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Stay Underground It Pays [The Early Years]

by Square Roots

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    Introducing the brand new "Stay Underground It Pays" tee designed by our historic designer Danos, featuring our legendary motto with the now famous Skylax records panther logo.

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    Introducing the brand new Skylax Warehouse Special Disc Jockey T-shirt designed by our historic designer Danos, featuring the now famous Skylax records panther logo on front centre with the words special disc jockey.

    Printed on organic, high quality tees.

    Available in one colour-ways: Black on white

    Limited run of 20 tees. Men collection.

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  • T-Shirt/Apparel + Digital Album

    Introducing the Skylax records tee designed by our historic designer Danos, featuring the now famous Skylax records panther logo on front centre.

    Printed on organic, high quality tees.
    Available in three colour-ways: white on black, heather grey on black, black on black
    Please indicate the color in your order

    Models : MOVE D - SIGNAL ST - HARDROCK STRIKER

    Limited run of 50 tees.

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  • T-Shirt/Apparel + Digital Album

    Introducing the brand new Skylax ACID tee designed by our historic designer Danos, featuring the now famous Skylax records panther logo on front centre with the word acid crossed out.

    Printed on organic, high quality tees.
    Available in two colour-ways: white on black or heather grey on Black
    Please indicate the color in your order

    Limited run of 20 tees. Men collection.

    Includes unlimited streaming of Stay Underground It Pays [The Early Years] via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 5 days
    edition of 40 

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  • T-Shirt/Shirt + Digital Album

    Introducing the brand new "Cosmic Club" tee designed by our historic designer Danos.

    Printed on organic, high quality tees.
    Available in two colour-ways: white on black or Black on white.
    Please indicate the color in your order

    Limited run of 20 tees. Unisex

    Includes unlimited streaming of Stay Underground It Pays [The Early Years] via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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  • T-Shirt/Shirt + Digital Album

    Introducing the brand new "Série Noire" tee designed by our historic designer Danos, featuring our brand new vinyl série font with the now famous Skylax records panther logo.

    Printed on organic, high quality tees.
    Available in two colour-ways: white on black or Black on white.
    Please indicate the color in your order

    Limited run of 40 tees. Unisex

    Includes unlimited streaming of Stay Underground It Pays [The Early Years] via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 5 days

      €50 EUR or more 

     

  • T-Shirt/Shirt + Digital Album

    Stay Underground It Pays Redux T-Shirt Limited Edition designed by our historic designer Danos

    Available in two colours : White on Black or Black on White

    Printed on organic, high quality tees.

    Limited run of 40 tees. Unisex.

    Includes unlimited streaming of Stay Underground It Pays [The Early Years] via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 5 days

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  • T-Shirt/Shirt + Digital Album

    Introducing the brand new Skylax Bauhaus T-shirt designed by our historic designer Danos, featuring the now famous Skylax records panther logo embedded in the legendary bauhaus logo from the 1920s designed by Oskar Schlemmer.

    Printed on organic, high quality tees.

    Available in two colour-ways: Black on white or White on black

    Limited run of 20 tees. Men collection.

    Includes unlimited streaming of Stay Underground It Pays [The Early Years] via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 5 days

      €50 EUR

     

  • T-Shirt/Shirt + Digital Album

    Skylax Factory T-Shirt Limited Edition designed by our historic designer Danos

    Tribute to the late factory records (1978 - 1992). God bless Tony Wilson

    Available in two colours : White on Black or Black on White

    Printed on organic, high quality tees.

    Limited run of 40 tees. Unisex.

    Includes unlimited streaming of Stay Underground It Pays [The Early Years] via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 5 days

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  • Full Digital Discography

    Get all 203 SKYLAX RECORDS releases available on Bandcamp and save 40%.

    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Pushing my buttons, Dream Beams (Amarcord Remix), Uprising Vol.2 (Emilio Van Rijsel + Naranja remixes), Love, Hate and Love (GĐŻEG + Mahkina Remix & Kiara Scuro), Swerve, The Sound Of Tsy, Edit #1 (Vinyl Only), Parisian Nights, and 195 more. , and , .

