***THE DOLLAR BIN***
SHINEHEAD - JAMAICAN IN NEW YORK (CLUB HOUSE) [124bpm]
I can’t really pretend that this is a “rare” find, seeing as four copies are available on Discogs for $2.00 right now. But that doesn’t make it less special.
I think I was rummaging through Amoeba Records in San Francisco when I found this. If you’ve been there, you know that it was once a bowling alley, and is now packed with aisles of every musical medium imaginable. The dollar bins are located on the lower shelves, which means my ass is generally seated on the concrete floor, praying that people don’t kick me as they walk the aisles.
So, once again, getting my hands (and ass) dirty in the bins, I do believe I struck gold. There’s something terribly familiar about this track, although I was less than 10 years old when it was released (1992). The original must have gotten some radio play here (reaching #30 in the UK). Norman Cook appears in the credits for each remix, and for humble reasons unknown to me, does not appear in the track titles. The titles of the tracks are instead labeled by vibe, this one being the club vibe. I don’t really know how to describe this one, other than it gets me moving, and makes me happy.
Really glad you guys are digging this new section; looks like Sunday is working out pretty sweet. You can revisit the past few Dollar Bin entries here, and we’ll get back to current house music tomorrow. As always:
KASHII - HOUSE CULTURE
With five skillfully crafted bangers on this EP, it was nearly impossible to choose one track to feature. I chose the easy way out, because the title track will engulf the listener and command their attention toward the rest of the EP.
I’m a little bummed I didn’t feature this last month when it originally dropped, but its timelessness makes me feel less guilty. Almost a year ago, having fallen in love with Kashii’s signature sound, I asked him if I could feature any unreleased tracks of his. He was kind enough to drop “Fire” which I was in love with (write-up here), and actually ended up on this EP. Turns out it was a perfect precursor for what would soon come.
On the title track, it’s almost as if he chose a dj-unfriendly intro in order to say, “You should probably start your set with this one.” Once those restless, throwback synths make their way in, party-goers should be making the ceilings drip. The half-time claps create a never-ending energy, encompassed by vocals driving the rave aesthetic.
This EP is available digitally from your favorite online distros via Southern Fried Records, who’ve chosen a perfect way to begin 2012. Listen to more from Kashii on his SoundCloud, and keep your fingers crossed for a full album in the near future. As always:
SHENODA - NIGHT EATER
As far as I can tell, there is no vocal sampling of Aaliyah on this release.
Instead, there is simply deep, deep house. And thank god for that. Laurie Shenoda has been part of London’s Hypercolour crew since its humble beginnings, dropping the third release for the label back in 2007. He’s now spreading his wings, if you will, for the Fear of Flying label, and taking house music to higher grounds.
The textured, organic percussion on this track is truly a thing to behold. Turned up loud on a good sound system, the drum patterns will easily infect the dancefloor. Vocal snippets hold the track together, being caressed by pounding 4/4 bass rhythms. Smooth and sexual, an instant good mood will occur upon hearing this.
The “Mines of Minolta EP” is now available digitally and physically. Obviously I will highly recommend the physical release, because it smells better. Learn a little more about Laurie here, and stay tuned on his SoundCloud. As always:
NASTY BOY - ! [121bpm]
Some of my most treasured moments in the desert were the ones where I found myself dancing alone.
If you’ve been to Burning Man, you know that there is music everywhere, at all times. Nothing can fully describe the feeling of riding a bike as fast as you can down the “city” streets at 3am, alone, and suddenly being drawn to a full stop in order to dance. It was just me, with the stars shining, barefoot and kicking up dust into a two-step mini-hurricane.
That was the feeling I got upon hearing a clip of this track. Desperate for the full thing, I immediately contacted him, and he was gracious enough to provide me (and listeners of this blog) the track in its entirety. I could describe this track’s perfectly minimal aesthetic, (the pounding bass, groovy keys and soulful vocals), but I think it’s better to envision how,where, and when you’d dance to this.
This one’s currently unsigned, but Italian house producer Niko has some big offerings for the coming year. Keep up to date with releases and unsigned tracks on his SoundCloud, and always:
KARL MOESTL - LIFE IS CHANGING, YOU CAN’T CHANGE THAT [125bpm]
Do you ever selfishly hold on to something beautiful because you wish that nobody in the world would know but you? That’s exactly how I felt about this track.
