Tag Archives: House

Bicep – $tripper

Bicep, the fresh dj duo from Belfast, recently put out an awesome new 12″ called “$tripper.” The record contains the title track on the A side while the B side contains a sleazy boogie-disco edit by a mysterious “Unknown” artist. Anyway the record is must have for any record collection. You gotta love those 90’s Jersey house vibes on the late-nite tip….

Buy the Vinyl HERE.

Try it out HERE.

Check out some of Bicep’s edits below…

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gridlock’d – a mix by eloi

Almost been a year since our last blog transmission, and we’ve missed u. So let’s try and pick up where we left off by jumping right back into the swing of things. “gridlock’d” is my latest mix which aims to rouse the senses through infectious choice cuts. Lately my days have been full of repetitive daily commutes which act as both a test of my patience as well as a refuge for me to indulge my music listening addiction. So i put together this mix to nibble on during those times when a musical escape is needed. “gridlock’d” melts together numerous electronic genres like electro, deep house, Detroit techno, and microhouse to create a 30-minute ramble through electronic boogie.

You can also download the mix HERE.

Tracklist…can be found HERE.

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Todd Terje – Ragysh

It’s been over 5years since we’ve heard any “new” songs from Todd Terje. During the past half decade he has been supplying us with some of the greatest edits & remixes of countless disco/house gems. But now, the so-called “Remaster of the Universe” returns to the helm with this sweet 4track EP entitled Ragysh. And now that he has given us another taste of his solo work, we are just left wanting more…


01. Ragysh
02. Snooze 4 Love
03. Snooze 4 Love (Version)
04. Bonysh

Preview the title track below::::

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Lone – Echolocations

U.K. producer Lone returns to surface with his early-90’s Euro house licks in tow and presents us with the spectacular Echolocations EP. Compared to his last effort, Emerald Fantasy Tracks, Lone has stepped up his dance game and delivers a fresh 21st century view of classic rave music with melodies from the fourth dimension.


Stream below::::

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Who is Jesse Rice?

I don’t know but his tracks are sick. All we know is that it’s an SF based producer that brings the jams. ENJOY.

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technocolor – a mix by eloi

Since the Fool’s Paradise Radio Show has been put on hiatus, we’ve decided to start doing more mixes/podcasts for all to share amongst the blogosphere. And so i’ve been compiling and now here’s my latest mix, “technocolor”, which features some shiny otherworldy jams. Might be just what you need for those 4am trips to COOL WORLD, when you figure out how to astral project to FANTASTIC PLANET, or if you ever find yourself a guest of the Master Control Program. So please, dive into this pool of future jams and classic oddities…and don’t forget to tell your friends.

Download HERE!!!


Cyber People – Void Vision (Slow Version)
Discodeine – Singular
Mim Suleiman – Nyuli
Todd Terje – Eurodans
Hercules & the Love Affair – My House
Mirror People – Echo Life
Mock & Toof – Farewell to Wendo (Kink & Neville Watson Mix)
Tensnake – Coma Cat (Round Table Knights Remix)
Brant ft. Mr. Roper – Last Night I Dreamt That Somebody Loved Me (Ada Mix)
Mano Le Tough – Oblique (Chateau Flight Remix)
Visti & Meyland – Yes Maam [All Night Long] (Trentemøller Remix)
Nguzunguzu – El Bebe Ambiente
Spiral Beach – Teddy Black (Mix Chopin Remix)
Model 500 – Ocean to Ocean (Instrumental)
CFCF – Come Closer (Azari & III Remix)

and once again, muchas gracias to M. Stall for the cover art!!!

and just for kicks….

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“fresh like” – a mix by eloi

So it’s been a long while since my last mix, so i felt the itch to compile yet another…and here it is!!! I feel it would be perfect for those fantasy nite dance parties where everyone on the dancefloor luminates a pulsating neon glow, or maybe consider it for those weekend trips to the moon. Basically anytime you feel your dancing shoes are due for a spin, “fresh like” will accommodate. So please…indulge. And if you like, you should come party with us at the Radio Bar (in Oakland) on Dec 18 for a Booze-Wazi christmas where we’ll be spinning jams along with DJ Quest with live painting and projections and who know’s what else (costumes? drunk santas? aliens?). Have a gander and pleasure your ears & feet for a while…

to download just click the down arrow button right below info…or you can just click HERE!!!.

and muchas gracias to M. Stall for the artwork.


Human Egg – Onomatopaeia
Populette – Daddy
Azari & III – Reckless With Your Love
Bottin – Stork
Disjokke – 1987
Matias Aguayo – Menta Latte (Prins Thomas Diskomiks)
Ilija Rudman – Time and Time
Morton Sorenson – Start Something
Permanent Vacation – Zuckerhut (John Talbot Remix)
Mike Simonetti & Johnny Jewel – Syntheseized Throbbing Baleric Italo Track With Guitar Solo
In Flagranti – Ex Ex Ex (Hercules / Andrew Butler Remix)
Tony Orlando – Don’t Let Go (Pete Herbert Edit)
Midnight Magic – Beam Me Up (Jacques Renault Remix)
Chaz Jankel – Get Yourself Together
Quango Quango – Love Tempo
Bagarre – For Your Pleasure

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TBD…remix, edit, remix

The hype of TBD started way back on Election Night 2008 when Justin Vandervolgen (Out Hud, !!!, and Golf Channel Recordings) and Lee Douglas (The Stallions) announced the formation of TBD live on Beats In Space radio. They were super drunk and totally hyped about their new project TBD while providing a killer DJ set on that podcast. And ever since they have been letting loose by releasing numerous Remixes & Edits on various labels such as Permanent Vacation, Internasjonal, and their own TBD Sounds label. And this past September saw the release their own 12inch “OH MY” on DFA records and it showcases the trademark TBD explosiveness that lurks in all of their other remixes & edits. Peep some their handiwork below:

Traks Boys – Yellow (TBD remix)

Populete – Mommy (TBD remix)

Cos / Mes – Gozmez Land (TBD remix)

Buy TBD records HERE.
Or go to TBD’s facebook page.