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about

13 secret house weapons edits & remixes. Bandcamp exclusive.

Extract of an Interview done with Midi-Deux (May 2014)

📌 "How did you go from being a US rock fan, Ministùre A.M.E.R members classmate, to the artist and music label boss you call 'leftfield' today?"

Honestly, it's a long journey and the fruit of a long "maturation". I have always been a music fan since my childhood, as far as I can remember I was listening to Depeche Mode at the age of 10, around 12 I started to branch off towards Bowie, Velvet & Stooges ; I'm talking about that, back in the '80s when this music that later became what we called "indie" was anything but fashionable. Then the Clash, the Damned, New Order, the Smiths, punk and synth pop
 I was reading religiously "Les Inrockuptibles" (now a famous french mag 1987 - 88, equivalent to NME or Melody maker) while waiting feverishly for each release of the mag because at the time the music press was zero, it came down to "Rock'n'Folk" or "Best" with very mainstream artists on the cover. Madonna or Prince type.

I was doing tapes (memorex for insiders) for parties or birthdays. And obviously with the kind of music I used to listen to in the suburbs, it made me sound like a weird guy, super weird even. At that time, at the end of the 1980s, all rap or hip - hop started to explode, we could see it coming, we all liked Public Enemy or NWA (besides, when gangsta rap appeared a little later, I was messing up my friends. by telling them that the only one who could be elected mayor of Sarcelles at 99% was Dr Dre as it was so BIG).

It was very strong in the suburbs because it was about minorities, those we didn't want to see, leaving them behind; even our classmates got down to it, I remember Gilles or Passy (future MinistĂšre A.M.E.R) very well who told us "we are going to be stars and not struggle like those fucking stupid teachers in a stupid suburb"; we were laughing out loud, we couldn't imagine what happened next, we took them for liars, they were guys we knew. In short, the trigger for my desire to get involved in music came very late because listening to all these international artists who had rocked my childhood Iggy, Bowie, Joy Division or others; I saw the people who were top in France it was patrick bruel, johnny halliday and pascal obispo, in short : an atomic disaster !

So the equation was simple: how I was going to be able to sell records all over the world when in your own country you were given quotas to "sing" in French (that was the rule in the 90s !). The key was electronic music, no more lyrics, no more quotas, no more nationality, I will do records by myself & fuck off. And for that it took a stroke of fate, when my father died in 2000, I went to Los Angeles with a friend in the hope of starting a rock band and living there. Obviously, the opposite happened, my mate actually knew someone in the music there (Peter Black who released the house anthem Sweetdrop "Human Nature" on Strictly Rythm) but it was HOUSE MUSIC so the big big bang.

I was Discovering the world of the 12 inches, dj culture, classic house, what got us hooked is that I was a guitarist so a musician and I had exactly the same teenage culture as those guys from L.A. : Plimsouls, Nuggets, Lester Bangs , Deviant Rock, Roxy, 80's synth pop, soft cell type, Ministry, Tones on tail, we found lots of pirate versions played in a razormaid club type mixed in their bins so it was much easier for me to understand the electronic music under this prism. We started recording our own tracks via cubase (which came out a little later in 2005 ...) and 6 months later we returned to Paris (France) and we started Parisonic with the now famous motto : Stay Underground It Pays (long before the word UNDERGROUND is becoming a brand for some
).

Our first release was a 2 x 12 inches of remixes from Manu Di Bango's album "Africadelic" from 1972 with remixes by Rob Mello, Slow & Local (one of whose members was
 Lindstrom I have even met in Miami long before he became kind of “famous” with his "I feel space" track). At the same time, we also sold "work it" prince-style boots ect ... It must be remembered that at that time there were few edits (no ableton baby !) and the whole internet culture had not yet become democratized; we sold them the old-fashioned way with the phone, we called the guys and they listened live and then said to us "ok here you put me 100, this one 50 ..."; we we were doing some crazy numbers sometimes (like 4000/5000 copies, it's not the same thing anymore unfortunately as we all know it).

