Continuing the obesity-themed series of weird dance records, this is from the second-last release. I’m pretty proud of the main “melody” – it’s like the purring of robot cats.
Solid track. Sold badly.
Full-fat version here.
Continuing the obesity-themed series of weird dance records, this is from the second-last release. I’m pretty proud of the main “melody” – it’s like the purring of robot cats.
Solid track. Sold badly.
Full-fat version here.
Myself, under yet another pseudonym. Dandilion Crush (AKA King Unique) had released a track called Atlantic, which was probably the best of a number of retro-styled tracks in 2006. Seemed interesting to me, so I pinched both the name and the general retro feel. This one almost didn’t get released – it was supposed to be the third vinyl release. That would have been a shame, in my opinion.
Full-fat version here.
This was really the start of me making records that I like the sound of, where I was satisfied with them on a production/engineering level. I’d really gotten used to using my modular synth and there are synthy tricks all over these tracks.
I was really being impressed by Trentmoller around the time I made this and you can hear it in At Night. This is kind of my version of his remix of Royksopp’s What Else Is There, plus the other stuff he was doing around that time. I’m still pretty happy with it after all this time.
At Night was one of the best-selling Bodega releases. I think it sold better than it would have otherwise because Shakedown’s At Night came out around that time and sold like hotcakes. Whatever. Things sell for weird reasons.
…and the full-fat version here.
The flip side, Darcade, is one of the Bodega releases I’m the most happy with. I don’t think anybody has ever liked it. Typical. I think it would have done pretty well on the world’s weirder dancefloors: KLONG-KLONG-KLONG! I won’t deny the bassline was influenced by Solid Groove’s This Is Sick.
…and the full-fat version here.
Released in April of 2006, this saw the light of day because some friends of mine by the name of Unbroken had done a remix that was getting plays by Nick Warren. Otherwise I was happy to just let it drift off into the sunset. I guess, in hindsight, that that would have been a shame; it’s a decent tune, though a bit of a relic from the time where I was fully into that whole Sasha/Digweed progressive house thing. Anyways, this is my melodic electro take on it.
Here’s the full-fat version of the remix.
Here’s the original mix:
Here’s the full-fat version of the original.
The first release to not be pressed up on vinyl, instead being sold as an mp3, this was the one where I FINALLY MADE SOME MONEY. Good plays on this one, specifically from James Zabiela, who featured the breaks version in his Live @ Sound Bar, Chicago (02-26-2006) mix:
Original
Starstruck Breaks Mix
Written, produced, mastered, etc, etc, by me, again.
The first release in late 2005 under the label name Bodega., this was the last vinyl release before going all-digital. Michelle Chivers on the vox and yours truly on everything else. I sold, at a push, 180 copies after pressing up 500 – lost a ton of money. Serves me right for pressing up a mediocre track, though the Relay Dub is alright.
Original mix:
Full-fat version here.
Relay Dub:
Full-fat version here.
The second release on Bootleg Sounds, right before becoming Bodega, this is the a-side Bisexual Harassment by Fat East Coast (me). After pressing 500 records and selling about 215, I almost broke even on this one:
For the full-fat version go here.
And this is the b-side Analog Snobbery:
For the full-fat version go here.
This was carried by Syntax vinyl distribution in NYC, who went bankrupt a few years later despite never having paid me the $180 they owed me. In hindsight I guess I won, in the grand scheme of things. The lesson learned is that a lot of vinyl distributors were straight-up shysters.
Duck!
Dodger
Here you’ll find all the news that’s fit to print about Montreal’s Bodega record label and Matthew Hiscock, the man that runs it.