Karl Moestl has crafted a five track EP centered around life and beauty, aptly titled “The Life EP.” The progression through this EP takes the listener on a spacial journey of deep, gorgeous intensity. Each track is poetically titled, and upon listening can be immediately understood.
Most intense of these tracks is easily today’s chosen one. With a throbbing, crunchy beat from the get-go, Karl then throws in some effects that may come across as sexual vocal samples. Percussion is minimal here, as the production is centered entirely around the immense power of electronic instruments, and the atmosphere that sneaks in from the background. Suddenly, we’re trapped in the song, and don’t want to get out.
Released this week on Defusion Records, you don’t want to go your life without hearing it. Show some love on Karl Moestl’s website, then preview all the tracks on Beatport. And, as always:
[AURA] - SPLITTING ATOMS (JUSTIN DRAKE REMIX) [123bpm]
This is that peak-time dancefloor business.
[Aura]’s forthcoming EP gives a strong nod to the classics. The original track throws us some punchy, Chicago-tinged rhythms with gritty drums, deep groovy bass, and a kitschy hook that ravers of the world will find familiar and comforting. On the flip, Terrence Dixon shows his Detroit Techno roots with a spaced-out, uplifting and minimal take on the track.
Then Justin Drake goes in. ALL in. Equipped with raw percussion and a perfectly chosen sample of the original, this track does no wrong. This pounds at your feet and invokes some kind of spiritual two-step victory dance. He’s upped the vocal samples from the original, making them more apparent and hypnotic, while ultimately honoring the original.
Surely not to be missed, Rationalism Records will be releasing this EP digitally on February 28th. But, in the meantime, you can stream all of the tracks here. Look out for more from these guys in 2012, and as always:
***THE DOLLAR BIN***
SOUL II SOUL - BACK 2 LIFE (MASTERS AT WORK REMIX) [123bpm]
Here’s a little slice of heaven for your Sunday morning.
I’m a quiet digger. I like to be left alone, getting my hands dirty on the hunt for gold in the basements of my local San Francisco record shops. But when I found transparent red vinyl with the words “Masters at Work” on it, I’m fairly positive the words “OH, FUCK” literally spilled out of my mouth and filled the room.
I can’t find this release anywhere on Discogs, or the internet. It appears to be a collection of pop singles remixed specifically for DJ use back in the day. Let’s not pretend that I was more than 9 years old when this was put on wax, because that would be ridiculous. The nostalgia attached to this doesn’t have much to do with house music, rather everything to do with Soul II Soul (and the Ace of Base remix on the flip). That was my shit.
I really hope you guys enjoy this new endeavor of THE DOLLAR BIN on the site. I can’t quite decide what day of the week is most fitting, but let’s stick with Sundays for now. As always:
TONY LIONNI - HIGHER GROUND [126bpm]
This track is utterly hypnotic.
Imagery can easily be linked to the album artwork, setting the tone for the entire EP. The listener can imagine preparation for flight, or take-off into another realm. With pounding bass from the very start, Tony Lionni sets the tone for the ride. Every loop is added cautiously, from the percussion to the vocals; a step-by-step process that is often rushed but executed beautifully here.
Other tracks on the “Higher Ground EP” include a disco-tinged, subtle banger entitled “Forever is a Long Time.” Also included is Moomin’s softly-stated remix of today’s track.
This is now available from Freerange Records, (home to the likes of Jimpster), and absolutely not to be missed. Listen to some fresh mixtapes from Tony Lionni on his SoundCloud, and always:
CDBL - GANGSTA’S ANTHEM [130bpm]
This is officially my new hood anthem.
I was so stoked to see these guys pop up in my feed today, and beside myself to hear them drop an absolutely massive original track. This one has a stronghold on the listener the moment it drops; building tension with the hood vocals, then leading into an ethereal buildup that this duo has truly mastered.
It’s got all the makings of a 2012 classic; from the rolling bass and that throwback vibe to the forward-thinking, enthralling 130bpm tempo. The production is spot-on, and will surely murder dancefloors across the globe.
Since they were first featured here with their ultra-glowing track “I Need You” last year, they’ve made some big moves. With their Vices EP on the amazing Squelch And Clap, and plenty of remixes under their belt, they’ve now joined forces with Orlinzoo Music. February 13th will see the release of of their Feels So Good EP, and it’s not to be missed.