Besides, I remember that once we called our distributor at the time of the discograph to ask for explanations because we had only sold 1000 copies of a record, whereas today it would be a total success ! In short, we were full of back and forth Paris - LA, it allowed me to meet there DJ Harvey, Doc Martin, we even signed a very, very big check for the Eddy Grant remix "Electric Avenue" on Warner , they had 4 million album sales (thanks to this remix) in the world, Total madness ect
 One year, later we were managing a lot of DJs in paris (some became stars) like dan ghenacia, ivan smagghe, jennifer , Chloé, Erik Rug, D'julz, Jef K


In short, the best of the best and they are still there. At the same time, given that I was the most digger and stalled in music, I got it into my head to bring out some old titles from Trax & DJ International catalogs (nobody had thought of it yet or very little), I found the contact, dealt them and boom that's how our Square Roots sub - label was born with tracks from Franckie Knuckles, Farley Jackmaster Funk ect
 Besides, for anecdotes the group friendly fires was formed around a cover of franckie knuckles "your love" and on their myspace they had the label of OUR reissue, I found it fun to see that in 2005/2006 when it was an old story (parisonic records), finally the music, from the moment you take it out on vinyl (or on a medium anyway), there is a trace that remains in the end.

Ivan Smagghe also had compiled one of our remix (from gusgus) for the ralphi rosario “in the night” track, on one of his mixes which remained cult for a whole generation of killthedj kids “Death Disco”, we were very proud. In this interval, we even managed to finally fdo this fuckin rock'n'roll band with a guy who sang very new wave, with a voice à la dave gahan, it turns out that the guy in question was an undercover cop to the narcotics of LA so imagine the delirium we were in the studio and I see this guy coming with a small bag, he did his voice tests, great, it turns out well and I asked him "hey, what do you have in this case", I opened it and there were crossbows, point weapons, magnums, like THE WAR ! And there again crash, for an ego story, we had to stop. In short, this story lasted at least 3 years (end of 2003) after for financial reasons, we all had to separate, there was a split within parisonic members Peter & myself against the 2 other partners, the mess was said. Once again, I went back to L.A. to breathe, see my friends and while leaving the plane taking off, I saw LAX (code name for the Los Angeles airport), and there I said to myself "stop the bullshit" I do everything alone now, I am going to create my label, MY structure, I see the sky and BING: SKY
 LAX therefore SKYLAX.

📌 "Comment es-tu passĂ© du fan de rock US, camarade de classe de membres du MinistĂšre A.M.E.R, Ă  l'artiste et boss de label de musique que tu qualifies "leftfield" aujourd'hui ?"

SincĂšrement c’est un long parcours et le fruit d’une longue « maturation ». J’ai toujours Ă©tĂ© fan de musique depuis ma plus tendre enfance, aussi loin que je me souviennes j’écoutais depeche mode Ă  l’ñge de 10 ans, vers 12 ans j’ai commencer Ă  bifurquer vers bowie, le velvet & les stooges ; je te parle de cela, dans les annĂ©es 80 oĂč cette musique qui est devenue plus tard ce que l’on appelle « indie » Ă©tait tout sauf Ă  la mode. Puis les clash, les damned, new order, les smiths, le punk et la synth pop 
 je lisais religieusement les inrocks (en 1987 – 88) en attendant fĂ©brilement chaque sortie du mag parce qu’à l’époque la presse musical c’était nada, ça se rĂ©sumait Ă  rock’n’folk et best avec des artistes trĂšs mainstream en couv. type madonna ou prince.

Je faisais des K7 (memorex pour les initiĂ©s) pour les boums ou anniv. Et bien Ă©videmment avec le type de music que j’écoutais en banlieue, ça me faisait passer pour un mec bizarre, super bizarre mĂȘme. A cette Ă©poque, fin des annĂ©es 1980 tout le rap ou hip – hop commencait Ă  exploser, on le voyait venir, on kiffait tous Public Enemy ou NWA (d’ailleurs qd le gangsta rap est apparu un peu plus tard, je chambrais mes potes en leur disant que le seul qui pourrait ĂȘtre Ă©lu maire de sarcelles Ă  99% c’était Dr Dré tellement c’était BIG).

C’était trĂšs fort au niveau des banlieues parce que ça parlait des minoritĂ©s, ceux que l’on ne voulait pas voir, les laisser pour compte ; mĂȘme nos copains de classe s’y mettait, je me souviens trĂšs bien de gilles ou passy (futur minister amer) qui nous disait, nous on va ĂȘtre des stars et pas galĂ©rer comme ces putains de profs Ă  la con dans une banlieue toute naze, on Ă©tait mort de rire, on imaginait pas la suite, on les prenait pour des mythos, c’était des mecs qu’on connaissait quoi. Bref, le dĂ©clic en ce qui concerne ma volontĂ© de m’impliquer dans la musique est venue trĂšs tard parce qu’en Ă©coutant tous ces artistes internationaux qui avaient bercĂ© mon enfance iggy, bowie, joy division ou autres; je voyais les gens qui Ă©taient on top en France c’était patrick bruel, johnny halliday et pascal obispo, bref, la catastrophe atomique.

Donc l ‘equation Ă©tait simple : comment j’allais rĂ©ussir Ă  vendre des disques dans le monde entier alors que dans ton propre pays on t’imposait des quotas pour « chanter » en français (c’était la rĂšgle dans les 90’s) . La clĂ©e ça a Ă©tĂ© la musique Ă©lĂ©ctronique, plus de paroles, plus de quotas, plus de nationalitĂ©, je fais mes disques by myself, fuck off. Et pour ça il a fallu un coup du destin, Ă  la mort de mon pĂšre en 2000, je me suis barrĂ© Ă  Los Angeles avec un pote dans l’espoir de monter un groupe de rock et vivre lĂ  bas. Evidemment, l’inverse s’est produit, mon pote connaissait lĂ  bas effectivement quelqu’un dans la musique (Peter Black qui a sorti l’hymne house Sweetdrop « Human Nature » sur Strictly Rythm) mais c’était de la house, dc le gros big bang.

DĂ©couverte des 12 inches, de la culture dj, des classiques, ce qui nous a fait accrocher c’est que j’étais guitariste dc musicien et j’avais exactement la mĂȘme culture teenage que les mecs de L.A. plimsouls, les nuggets, lester bangs, le rock deviant, le roxy, la synth pop des 80’s type soft cell, ministry, tones on tail, on retrouvait plein de versions pirates jouĂ©s en club type razormaid mixes dans leurs bacs donc c’était beaucoup plus facile pour moi de comprendre la musique electronique sous ce prisme. On a commencĂ© Ă  enregistrer nos propres compos via cubase (qui sont sorties un peu plus tard en 2005 
) et surtout 6 mois plus tard on rentrait Ă  paname et on montait Parisonic avec le fameux slogan Stay Underground It Pays (bien avant que le mot UNDERGROUND devienne une marque pour certains 
).

Notre 1ere sortie, c’était un 2 x 12 inches de remixes de l’album de Manu Di Bango « Africadelic » de 1975 avec des remixes de Rob Mello, Slow & Local (dont l’un des membres Ă©taient 
 Lindstrom que j’ai rencontrĂ© Ă  Miami bien avant qu’il ne devienne « cĂ©lĂšbre »). ParralĂšlement on vendait aussi des boots genre prince « work it » ect 
 Il faut bien se rappeler qu’à l’époque il y avait peu d’édits et toute la culture internet ne s’était pas encore dĂ©mocratisé ; on les vendait Ă  l’ancienne avec le telephone, on appelait les mecs et ils Ă©coutaient en direct puis nous disait « ok lĂ  tu m’en mets 100, celui lĂ  50   » ; on a fait des scores de ouf (genre 4000 / 5000 copies, c’est plus le mĂȘme truc aujourd’hui).

D’ailleurs je me souviens qu’une fois on appel notre distributeur de l’époque discograph pour demander des explications parce que l’on n’avait vendu QUE 1000 copies d’un disque, alors qu’aujourd’hui ce serait un succĂšs total! Bref, on faisait pleins d’aller retour Paris – L.A., ça m’a permis de rencontrer lĂ  bas DJ Harvey, Doc Martin, on a mĂȘme signer un trĂšs trĂšs gros chĂšque pour le remix d’Eddy Grant « Electric Avenue » sur Warner, ils ont eu 4 millions de vente d’albums grace Ă  ce remix dans le monde, Folie totale ect 
 Un An, plus tard on manageait pleins de djs sur paris (certains sont devenus des stars) genre dan ghenacia, ivan smagghe, jenifer, ChloĂ©, Erik Rug, D’julz, Jef K 


Bref, le top du top et ils sont toujours lĂ . ParallĂšlement Ă©tant donnĂ© que j’étais le plus digger et caler en musique, je me suis mis en tĂȘte de ressortir des vieux tracks issus des catalogue Trax & DJ International (personne n’y avait encore pensĂ© Ă  l’époque ou trĂšs peu), j’ai trouvĂ© le contact, dealer et boom c’est comme cela qu’est nĂ© notre sub – label Square Roots avec des tracks de franckie knuckles, Farley Jackmaster Funk ect 
 D’ailleurs pour anecdotes le groupe friendly fires s’est formĂ© autour d’une reprise de franckie knuckles « your love » et sur leur myspace ils avaient le maccaron de NOTRE reissue, j’avais trouvĂ© ça fun de voir qu ‘en 2005 / 2006 alors que c’était de l’histoire ancienne parisonic, finalement la musique, Ă  partir du moment ou tu l’as sort en vynil (sur un support en tout cas), il y a une trace qui reste 


Ivan Smagghe aussi nous avais compilĂ© un remix de gusgus pour le ralphi rosario « in the night » sur un de ces mix qui est restĂ© culte pour tout une gĂ©nĂ©ration de ktdj kids « Death Disco », on Ă©tait super fier. Dans cet intervalle, on a mĂȘme reussi Ă  finalement faire enfin ce fuckin rock’n’roll band avec un mec qui chantait trĂšs new wave, voix Ă  la dave gahan, il se trouve que le mec en question Ă©tait un flic undercover aux stups de L.A. donc imagine le dĂ©lire on Ă©tait en studio et je vois le gars arriver avec un petit sac, il fait ses essais de voix, super, ça tourne bien et je lui demande « tiens tu as quoi dans cette malette », j’ouvre et il y avait des arbalettes, armes de points, magnum, genre LA GUERRE ! Et lĂ  encore patatra histoire d’égo, on a dĂ»t arrĂȘter. Bref, cette histoire a bien durĂ© 3 ans (fin 2003) aprĂšs pour des raisons financiĂšres, on a dĂ»t tous se sĂ©parer, il y a eu une cission au sein de parisonic Peter & moi contre les 2 autres associĂ©s, la messe Ă©tait dites. Je suis encore une fois repartit Ă  L.A. pour respirer, voir les potes et en partant de l’avion en dĂ©collant je voyais LAX (nom de code pour l’aĂ©roport de Los Angeles), et lĂ  je me dis « stop les conneries » je fais tout tout seul now, je crĂ©e mon label, MA structure, je vois le ciel et BING : SKY 
 LAX donc SKYLAX.

credits

released October 21, 2020

Artwork by Danos
Mastered @ Top Master
(C) & (P) 2003 (Parisonic records / Skylax Records)
Distributed by Discograph
Re-Mastered by MB Mastering

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