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The fifth House Of Music magazine is due out in the following weeks, which awakens memories of some of the articles in last year’s edition. For the occasion of returning to Paris this weekend for the celebration of RH’s 20th anniversary at the beautiful Macki Music festival, we think it’s fair to share a great Parisian story online from last year.

photo: Bernie van VlijmenE&S HEADQUARTERS, PHOTO BERNIE VAN VLIJMEN

After over 40 years, the DJ industry has become worth billions – but that little lightweight known as the DJR400 is still a boutique rotary mixer, handmade for a bunch of audiophiles and purists. In the previous House Of Music, we spoke with Floating Points about his Isonoe rotary mixer. Now it’s time to properly highlight E&S, the company that re-introduced this type of mixer for the market. Their rotary box is supported by the likes of Theo Parrish, Kerri Chandler and Joe Claussell, among many others.

The Electronique Spectacle DJR series was carefully designed by DJ Deep and engineer Jerôme Barbé at the start of the century, and has been hand-produced by Barbé and his two co-workers ever since. “With E&S, I am happy to go against the flow of society, because everything is disposable. I like to build things that are designed to last”, Barbé says in his studio.

October 2015 was a warm month in Paris. We arrived at audio engineer’s Jerôme Barbé studio in our summery outfits. Excited as we were, we didn’t know what to expect at the place where the magic happens – the magic that inspired the revival of the rotary DJ-mixer over a decade ago.

“Desole, je ne parle pas anglais. Mais oui, Jerôme est ici, entrez,” we heard through the intercom. The gate opened and we entered a beautiful residence with a cute courtyard. We expected to encounter a sonically optimized work environment, possible a vast space with excellent acoustics. On the contrary: we found two men working in a small barn, stuffed with all kinds of objects. Wires, scrubs, metal, machines and more machines. Barbé co-worker, who answered the door, went back to his desk to solder components.

IMG_5436JERÔME BARBÉ IN HIS STUDIO. PHOTO: BERNIE VAN VLIJMEN

E&S is not used to receiving visitors, and their studio is situated in a quiet residential area. When E&S are in touch with their customers, it’s either via email or on the phone. As we looked around, we scrutinised every corner of the studio – a studio that totally serves and breathes analog equipment, run by a few of the best French men in electrical audio engineering. There’s only one hidden spot in the studio, and that’s where Barbé has hidden his Moog synth.

The engineer
Despite Jerôme Barbé’s full-time occupation, the audio-engineer doesn’t have much experience with clubbing. He would rather go out for a good concert. “I listen to classical music on my DJR, to all kinds of things. For me, she’s not limited to one style”, he says.

Barbé loves music, but he isn’t a musician. He’s a listener, with a disposition of character to construct and deconstruct. He started building machines at a young age, which encouraged him to learn from the best in all sorts of fields. It really started for him when he was only 10 years old, building synthesizers, trying things out. “Back then I loved bands like Tangerine Dream and Kraftwerk. When I got my first synthesizer – the Korg MS20 – I didn’t play it, but took it apart it to see what was in there. Then I knew I really had a thing for electrical engineering,” he recalls.

The self-taught engineer trained himself to become one of the best men in his field, after working on all sorts of projects. “Together with Jean Louis Dierstein I worked for Moog as a certified technician, fixing synthesizers and sequencers for customers”,Barbé starts. “Just the two of us, because Moog had only only two people working in the French warranty devision.” At that time, Barbé mostly repaired synths, but he also worked for hurdy-gurdy player Pierre Charial. After he got bored of repairing stuff, he started building his own machines and that’s when a French legend came into play. “In the early days of MIDI technology, I created MIDI-kits for old synthesizers. I even worked for Jean-Michel Jarre back then, that was really something special…”

photo: Bernie van VlijmenSTORAGE. PHOTO: BERNIE VAN VLIJMEN

A revival
The E&S company was founded when slider mixers were already dominating the DJ booth for years, and the classic rotaries had vanished into oblivion. Some DJs and audiophiles weren’t happy with the new DJ standard, because they came from a different background and aesthetic. One of them was French DJ and audiophile Cyril Etienne des Rosaies aka DJ Deep. He asked Jerôme Barbé to fix his classic Urei 1260 DJ mixer and was happily surprised with the result. Barbé explains: “I came with the idea to take it from the Urei technology and build a similar mixer from scratch. The first mixer we’ve built looks like the classic Urei mixer, but I changed a few things that I didn’t like. I gave it a VU-meter instead of cue, for example.”