Be sure to follow the guys (separately known as Comix Del Biagio and Ben Lambs) on SoundCloud, get stoked for the release, and as always:
***THE DOLLAR BIN***
GEORGIE PORGIE - I’M IN LOVE (UBQ’S ORIGINAL MIX) [123bpm]
I am so excited to present this new section of the blog to all of you.
Here I’ll be taking it back, way back, into my personal collection of vinyl. If you know me, you know that the larger portions of my time and income are put into vinyl; the hunt for gold, especially in the dollar bins of my local record shops. This section will have a focus on house music, of course, between the years of 1992 -1996.
These have all been personally ripped from vinyl, and digitized for your listening pleasure.
The first peek into my collection will be Georgie Porgie, with the bigger-than-life dancefloor killer remix from the amazing UBQ. More info on this release can be found here on Discogs. I’m thinking the music will speak for itself today.
Really hope you all enjoy this new endeavor, and I’m so looking forward to weekly features. Friday seems to be a good day for this, don’t you think? Much love, everyone.
C.R.S.T - WHAT I WANT (FT. JESSY ALLEN) [128bpm]
These guys provide only the freshest.
An absolutely massive, and strikingly classic UKG track from the boys of C.R.S.T. has arrived, including vocals from mysterious new girl Jessy Allen.
This is straight 90’s vibes, and Jessy’s passionate vocals are the icing on the cake. C.R.S.T.’s signature sound can still be heard loud and clear; working with strong, low tones that dabble in the realm of bassline, but keeping the dancefloor exhilarated with powerful two-step percussion.
The Zed Bias remix of this track will be available on limited-edition colored vinyl from Valve Records, while this original track will remain digital-only. Coupled with “Pressure,” a more aggressive attack on garage, this EP is pretty perfect. Keep an eye out for the drop early this month, and check out more from the guys of C.R.S.T. And, as always:
MOODTRAP - OUT OF TIME [122bpm]
You need to wait for the moment at 3:24 when everything drops, the world stops, and nothing but the bass and vocals are left. And we’re all peaking.
This is the point in the party where tired eyelids lift, people raise from their seats and hurriedly rush to the dancefloor out of not only curiosity, but anticipation for the drop. And the drop is well worth it.
Moodtrap is a mysterious duo of well-known producers who wish to remain anonymous at this time. The moniker was specifically crafted for Tsuba’s record label. Their “Body to Body EP" was recently dropped, and quickly followed by this seemingly digital-only release.
This 3 track EP takes techno (a dirty word to some) into realms I hadn’t thought imaginable. With hints of UK bassline, and even grime, we might be able to narrow down the producers’ identity. But it’s not about that, obviously. It’s about the music.
Be sure to check out the roster of talent on Tsuba Records, and keep your eye out on Moodtrap in 2012. As always:
MICHAEL IMPERIAL - NICOLE [124bpm]
I’m kind of smitten by this guy.
The album artwork leads you to expect pop music, and then he gives us this instead. A minimally percussive, heavily bass-laden track with unabashedly lush vocals.
I personally think it’s pretty clever to go ahead and name the track after the artist the vocals have been sampled from. It’s almost humble; like he understands that the music world is rife with R&B vocal samples, but believes in and loves the production enough to dedicate it to its origin.
Each track on the EP doesn’t bother to hide in shadows of splicing or pitch-control, either. Instead they are embraced.
But honestly, where is this guy’s press? His debut 6 track EP doesn’t have a single song worth skipping, and actually deserves to be heard. Go pay a measly $5 for it on his BandCamp page, and follow on his SoundCloud. As always:
STEVE MURPHY & CO. - WIND MASTER [120bpm]
Did y’all feel that? Yeah, me too.
Only five seconds in, and the wind’s intensity has been made audible through this glowing deep house track. It feels like I’m dancing inside of a windmill.
Steve Murphy & Co., with their Wind City EP, have created a thematic masterpiece. Printed on luminous turquoise, hand-stamped vinyl, the sky-bound dreamscape is presented. Next comes the noise, as they continue to showcase the powerful element of air with organic textures and moods within each of the four tracks.
Highly dance-able and equally heavy, this EP shouldn’t go unheard. It’s the first imprint on newly established Chiwax label (what appears to be a sub-label of DBH Music), which is meant to be testament to the Chicago house aesthetic. You can hear the forthcoming record on the DBH SoundCloud, and see what Steve Murphy (aka Mattia Effe) has to offer here. As always: