Torn Hawk descends on Rush Hour distribution’s No ‘Label’ with a double 7″ release ‘Quadrifolio’. Four sides of hazy genius with interchangeable artwork on four glossy inserts … a special release!

Short after Torn Hawk’s Quadrifolio, distribution continues by putting out two brilliant Design A Wave EPs. What do an alien balancing on one of it’ s three legs, the RSA encryption algorithm, neuroscience and prehistoric musical instruments have in common? Design A Wave isn’t sure either but this is some music made while trying to find that out.


Check this Quadrifolio video and pump it up:

Torn Hawk – Quadrifolio is available now:

Purchase via the shop
Purchase via distibution

The two Design A Wave limited edition EPs with beautiful Cosmo Knex artwork…

Design A Wave – EP 1 and 2 are available now:

Design A Wave – EP 1 – A.R.M. I

Purchase via the shop
Purchase via distibution

Design A Wave – EP 2 – A.R.M. II

Purchase via the shop
Purchase via distibution


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Are you around for Movement?
Join us at our party on May 23th!

RSVP and buy your ticket via this link 

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This Sunday! Just a few more days until we get back together again, Somewhere In Amsterdam it is! We invited three king connoisseurs of the broad-spectrum of soul, house, disco and far beyond – Ron Trent, Sadar Bahar and Volcov – who are gonna take us on a musical trip. For the occasion we like to highlight Volcov from Verona, Italy. How do you briefly introduce a man that has been representing quality music for decades? Let’s give it a shot…

If we have to introduce Volcov, we would say that you started collecting Transmat, Dance Mania, Nu Groove in the late eighties… A few years later you lived in London and via drum and bass you got strongly attached to the West-London broken beat scene. What is your direction now?
Well yes, I started with the Larry Heard and Lil Louis adoration in ’89 – ‘91 and went on discovering more things on the way. I was into drum and bass, because I did my first productions in that style. But I got bored quickly. In the mid nineties I began my search for rare grooves, Brazilian music, soul, disco et cetera. And in the early 2000s I started making edits – I did those NYC and SJNLR series. Nowadays I try to be pretty eclectic. If I have to put it short, I think I put more attention to vocals and melodies, rather than to beats.

Back then you must have run into Ron Trent’s releases as well… These soulful grooves must have appealed to you then. How did Ron Trent inspire you in your musical life?
Ron’s production output is huge and so influential. I think I own most of Prescription and Future Vision catalogues. Although a lot of people check especially for the early-mid 90s stuff nowadays, I have to say that the USG green Prescription labels era is my favorite. I also admire the fact he started pressing vinyl again, pressing Future Vision releases when vinyl wasn’t as fashionable as it is now.

Around 2000 you got attached to the West-London broken beat scene. This particular scene kind of dried up, although the artists affiliated with that scene, like Dego, Kaidi Tatham, Mark the Clive Lowe, are still doing their thing. How did the artists after that particular West London thing continue? I reckon you are all still close friends…
I think when it became more about the beats and less about the music, it became a bit boring, a bit formulaic. Music goes often in cycles… Those names that you mention definitely kept it going, more than others. Dego and Kaidi are my favorite producers from the last decade or so, I am very partial when it comes to their music.

Sounds Familiar is a label and booking agency that represents you, Sadar Bahar and Dego to name a few. How did you get in touch with Sadar?
Sounds Familiar is actually more, it’s also a production company and in general a group of likeminded people. The first time I booked Sadar was in January 2007 for a party in Verona, and since then I contacted him regularly for gigs in various cities in Italy. Together with the JAW crew and a few other friends we tried to get him more gigs in Europe, as we were all big fans of his music and attitude. Once Ornella Cicchetti decided to come back to the music scene, it felt natural to introduce her to some friends like Dego and Sadar.

So… Somewhere In Amsterdam this Sunday… We’ve been trying to imagine what the party will be like… It will be exciting, as the musical journey can really go in different directions. Have you ever played with Ron Trent before? How do you get prepared, are you packing some secret weapons?
I never played with Ron, only had the pleasure to meet him a couple of times. But I did play few times before with Sadar and Antal, some of my favorite djs. I think the night will be quite eclectic and soulful. Not sure yet what to bring, I guess quite a mix of things, for sure that new Theo Parrish ‘Footwork’ jam… I have to say it’s quite painful that I won’t be carrying any of Ron’s tracks…

Join us at Somewhere In Amsterdam!!

RSVP and find your tickets here

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