After over more than a year of tweaking and numerous listening sessions with Des Rosaies and others, Barbé nailed the sound esthetic that was the standard for the classic mixers. The two finished their first mixer, the DJR100, which was almost a copy of the classic Urei 1620. After that, E&S continued with a model that had never been made before : a rotary for portable use. “A mixer is like a musical instrument. Some DJs are attached to theirs, like musicians to their guitar. With the DJR400 they don’t have to adapt to different set-ups each night, because they plug and play their own mixer. In short, the DJR400 arose after levelling with many heads in the field. DJ Deep initiated the conception of his prototype, Kerri Chandler came with the idea of a portable machine and the idea for intergrating isolators came from Joe Claussell.”

The DJR400 turned out to be the most popular – Kerri Chandler, Danny Krivit, Joe Claussell and Dimitri From Paris became the hand-made mixer’s ambassadors and the machine received acclaim from DJs and audiophiles alike. Thanks to the buzz that DJ Deep created, E&S had the opportunity to grow.

Jerôme Barbé gives us a little tour in his studio. It’s an exciting place, with lots of fascinating stuff kicking around in there. Barbé’s co-worker is welding pieces together behind his desk. “The handmade principle is not particularly about crafting the whole mixer ourselves. We order components too, such as the chips. It’s about the way the machine is put together – that’s pure alchemy”, Barbé emphasizes.

photo: Bernie van VlijmenTHE MACHINE. PHOTO: BERNIE VAN VLIJMEN

The machine
In conversation with the Main Man, we finally had the occasion to bust some mixer-myths. To start off with the weight… A mixer is basically an amplifier and we tend to think that the weighty amplifiers are the best. In the early days, the legendary classic Bozak rotary was a heavy, extremely powerful mixer, with discrete class-A components. Although the DJR 400 is lightweight and contains integrated circuits, it’s still sound. Barbé explains how.

Before E&S, Barbé had also worked with class-A technology. The Parisien analog gear obsessive Philippe Zdar (Cassius) asked Barbé to build a custom class-A mixer. “I made a specific design with a tone control like the classic Bozak had. There is a clear difference between the two technologies. The discrete transistors are class A components and the chips are class A/B. The class A components are more linear, they reduce sound distortion”, he explains. “I’m using class A/B components. Sound is all about distortion and bandwith. With class A components your reach is bigger, it’s possible to go from +24 to -24 volts. However, with class A/B components, they go from +19 to -19.” He continues: “My mixers are made out of lightweight aluminium and they’re thinner. And like the Urei 1260, the DJR works with chips instead of discrete circuits, which reduces weight.”

Another popular question concerning rotaries: What’s the use of an analog mixer when you play digital ? “This doesn’t really concern the mixer”, Barbé says. “The conversion takes place outside the mixer. So the mixer doesn’t interfere with the sound, it’s the CD player that does. Upstream in the production process, the sound has already been digitally inflicted. The output depends on the vinyl press or the mastering of the CD. There’s no absolute answer to this question. There are converters from 200 e to 20.000, so that the mp3 itself is also not the issue. It all depends on the different elements involved.”

Custom made
E&S’ acclaim has grown over the years. They’ve got more and more rave reviews and more and more orders, but they still produce only three machines a week. E&S is substantial in the minds of audio freaks, and the DJR400 has cemented its place in audio history. And although the company could probably have a much bigger position in the billion dollar DJ industry, it’s still housed in a barn. It was time to ask Jerôme Barbé how he keeps up with the demand – and about his infamous waiting list… “Nonsense”, Barbé replies. “I dont know who wrote on which blog that you have to wait two years to have one. It’s completely false. One year ago it would have taken six weeks. Now that I have extra work force, it can be between one or two months. But if we go faster, we have to rush and that would damage the quality of the product, and also the image of the brand.”

So Barbé sticks to his original ways, offering tailor-made machines for all kinds of artists and customers, with a great sense of detail and responsibility for what he produces. “When a machine is well-calibrated, it can be mass-produced as a model. Sure. The thing with E&S, is that I produce disparate designs, and that doesn’t allow me to produce 100 machines at once.”