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Nobuhiko Obayashi…and “HOUSE”

Excerpt from “The Housemaidens” by Chuck Stephens

A pioneering figure in the Japanese experimental film scene that sprang up at the end of the 1950s, Nobuhiko Obayashi (born in 1938) had begun making short Super 8 movies in 1956, and soon became closely associated with fellow cineastes Donald Richie Takahiko Iimura, with whom he would cofound the experimental film collective Film Independant in 1964. Obayashi’s 8 and 16 mm short films almost always centered on young women emotionally stranded between skipping rope and the skipping heartbeats of first love: sprightly and painstakingly pixilated visions of female longing, of adolescents forever distracting themselves from their imminent coming-of-age with quasi-carefree (and, under Obayashi’s percussively pianistic editing strategies, graphically dazling) games of hopscotch and hide-and-seek, at once bewitched and bewildered by the mostly peripheral (though, as in his 1966 masterpiece Emotion, often somewhat comically and ominously vampiric) men hovering in their midst. Today, Obayashi remembers mainly the impact that seeing the first films of the French New Wave, particularly Godard’s Breathless, had on his and his compatriots’ sensibilities, although on the evidence of as early an Obayashi film as 1960’s Dandanko, Canadian filmmaker Norman McLaren, who’d been similarly experimenting with hand-drawn and collage animation with live-action, often quirkily pixilated footage since the 1940’s, seems equally to have had his (perhaps secondhand) influence. Whatever his inspirations, Obayashi’s implementation of a variety of “handmade” filmmaking approaches (not unlike some of A Hard Day’s Night director Richard Lester’s pop art stylings) seemed custom designed for a certain strain of somewhat less than radical 1960s youth culture: his was a sensibility steeped in a romanticism far more Truffaut than Godard, and as politically and aesthetically muted when compared with contemporaries like Oshima as a Peter Max might seem in comparison with Robert Rauschenberg or Jasper Johns.

Obayashi spent nearly two years preparing the narrative and commercial particulars of his feature film debut, first concocting House‘s script from the collection of frights his preteen daughter suggested, then conspiring with the pop group Godiego (pronounced go-die-go, like the fourteenth-century Japanese emperor Go-Daigo) on the film’s assortment of pop ballads and searing synthesizer boogie, all in time for the soundtrack album to be releases well in advance of the film. Care was taken, too, to season the film with timely cultural touchstones: here an appearance by a Tora-san look-alike, there a ringer for actor Bunta Sugawara in his then popular Truck-yaro (Bastard Trucker) guise; there’s even a reference to Pure Hearts in Mud, the Momo-Tomo romance to be released as the surefire A feature to House‘s marketing gamble B. As for the myriad stylistic flourishes (faces that melt into the flame, a disembodied head hungrily nibbling on an unwary butt) that make Obayashi’s film so visually overwhelming, it was if the director had been preparing for them his entire experimental filmmaking and advertising careers. The story of a motherless teenage girl named Gorgeous who, disappointed by the imminent remarriage of her soundtrack composer father, precipitously cancels their planned summer vacation together and instead sets out with six of her schoolmates for a visit to her long-unseen maternal aunt’s house in the countryside…But who cares about the story! House is a film far more focused on the telling than the tale, haunted by more formalist freak-outs, sudden excursions into time-warping slow motion, and ludicrously lysergic, analog-age matte effects than any other twenty Japanese films released that or any other year.

The narrative, in its essence, is in fact a rather well-worn one in Japanese folklore and horror movie culture, familiar from such films as Kaneto Shindo’s kabuki-bound Black Cat and Nobuo Nakagawa’s lurid Ghost Cat Mansion. What makes Obayahi’s film so thoroughly extraordinary is twofold: first, the virtually limitless visual variations and sound design fever schemes (cocks crowing, babies wailing, piano glissandi and thunderous waves crashing on an unseen shore) with which he transforms the story’s traditional elements (which go beyond those bakemono/kaibyo components to include, among other things, various evocations of ukiyo-e illustration master Hokusai’s famous ghost-headed Oiwa lantern), to such a startling degree that Japanese audiences in the 1970s, as do audiences around the world today, found the film fresh and utterly new; and second, the obvious glee Obayashi takes in pushing the roricon (Lolita complex) richness of his subjects – a bevy of tender beauties, most of whom appear in increasing stages of undress as the film progresses – as he torments and terrorizes them. Not since the work of outsider artist Henry Darger, who ransacked children’s books to create epic collage tapestries depicting armies of oft-naked girl warriors in battle, have so many magnificently demented possibilities for simultaneously empowering, imperiling, and eroticizing pubescent young women been gathered so dazzlingly together in one place – and never at such a speed-demon pace!

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