Founded in 2002 by Gerd Janson and Thorsten Scheu, but now primarily run by Gerd, Running Back is a German label that’s made a name for itself for its spaced out, melody-rich, modern house and disco flavours. Running Back has so far seen feel-good releases from the likes of: Roman Fluegel, KiNK, Dusky, Alan Dixon, Tensnake, Tiger & Woods, Lauer, Tornado Wallace and more. The label also boasts some incredible peak hour tracks, including Krystal Klear’s ‘Neutron Dance’, Todd Terje’s ‘Ragysh’ and Storken’s ‘Lille Vals’.
If You Love Somebody (instrumental) - (7:06) 121 BPM
If You Love Somebody (Gerd Janson edit) - (6:25) 122 BPM
Review: Now here's an interesting little musical curiosity! Professor Supercool was a team-up between Dr Robert, lead singer of 80s Brit-funkers The Blow Monkeys, and legendary Northern Soul DJ The Real Hector, and 'If You Love Somebody' - a track on which the pair fully embraced the then-nascent sounds of house and garage coming from the USA - was first released as a hush-hush promo back in 1989, getting picked up on by Graeme Park at the Hacienda and even Tony Humphries at Zanzibar. And now it's back on Gerd Janson's Running Back, complete with a very "respectful" (read: he hasn't changed much) remix from the label boss himself. Hurrah!
Review: Originally released way back in 2006, Mute's 'Direct Cuts II' EP was one of the formative releases on Gerd Janson's now legendary Running Back imprint. The German DJ/producer and occasional music journalist is still in love with the deliciously deep EP, so has decided to stick out a 'Redux' edition containing his own dancefloor-focused re-edits. Janson first turns his attention to 'Basics', re-framing it as a loopy, locked-in deep house roller - all bubbly bass, rising synth strings and chunky drums - before smothering the deeper 'Driver's Licence' in copious amounts of delay and reverb (think Isolee doing loved-up deep house, and you're close). Janson's 'Vibes' version is locked-in, bass-heavy and not unlike the Ijdut Boys old deep house workouts, while his 'Lost' re-edit is a sample-rich, disco-sampling delight.
Review: The second part in Shan's warehouse series delivers more of the same - but that's definitely a great thing, if the dish has a great taste. Like it's successful predecessor, the tracks don't re-invent the wheel, but cater to all the nameless spaces and places that made raving in defiant and derelict places fun. Seasoned with break beats like "89 Swing" or the Future Sound of London-esque "Euphony" to "Uplift My Spirit" with dub sirens to boot, it is almost impossible not to find something to suit the and old timer or new school ravers vibe. Get to know.
Review: Summer brings the seventh installment of Running Back's revered various artist series, featuring five diverse tracks that span cunning and contemplative dance music. Kicking it off is Ricardo Baez and Josh Micky combine pianos and Italo bass lines for modern disco hits full of high energy and fun. BSS's Jannis flips this concept with a unique piano-driven deep house track that avoids clichés. Bryolfur and Running Back regular Storken offer a trippy and intricate disco track with "Twist," while Jonus Eric completes the collection with "Ribbon," ticking all the IDM and brain dance boxes.
Review: He may not be the most obvious producer to release on Gerd Janson's label, but Running Back is the natural home for Can't Stop. The title track sees Solomun drop a throbbing, pulsating bass, nagging hi hats and crunchy claps. Once combined, these elements make for a straightforward but nonetheless devastating dance floor track. The dub take is more stripped back and sees Solomun focus on rasping percussion and robust drums. On "Follow The Disco Ball", the storied DJ goes down a different route. Inspired by Italo, the track's irresistible melodic twists are sure to be the one of the summer's highlights.
Review: Gerd Janson has long been confused for "the other Gerd" - AKA long-serving Dutch producer Gert-Jan Bijl, who has been releasing music since the 1990s. Now he's signed an EP from Bijl, which will either end the confusion for good or tear a hole in the space-time continuum. Either way, title track 'Dance of Enjoyment' is terrific - a squelchy, late-80s style Chicago house workout with added (sampled) African vocals, UK acid house style piano stabs and some seriously colourful pads. He continues on a similarly nostalgic theme on breakbeat-driven piano house number 'Let The Music Take Control' (which is accompanied by a speak-and-spell DJ tool), before doffing a cap to Hi-NRG Eurodance on 'Change of Heart', and squelchy nu-disco on 'Digital Illusion'. The latter is followed by a superb proto-house style 'bonus beats' version.