The studio has a large amount of shelves with little buckets for different components – one especially for Joe Claussell. “Joe Claussell had the most challenging request for E&S. He wanted me to merge two 400’s, which I’d never done before. To be honest, I still ask myself what he wanted this for. He probably didn’t have enough isolators.”

Good ol’
Jerôme Barbé is happy with the way things are. Orders drop in through email or on the phone and everything is self-financed with the customer’s deposit. When a machine is finished, it’s boxed and shipped to the customer by the same responsible team that built it. During work, he listens to music on a low cost set up – and that’s perfectly fine for him. Every once in a while a customer pops in to pay their respects. “I prefer to produce less and to be fully engaged with my customers. When you produce more, you have less attention for each individual assignment. And then the returns come. Each machine is produced with a lot of care. I prefer to work like this, instead of having 50 percent of the machines come back for repairs. My job is not to mass produce – I don’t know how to do it”, he concludes.

Back to work
We have to go, time’s up – Jerôme Barbé is a busy man. However, he can still find a moment to talk about E&S, their service and the principle of mass-production. And then – we guess – he has found his mission statement : “With E&S, I am happy to go against the flow of society, because everything is disposable. I just like to build things that last. Modernity offers us beautiful things, but most are really ephemeral.”

Words: Souleiman Bouri & Mijke Hurkx

THE ROTARY MIXER – AN INTRODUCTION:

The first mixer to ever be made available for the DJ market was a rotary mixer – a mixer with only rotary knobs. The first models – the Bozak CMA-10-2DL and a little later the Urei 1620 – were specifically designed for big, analog sound systems. Heavy, expensive and powerful, these were made with the best components in order to generate the best sound. Hand-made and solid as a rock, the makers’ goal was to reproduce the audio as realistically as possible. The mixers were developed in an era when clubbing was still an emerging phenomenon. Only a few big clubs existed, and those clubs had excellent sound systems, thanks to the high quality club equipment available during this period. Bozak’s mixer could be found in Nicky Siano’s Gallery in Studio 54, and after that in the Paradise Garage. This type of mixer slowly disappeared in the 80s, because of the growing number of clubs around the world, and there were simply not enough hands to produce the number of mixers that were needed. As a result, new models were developed and the DJ mixer became available for a larger market. This new generation of mixers was industrially produced and instead of rotary knobs, they had sliders. Slider mixers were mass-produced, rather than hand-made and rather than designed to be the best, were built to serve the emerging DJ-market. Years later, E&S built a machine in line with the originals, inspiring the birth of a new generation of rotaries.

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This player previews Ben & Sadar’s – We Are Righteous People (RH-STORE JAMS010). Sadar Bahar & Ben ‘Cosmic Force’ team up and come correct with these two direct disco jams!

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The two tracker accidentally arose after Sadar Bahar discovered Ben’s Utrecht based studio (housing 60 synths!). Ben was charmed by the electronic elements in Sadar’s funk and Sadar loved Ben’s ideas. Nuff said, a new NL based project was born. Nothing sampled for these tracks… only stabbing guitar, bass, sax and pounding drum programming for dance floor heat!

Tracklist
1. We Are Righteous People
2. Bouncing Atoms

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This player previews Senyaka – Bayanyonyoba (RH RSS 23):

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South African house and synth-funk from the kwaito era by the legendary Senyaka Kekana. The unexpected deep house jam “Bayanyonyoba (1993)” and the illustrious soul song “Don’t Judge Me Bad (1987)” are big RH favorites. Original copies are absolutely impossible to find, now released on 12inch format for the first time…

Esa Williams - “I had the pleasure of performing alongside Senyaka at the Alexander Theatre, Johannesburg back in 2012 which would have probably been his last most iconic gig before his passing in 2015. These two tracks really showcase the sounds of South Africa around the early to late 80’s, the influences from American synth pop and House that would then lead later into many of these records being played at the wrong speed which ultimately became the original Kwaito sound from South Africa.”

Kwaito is not just a form of house music, it’s also about the way South Africans dress, talk and dance. The lifestyle took shape in Soweto and gained popularity throughout the cities and townships of South Africa during the nineties. In the backdrop of a transforming South Africa, this slow, loud and striking form of house music emerged just before Nelson Mandela took office as the first democratically elected president of South Africa. Kwaai meaning hot, kicking – kwaito is a style in which the sung, rapped and shouted lyrics played a prominent part to mobilise the youth and push for change.

