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’.
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'.
Review: Italo nouveau specialist David Jackson, perhaps best known for 2020's 'Airport Disco', joins forces with like-minded ex-pat Northern Irishman Cormac, a veteran of the mid-00s Trash/Nag Nag Nag/Wet Yourself electroclash heyday who's busy these days with his Queerly Beloved podcast, his Polari label and his regular Rinse show. Together, they come to Running Back with a track that's pure 80s in feel and that owes a clear debt of inspiration to Depeche Mode. Label boss Gerd Janson's remix wonks things out a little more towards the end, while if you're not feeling the vocal there's also an instrumental included.
Review: Following last year's Release Me, Redshape returns to Running Back with this rave-inspired EP. Drawing on euphoric sounds from the 90s, this four-tracker starts off with the title track. Led by dramatic string swoops and evocative chord builds, it contains an understated sense of menace. The same interplay between euphoria and moodiness is also audible on "Wing Wing", where an acid bass underpins colourful synth lines. "Acid Flow" is more pared back, with Redshape putting the focus on a warbling 303 and insistent percussion. Rounding off the release, the storied techno producer goes deeper with the sleek Detroit techno of "Redshape Frantic".
Review: Krystal Klear is on a winning streak with his latest release, Automat Kingsland. The music on this album perfectly captures the artist's experiences over the past six months, featuring songs which are fast-paced and dynamic. His goal was to bring the feeling of being lost in the busyness of life to the dancefloor, with music combining both joyful and bittersweet elements to create an overall mix of emotions. Recorded in various cities and now being shared with you through Gerd Janson's Running Back, it's an album that never stops and keeps pushing boundaries
Review: The latest offering from Digitalism, Back To Haus, is a testament to the Hamburg-based duo's ability to infuse classic house with a modern twist. From the catchy title track, to the hypnotic beats of "Chicagostrasse" and the energetic party jam of "4TH Floor" - this album is a DJ's dream. The final track, "Warehaus", is a positively destructive beat tool that's sure to get any dancefloor moving. Back To Haus is a double album that's worth every minute of listening time, showcasing Digitalism's talent for producing quality electronic music that stands the test of time.
Review: First released way back in 1995 as the debut 12" on the now iconic Playhouse label, 'Surprise' is undoubtedly a significant house record: a German-made deep house number whose blend of synth-strong stabs, skipping drums, righteous organ riffs and vintage disco vocal samples that sounded authentically American. As this Running Back reissue of the Roman Flugel/Jorn Elling Wuttke-produced cut shows, the track sounds as fresh now as it did 28 years ago. The original mix comes backed with a quartet of revisions from '895 and '96: the delightfully glitchy, off-kilter Isolee re-rub; the extended dub style 'Fake Jazz Mix''; the trancey, acid-fired and bleeping 'Holy Garage Remix'; and a dusty, loopy, spaced-out revision by Losoul.
Review: Whether it's Firas Waez's solo work or collaborations with Matrefakt, his music is a blend of modern tools with an appreciation for the ancient magic and positivity of the genre. Appearing as his studio character 9th House here on the Midas EP, he's teamed up with Running Back to create a set of upbeat and heartfelt house tracks. Featuring uplifting chords, joyous melodies and lively drums, the music has an infectious feel that's hard to resist. One standout is the title track, which features sharp peak-time magic that stimulates endorphins and brings a flush to the cheeks. Overall, the five tracks provide a welcome escape and serve as talisman against trying times.
Review: Running Back Acid Sampler is dedicated to the twang of Roland's silver bassline box with a varied string of artists: Minneapolis' finest, DVS1, gets the hypnotic room in effect on "Lower Wacker Drive", Versatile chief I:Cube will have you trippin' down the cosmic hole on the slo-mo "Folle Noir", while there's some good ol' fashioned 303 squelch done proper on Prins Thomas' Diskomiks of Like A Tim's "Wonderline" and Katerina nails that classic Chicago acid house sound on "Meet Chu In My Dreams".
Review: The latest instalment in Running Back's terrific 'Mastermix' series of compilations pays tribute to legendary Frankfurt club night Wild Pitch, a weekly Thursday night session that dared to challenge the dominance of techno in the city via a house-heavy playlist. The collection has been co-curated by co-founder Ata and fellow resident DJ Nd_baumecker and, as you'd expect, contains a wealth of dancefloor treats. What's on offer is a mix of authentic U.S house and European productions inspired by that sound, with our picks of a very strong bunch including the twisted, early morning Miami house of Ralph Falcon ('Every Now and Then'), the tactile brilliance of KGB's 'Detroit 909', the deep, acid-splattered hypnotism of Omegaman ('Into The A.M'), a bongo-rich drum workout from Lectroluv ('Dream Drums') and a classic Charles Webster production (Presence's 'How To Live').
Review: 14 years have passed since Jack Hamill broke through with a series of inspired releases that defined the Space Dimension Controller sound - club-ready but undeniably intergalactic, emotive, starry-eyed and like nothing else around - but he's still consistently delivering inspired, must-check EPs. 'Neuclidea', his first Running Back release, is another gem, with the title track - a sparse but typically spacey techno number blessed with plenty of his trademark synth sounds and subtle nods to '90s ambient - is arguably the standout, with Hodge's accompanying remix providing a more tooled-up, rave-ready revision for those seeking more straight-up peak-time thrills. Elsewhere, 'Life Window (Extended Version)' is 90s ambient techno re-imagined for chip-tune lovers, while 'Sunset Operator' is the EP's most emotive, dreamy and tactile club cut.
Review: The fifth volume in Running Back's ongoing multi-artist EP series, 'One Swallow Doesn't Make a Summer', is certainly action-packed. It features five tracks from a mix of label regulars and talented newcomers. Michael Davidson dons the Moritz alias for the EP-opening neo Italo-disco shimmer of mid-tempo gem 'Flying Saucer', before debutant Amount peppers a druggy, tribal-tinged cosmic groove with weirdo chords and Jew's Harp sounds. Elsewhere, Storken and JStraaf join forces for the moody, percussively intricate minimal house haziness of 'Tunghugg', Archie Ward goes deep into sparse, post-electro territory on 'Pizza Girl' and Jonus Eric submerges us in a bath of loved-up pads, gentle acid-lines and ultra-deep house grooves on standout 'Fairlight'.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.