It was a sweltering summer evening in 2008, and the city was alive with the sound of thumping bass and eclectic beats. In a small, underground studio nestled in the heart of the metropolis, a group of music enthusiasts had gathered to create something special.
- Artist 1 - Song 1 (Remix)
- Artist 2 - Song 2 (Remix)
- Artist 3 - Song 3 (Remix) ...and so on.
By 2008, the remix trade had become both a lifeline and a landfill for dance music. Ultrasound Studio’s “Rare Remixes” series—notorious for its low-numbered, high-demand vinyl-only runs—reached its 159th volume that year. Unlike major label compilations, this series operated in the gray zone of DJ promo culture, often featuring edits and reworks never cleared for commercial release. Vol. 159 captures a specific hedonistic crossroad: the dying gasp of minimal loop-tech and the rise of big-room electro-house that would dominate the late 00s festival circuit.
The remixes were a true reflection of VA Ultrasound's unique sound and style. They were a fusion of genres, a blend of the old and the new, and a celebration of the art of music production. Rare Remixes Vol. 159 was a collection of tracks that would leave listeners breathless and wanting more.
: Historical tracklists for this specific series are often maintained by DJ Pool Records or specialized archival sites like Forthpalm Music Audio Previews : Many of these rare edits are uploaded to platforms like for verification of specific "Ultrasound" versions. for Volume 159 or a way to identify a particular remix from that set?
Someone Else – “Lowdown” (159 Sultry Remix)
Minimal, late-night tool. Just a kick, a sub-bass pulse, a single whispered vocal chop (“feel it”), and a hi-hat that never stops. Hypnotic to the point of trance.
Between 2006 and 2010, Ultrasound Studio (often stylized as [US]) was known for dropping high-volume series: Rare Remixes, Bootleg Blends, and Unreleased Tools. They didn’t pay for sampling rights. They didn’t ask for permission. They just curated. Volume 159 is particularly special because it sits squarely in the transitional period of late 2008—a time when electro-house was dying, dubstep was crawling out of Croydon, and fidget house was having a nervous breakdown on the dancefloor.