The late Senyaka’s 1987 album Fuquza (Dance) was years ahead of its time and gave rise to his reputation as a forerunner of the kwaito sound. The album includes “Don’t Judge Me Bad” as well as “African Rap” and “Go Away”. Later, in 1993, with South Africa on the cusp of democracy and the kwaito movement about to explode into the mainstream, Senyaka cemented his position with the release of his landmark album Ma-Gents, which included the song “Bayanyonyoba”.

Regarded as one of the first African rappers, this pioneering artist was best known for his eccentric, controversial lyrics – delivered with a bold and at times funny approach that endeared him to many fans. Outside music, Senyaka also grew in popularity thanks to his roles as an actor, including in the popular homegrown film Moruti wa Tsotsi and the television comedy Ashifa Shabba.

The emblematic artist successfully reinvented himself during his career, which led to divergent works. Senyaka’s versatile character shines through in this release as well. “Bayanyonyoba” is a soulful, loud but dreamy South African house gem, whilst “Don’t Judge Me Bad” is a more introverted electronic soul song.

Tracklist
1. Bayanyonyoba
2. Don’t Judge Me Bad

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The essential UK Techno/Electronics duo returns after decades! “ New Aural Discourse” holds four fresh, futuristic and far-sighted British takes on Detroit techno by arguably one of British 1990’s electronic music’s best-kept secrets.

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“New Aural Discourse” is N.A.D.’s comeback release after over 25 years. Initially, the duo Tony Thorpe and Mustafa Ali released one album, “The Dawn Of A New Age” which was on sale for little more than a week before it vanished from record store shelves. The ablum was recorded in only a week, inspired by two of Ali’s greatest passions: science fiction and his Islamic faith. Decades after it was created, N.A.D’s forgotten debut album became something of a ‘must-have’ for electronic music collectors.

“New Aural Discourse” is the perfect alias for N.A.D.’s new release. It follows “The Dawn Of A New Age”, featuring four energetic tracks that transcend the duo’s original ideas and sound.

Tracklist:
1 Ontologic
2 A Sense Of Finitude
3 Transmatting
4 Code

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This player previews Vincent Floyd – Hard To Love (RHM 020), due for release in Spring. A stunning Chicago deep house song by the dreamy, lovelorn Vincent Floyd, recorded in the early nineties. Previously unreleased, mastered from the original DAT tapes.

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Tracklist:
1. Vincent Floyd – Hard To Love
2. Vincent Floyd – Hard To Love (Instr.)

Catch Vincent Floyd at the RH weekender – rare chance to see him play a live show, first time in the Netherlands.

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We’re super excited to be part of the Amsterdam based Strange Sounds From Beyond festival on June 25, 2017. Definitely a highlight this summer! Artists who grace the Rush Hour stage:

Daphni
Wally Badarou
Mutant Beat Dance
Antal RH
Interstellar Funk
DJ Okapi
Margie
Ninauploadz

TICKETS

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Out now! The Abstract Eye’s “Cool Warm Divine EP” holds five prolific electronic soul tracks – melodic techno by The Abstract Eye, better known as Gifted and Blessed. Originally released in 2011 on Valentine Connexion, now available again in a shiny new jacket.

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With a fixation for vintage electronic instruments, the extraordinarily gifted Gabriel Reyes-Whittaker creates striking electronic songs under many monikers, integrating the technological with the spiritual and ancestral in his music.

Tracklist:
1. Cool Warm Divine
2. Nobody Else
3. Twinkerbelly
4. The Unseen
5. Nobody Else Pt. 2

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RA_RHSTOREJPN2017_3-1Pecker’s sought after Pecker Power LP and two monstrous Ryuichi Sakamoto classics are next in Rush Hour store’s Japan series. Release: record store day 2017.

PECKER – PECKER POWER (RH-STORE JPN 5)

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Heavy sought after Japanese reggae dub LP that includes players such as Sly & Robbie, Minako Yoshida & Augustus Pablo..Reissue of a 1980 original. Next stop in Rush Hour store’s Japan series!