Review: Robert Dietz is no stranger to Running Back, having periodically returned to the imprint - and its' Misfit Melodies offshoot - on numerous occasions since making his label debut way back in 2009. There's a nostalgic feel to 'Rejuve-Nation', with Dietz reprocessing and repackaging vintage dance music sounds in fresh new ways. Lead cut 'Crane Song' comes in two variations: the Euro-dance-influenced, warehouse-ready rush of the 'HnH Mix', and the rushing 'Dopamine Mix', where throbbing, trance style stabs and Euro-dance lead lines dance atop stomping house beats and a bustling bassline. Elsewhere, 'Deranged Self Therapy' sees him channel the psychedelic headiness and basement-bothering moodiness of mid-90s 'progressive' dance music; 'Centro De Gravita' is an acid-fired slab of early progressive house hedonism; and 'Any Plan(t)s This Weekend' is warming and rhythmical ambient excursion.
Review: Krystal Klear's latest release on Running Back doesn't reinvent the wheel, but it doesn't need to. Introducing straightforward dance music crafted to keep the energy flowing. This EP, titled Rb128, comprises four tracks that blend trendy trance elements with classic house vibes, featuring melancholic chords layered over processed drums and punctuated by synthy breakdowns, rave basslines and 90s class - one for the dreamers! One for the dancers! One for Glastonbury's Block 9 for sure!
Review: Running Back boss Gerd Janson has been a fan of Raphael Schon for some time. Last year, he reissued the German producer's 2021 breakthrough hit, 'Fiesta 2000', on the Misfit Melodies offshoot. Now he's gone further still, offering up an expansive EP of brand-new music by the producer, all of which is shot through with references to dance music's storied past. Our picks of a very strong bunch include the sparkling positivity of the 303 bass-powered 'Bearhit', the riff-happy retro-futurist smoothness of 'Do You Like That' - whose breakdowns and drops are suitably excitable - and the kaleidoscopic, near techno-tempo joy explosion that is 'Distant City Transport'. The more nu-disco and maximal house influenced 'Sometimes I Miss You' is also superb.
Review: Sascha Funke's latest EP for Running Back Halle Weissensee pays homage to the iconic hallmarks of rave while makong sure to add more context than simple retro revivalism. Across its four tracks, Funke crafts a hypnotic blend of house and techno that seamlessly merges classic structures with contemporary production techniques, resulting in an EP that effortlessly navigates various sonic landscapes; taking in the classic jackin' numbers through contemplative deep house and progressive hypnotism. With an open-minded nod to nostalgia, tracks like "Reality" and the warped bleepiness of its title track echo the aesthetic of legendary rave nights, "Fantasy" and "Puzzle" explore various other facets of electronic music while giving a shouts out to Berlin's lake district too!
Review: Brand spanking new remix package of Ede & Deckert infectious new wave post-punk anthem "Immer" has landed and receives the deluxe treatment with a diverse array of remixers giving their own spin to the tale of lover's emotion! Berlin's Narciss delivers two distinct interpretations, showcasing a fearless approach to emotional peaks with delightful precision, while the Venice Remix busts out some vintage charm, perfect for primetime - oh yeah. A Salford version caters to a more rugged dancefloor environment, let's say, while Cinthie's grassroots house rendition takes it back to basics with a nod to DJ Duke. Alongside that we have a Curses Vocal remix that maintains the original vibe while switching up the language, allowing Kid Simius to then add a playful touch of sound reminiscent to Miami Sound Machine and Yazoo!
Review: Self-styled "international style pirate, sex icon and enigma of the Australian underground" Partiboi69 has been making waves in recent time, as much for his hedonistic and freewheeling approach to DJing as his (admittedly on-point) productions. This Running Back label debut is undoubtedly his most high-profile release yet, and one the imprint claims "shows his sensitive side". While that may be true to an extent musically - the synths and electronics are largely deep, dreamy and melodious - the beats beneath are still sweat-soaked, techno tempo workouts. Our picks of a very strong bunch are 'Bodies', a fiendishly sub-heavy workout topped off with looped vocal samples and rave-igniting keyboard riffs, the Pet Shop Boys-go-to-the-club flex of 'Feel This', and the melody-rich rush of 'Call of the Void'.