Tracklist:
1 Mystical Cosmic Vibration
2 Dr Dr Humanity
3 International Orchitis
4 Pecker Power (Part Two)
5 Pecker Power (Part One)
6 Concrete Jungle
7 Militant Sniff
8 Jamming
9 Mystical Electro Harikiri

RYUICHI SAKAMOTO – THOUSAND KNIVES / PLASTIC BAMBOO (RH-STORE JPN 6

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Thousand Knives & Plastic Bamboo by the legendary Ryuichi Sakamoto are taken from the incredible Better Days label catalog. Both killer slices of 80ties Japanese electronic music. Latest addition to the RH store Japan 7inch series. Recommended!

1 Thousand Knives Of
2 Plastic Bamboo

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Rush Hour Weekender 2017

*Please note* Peven Everett has canceled his show on the Sunday. Therefore Sadar Bahar is joining on the Saturday!
This will make the night – now with two Chicago greats – even more nice we think! You can use your RA Sunday ticket for the Saturday, or ask for a refund before Friday the 31st of March at promotion@rushhour.nl.

After a wonderful first edition last year, Rush Hour are stoked to return with a highly promising, curious Weekender on two locations. Dream 2 Science, Hieroglyphic Being, Sadar Bahar, Vincent Floyd, Jordan Gcz and many more, are guest on the Friday and Saturday at OT301.

For this year’s edition, Rush Hour are happy to collaborate with Sounds Familiar and Red light Radio. Our friends from Sounds Familiar empower the line-up with Sadar Bahar and Patrick Gibin.

The Rush Hour Weekender started as a festivity for the opening of our current, bigger storefront. During the second edition the store turns 1 year, which will be celebrated with in-store sessions – these will be broadcasted on Red Light Radio and on Rush Hour’s online platforms. Please find more information here.

-BUY TICKETS VIA RESIDENT ADVISOR-
Click on the picture below for Friday and Saturday DAY TICKETS
PASSE-PARTOUTS are SOLD OUT

 -BUY TICKETS FOR FRIDAY AND SATURDAY AT OT 301-

Buy your DAY TICKETS for OT 301 below

ARTISTS

Dream 2 Science Live
This classic house trio will headline on the Weekender’s Friday. The New York house group’s only EP, a self-titled 12-inch from 1990, was out of print for 22 years until Rush Hour reissued it five years ago. The group will perform live for the first time in the Netherlands. Member Ben Cosmo D. was also part of the old school hip-hop group Newcleus.

Peven Everett Live
Peven Everett is undeniably one of the most prolific names in house and soul music to date. The musician closes gaps between house, r&b, jazz and hiphop. The American trumpeter is featured on jazz albums, but is also an outstanding figurehead in the Chicago house music scene.

Hieroglyphic Being Live
Jamal Moss, a.k.a. Hieroglyphic Being is an experimental composer & environmental sound artist born in Chicago, whose musical works & creations are seeded & inspired from afro-futurists concepts. The extraordinarily talented producer releases his music under many monikers, such as The Sun God, Africans With Mainframes, I.B.M and Interplanetary Prophets. His highly acclaimed Mathematics imprint releases music by the legendary Lil Louis, Steve Poindexter, next to a variety other curious and adventurous artists.

Vincent Floyd Live
The Chicago house pioneer worked with legends such as Larry Heard and Armando. Floyd released his soul drenched deep-house music on the legendary Gherkin sub-label and Dance mania imprints. Rush Hour started an artist series, re-releasing the legendary “I Dream You”, “Your Eyes” and released a collection of forgotten pearls through Floyd’s “Moonlight Fantasy” LP. A live show by the pioneer is a rare event, so we are overjoyed to have him during the Weekender.

Jordan Gcz Live
The Amsterdam based Jordan Czamanski (of Juju & Jordash and Magic Mountain High) is a major proponent of live, often improvised techno. His adventurous, lengthy live excursions are soulful, organic and futuristic. Get familiar with his (live) music through releases on his Off Minor imprint, Future Times and with his wonderful two Lushlyfe EPs.

Sadar Bahar
Disco king Sadar Bahar has been around since day one and his dreams are captured in grooves. After years and years of digging deep for records, the Chicagoan built a collection that’s too big to fit in his house. Although he has collected more records than he could possibly play, his search doesn’t stop. The King behind the decks is sanctuary…

Antal b2b Patrick Gibin
UK born DJ, producer and record collector living in Italy, Patrick Gibin aka Twice started his own record label Blend it! in 2011 with the first release of his successful and sought after Black Aroma edits series. His dj sets cover a wide range of genres, styles and tempos, from old to new sounds, all put together in an original and fresh blend. The soulful British Italian digs deeper than the obvious…

Rush Hour co-Founder Antal Heitlager prefers not to put a name to his style, the most he’ll concede is that his music is about a diversity that feels raw & spiritual. Antal has been a pretty silent force behind multiple labels and events in Amsterdam and internationally, until he outgrew to an influential DJ. When he plays out, we get a proper taste of his extraordinary vast musical knowledge and decades of experience.

Interstellar Funk
Olf van Elden alias Interstellar Funk is a young Dutch producer whose sound stands out because of its imperfections, its human warmth and its rough charm. Full of timeless melody that really makes you feel something, both his productions and his DJ sets are daring and thought provoking, always, marrying up new school sounds with the roots of house and techno, as well as dropping in the occasional new wave along the way.

KC The Funkaholic
Amsterdam’s funk father, Kees Heus aka KC the Funkaholic has been influencing the local scene since over 30 years. Never sticking to a genre, KC was the one to debute house music in Amsterdam’s legendary club RoXY in the eighties, while around the same time organizing and spinning at hip-hop parties. With Rush Hour, he started the legendary parties Disco2000/3000 in 1995. KC and Rush Hour also created the label Kindred Spirits.

Boye
Paradiso programmer and former Rush Hour coryphée’s musical knowledge is lightly put vast and extensive. He worked at Rush Hour for eight years. Good to have him back on the team during the Weekender’s Sunday evening!

Margie
As Rush Hour crewmember Margie’s Red Light Radio show implies – “Different day, different story” – she loves to surprise with her musical selection. Next to her monthly radio show, she manages Rush Hour’s House Of Music fanzine and writes about music for a variety of outlets.

Roel De Boer
Crewmember since day one, Roel de Boer has seen all in and outs of the RH company. Imagine how many releases went through his hands… Today he takes his background in house music to a whole other level. Adventurous DJ!

Mark RHD
Unassuming head of Rush Hour distribution and a variety of projects, who you might have heard playing dazzling sounds and songs under different aliases.

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Terrence Dixon returns as Population One, offering an unrivaled, dazzling excursion of late… “The Move” comes with an illustrious, energetic Orlando Voorn rework on the flip. Two esoteric portals to the Motor City mindset, due out in early October!

POPULATION ONE – “THE MOVE” (w/ ORLANDO VOORN REWORK)

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This player previews “Beletronic”, holding 3 otherworldly Caribbean electronic dance floor cuts! Arousing prog-zouk and abstract futurism from the French West Indies by synthesist Claude Rodap, released on vinyl for the first time.

In the early eighties, a time where French Caribbean musicians were searching for their own sound, Claude Rodap mixed traditional Gwo-Ka, Bel Air, Biguine with synthetic sounds, resulting in magical, adventurous outcome.

Recorded in the nineties and in 2000, the dreamy, sensuous three tracks on “Beletronic” are the deliberate result of more than a decade of his experimentation.

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Tracklist:
1 Hiwa
2 Paco
3 Zouklove

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Rush Hour ADE instore sessions  2016
RUSH HOUR INSTORE SESSIONS DURING ADE 2016

19-10 Wednesday 7pm – 9pm CET
Blawan & A Made Up Sound
20-10 Thursday 7pm – 9pm CET
Moon B (live) & Suzanne Kraft
21-10 Friday 7pm – 9pm CET
Recloose & San Proper
22-10 Saturday 7pm – 9pm CET
Sounds Familiar w/ Ge-ology, Volcov & Patrick Gibin aka Twice

Come down, hang out, listen to some music during four days of RH instores!

WORLDWIDE FM @ RUSH HOUR STORE
Gilles Peterson pops in with his fresh radio station on Thursday, for a live broadcast 11 am – 6 pm.
Join us or tune in at worldwidefm.net!

Worldwide FM @ Rush Hour Store

RUSH HOUR @ DE SCHOOL
Pre-sale is sold out, but there are limited tickets available at the door, so we recommend to be early to avoid disappointment. Hope to see you there!

Rush Hour @ De School, ADE 2016

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