Review: Originally released way back in 2003 as Running Back's second 12", Mute's classic deep house-inspired 'Direct Cuts' EP holds a special place in the heart of label founder Gerd Janson. It's for this reason that he headed into the studio last year to 're-edit and re-imagine' all four tracks. Janson first handles 'Ocha', re-inventing is as a dubby, hypnotic chunk of piano-sporting deep house tactility - it's genuinely gorgeous and insanely loved-up - before sprinkling his magic over the ultra-deep, drowsy and languid 'Never'. He emphasises the boogie-influenced elements of Mute's original mix on his version of 'Direct Cuts', while the 'Bensono' version cannily blurs the boundaries between cultured disco-house and early '90s Burrell Brothers productions.
Review: Ede and Deckert's wholehearted 2023 tribute to "80s alternative dance music", 'Immer', has been given the remix treatment. Narciss provides two contrasting takes: a 'Venice' version that re-imagines 'Immer' is a throbbing, all-action indie-dance anthem in the making (think Phones remixing the Futureheads, and you're close) and a grittier, delay-laden 'Salford Mix' that sounds like a tribute to Factory Records post-punk-dance period. Elsewhere, Curses deliver a mix that joins the dots between dreamy synth-pop and low-slung post-punk disco, Kid Simius joins the dots between proto-house and Hi-NRG, and Cinthie turns the track into a nostalgic, suitably sizable, big room house anthem.
Review: Space Dimension Controller takes the reins in the follow-up to the Acid Sampler series, offering a captivating exploration of acid house through his unique lens. With Running Back as the platform, the Irish artist showcases his affinity for the subtleties of primitive electronics, delivering four tracks that exude charm and depth. "Kosmische Conga" leads the EP with infectious hooks and swirling synths, with "Echopet" turning to something a little more introspective that pays homage to the brain dance essence of acid house. "Minehead" - taking inspiration from Bloc Weekender - delivers 'a heartfelt love song for circuits', then leaving "Carinacid" to wrap up the quartet with a rhythmic embrace and slow chugging groove that holds its ground. A resounding pass in the acid test.
Review: The press release accompanying Fango's first Running Back outing offers helpful hints for potential reviewers, with label boss Gerd Janson describing the Italian's "sound world" as one containing "techno punk, EBM house and outsider disco". Tongue-in-cheek as that may be, it's also astute. Title track 'Sarcosuco', for example, adds floaty, "chorus" synthesizer stabs, warming chords and rushing techno style melodic loops to an incessant bassline and sturdy beats, while 'Dimetrodonte' sits somewhere between EBM, Italo-disco and restless after-party house. He ups the tempo further on 'Diplodoco', a swirling, trance-influenced chunk of melodic techno, before rounding things off via the glassy-eyed rush-meets-lo-fi-techno-punk brilliance of 'Gastonia'.
Review: Italy's Raffaele Martirani, AKA Panoram, returns with what is, if we're counting correctly, his sixth album-length outing, and his second for Gerd Janson's Running Back label. Leftfield, psychedelic and Balearic grooves are Martini's stock-in-trade, and the 12 tracks featured here run the gamut from gentle piano pieces like 'Blank Sheep' and the almost Disney-esque 'Flat Stones', via the introspective, cinematic 'Squid For A Day', the ethereal 'Bucolica' and the looping, dusty 'Dove Done Come', to haunting, off-kilter explorations like 'Ages' and 'There Is A Hole Here'. Unapologetically experimental and doodlesome, it won't be to everyone's taste but it'll be lapped-up gleefully by those whose ears are allergic to the rhythmically and melodically predictable.
Review: Running Back's popular multi-artist series returns. As with its predecessors, EP six boasts a wealth of previously unreleased treats from label regulars and hand-picked guests. The EP begins with a deliciously colourful piano house explosion courtesy of Llewellyn ('For The Weekend') and ends with the tactile, mid-80s, Pet Shop Boys-esque instrumental synth-pop excellence of Senor Chugger and Count Van Delicious's amusingly titled 'Micket's Vegan Fillet'; in between, you'll find some dark, driving and percussive sweatiness (the rave-igniting 'Radius' by Ede), a dash of EBM-goes-electroclash (Zillas on Acid's 'Pleatherhead'), a spot of Latin freestyle-meets-proto-house fun (Stereocalypse's 'Mad Theory') and a storming, hard-to-pigeonhole chunk of retro-futurism by Storken and Hammer ('Marabou').
Review: Popular twosome Dusky (AKA Nicholas Harriman and Alfred Granger-Howell) return to Running Back with the final part of their 'Life Signs' trilogy of EPs. In keeping with its predecessors, and the London-based duo's popular and now familiar approach, all four tracks sound fresh and contemporary while offering nods to classic club sounds of old. For proof, check opener 'Wildfire', where colossal chords and trance-style melodic motifs rise above an unfussy house beat and throbbing sequenced bassline, and the riff-heavy, acid bass-propelled breaks business of 'Tea Cake'. Elsewhere, 'Rushing' is a bouncy and celebratory slab of techno-tempo piano house, and 'Hawthorn' is a nostalgic, saucer-eyed delight full of The Beloved-style bass, starry chords and sweat-soaked beats.
Review: Drawing inspiration from hardcore punk, skateboarding, and high fashion, particularly Linea Rossa, the young Australian artist offers a collection of precise and captivating explorations in house and techno. His debut release for Running Back, "How The Dogs Chill Vol.2" consists of four high-energy tracks that blend deep house elements with atmospheric melodies. These tunes possess both a muscular intensity and an affinity for entrancing rhythms that will set dance floors on fire. Written amidst the lush flora and fauna of Australia in 2022, the tracks carry a botanical essence, evoking the sensory journey of a visit to a greenhouse.
Review: Running Back's latest missive happily doffs a cap to synth-pop and "alternative dance" of the 1980s, with boss Gerd Janson suggesting that Ede/Deckert (AKA Eren Yazici and Christph Deckert) looked to British Electric Foundation (AKA Heaven 17) and dark wave outfit Eleven Foundation for inspiration. They're certainly good reference points, with 'Immer' boasting an attractive blend of Johnny Marr style guitar licks, Peter Hook-esque bass, metronomic machine drums and attractive electronic melodies, all topped off with an expressive lead vocal (in German) by mystery singer Sargland. Alongside the fine extended vocal version and vocal/instrumental radio edits, the package also contains a sublime 'Extended Instrumental' take that arguably sounds even more like New Order, which is no bad thing.
Review: Running Back boss Gerd Janson has variously described Katernina Andonov's label debut as "singer-songwriter house", "outsider house" and "campfire dance". None of these quite fit, but it's true that the six-track EP is an eclectic, hard-to-pigeonhole proposition. It sees her sashay between deep, dreamy and tactile vocal house (the superb 'Get To Know You'), faster, dreamier and even more melodious instrumentals ('Marsu (The Cat)'), clarinet-sporting ambient bliss ('Alone In Paris'), space pop-influenced synth-house wooziness ('Time Machine'), Balearic synth-pop colour (the nu-disco tinged 'Cats of Yavarov'), and semi-acoustic ambient pop (the simply awesome, sunrise-ready wonder that is closing cut 'Rain In Her Eyes').
Review: Roman Flugel has made many terrific records over the last three decades, though we can't think of many that are quite as joyful and rushing as 'Lucky Charm', a surging piano house number full of pots-and-pans percussion, layered keyboard solos, hands-in-the-air riffs, classic house bass and unfussy drum machine beats. His accompanying dub mix successfully strips the track back while adding some restless, relentless cowbell lines (never a bad thing), while Perc's short-and-sweet revision re-imagines the track as a bouncy, tribal house number. Of the bonus cuts on offer, we're particularly enjoying the wayward house/techno fusion of 'Luv Amour' and the exotic downtempo shuffle of 'Film 4'.
Review: Tristan Hallis brings his "progressive traditionalist" DJ Boring project to Running Back for the very first time. It's a big look for Gerd Janson's label and Hallis has duly delivered a quintet of treats in his now trademark style. 'Beautiful Strangers', a dreamy, tactile and bleeping chunk of pitched up vocal-sporting dancefloor bliss, kicks things off, before Hallis opts for a bouncier, piano-sporting vibe on the rushing peak-time joy of 'Can't Fix a Broken Heart'. There's more of a sub-heavy, garage-influenced swing to 'When I'm With You (featuring Jasoer Tygner)', while 'False Attraction' is a locked-in treat that boasts two lengthy, saucer-eyed breakdowns. Hallis rounds off another rock-solid EP via the lo-fi breaks of 'Memories Fade'.
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