In economics, physical capital or just capital is a factor of production (or input into the process of production), consisting of machinery, buildings, computers, and the like. The production function takes the general form Y=f(K, L), where Y is the amount of output produced, K is the amount of capital stock used and L is the amount of labor used. In economic theory, physical capital is one of the three primary factors of production, also known as inputs in the production function. The others are natural resources (including land), and labor — the stock of competences embodied in the labor force. 'Physical' is used to distinguish physical capital from human capital (a result of investment in the human agent)), circulating capital, and financial capital.[1][2] 'Physical capital' is fixed capital, any kind of real physical asset that is not used up in the production of a product.

Acchi Kocchi Character Song Mini Album ~Onayami Music Terminal~, 119 MB, 320 kbps, 1F42427D, Yes, Info File PCCG-1221. Acchi Kocchi ED Single - Te wo Gyu Shite ne [Ookubo Rumi], 52 MB, 320 kbps, 96101F0E, Yes, Info File PCCG-70135. Acchi Kocchi OP Single - Acchi de Kocchi de [Various], 54 MB, 320 kbps.

Usually the value of land is not included in physical capital as it is not a reproducible product of human activity.

Review: Hard-working Denver based label Gazeebo International has become a must-check label in recent times, releasing a healthy slew of EPs and launching a sister label. Here they drop another bumper selection of tunes, this time from producer Avanti. The tracks that make up Night Flight offer various atmospheric takes on analogue nu-disco, from the deep and bubbling 'Telesforos Journey' and uber-slow 'Much Love' to the sparkling grooves of opener 'Parallel Universe'.

Label bossman Gazeebo reworks the deep 'Nuclear Baby', turning it into a breezy fusion of analogue Italo and waspish deep house. Review: Further proof of the constant rise of Mexican post-disco (or should that be post nu-disco?) arrives in the shape of The End Has No End, a seven-track mini-album from Mexico City-based twosome Avanti. With a delightfully slow tempo, rubbery post-punk bass, dubwise effects and crazy industrial funk sax aplenty, it comes on like some kind of long lost early '80s Latin space funk masterpiece.

There's plenty for those of a horizontal persuasion to enjoy, from the low-slung grittiness of 'Take It' and smacked-out post Balearic groovery of 'Final Discourse', to the weird-out guitars and stuttering synth-bass of 'Dead End'. Review: On previous outings for Gazeebo, Chopshop and others, Kiwi disco boffin DJ Raw Sugar has blurred the boundaries between the humble re-edit and sample-heavy trickery. Here he offers up a wonderfully atmospheric, slo-mo burner that's more original composition than cheeky scalpel job. 'Disco Land' bumps along on a loose, languid break, utilizing swirling organs and starry synths to create a delightfully hypnotic mood piece. Much contemporary 'slo-mo' music can be infuriatingly rigid; 'Disco Land' is almost the polar opposite.

Label boss Gazeebo stretches out the groove and adds a head-nodding kick on his epic rework, while bonus cut 'I Wanna Give You My Love' swims in the crystal clear waters between elastic disco and comfy deep house. Review: For their latest sneaky dancefloor assault, serial scalpel bandits Gazeebo look to DJ Raw Sugar for inspiration.

He duly delivers, offering up a tasteful 'Redub' of Marlena Shaw's much-played (and much-sampled) 'Woman Of The Ghetto'. It's a subtle transformation, adding some nice electronics and dubby deep house swing to the original groove. If you dig the Marathon Men material on GAMM, this will be right up your alley. Hotbox and Gazeebo are also on remix duty; the latter lays down a Balearic-ish interpretation that dispatches with much of the charm of the original, while the former go all touchy-feely deep house with solid results.

Review: Colorado label Gazeebo International has cut a steady path through the dance world over the last few years with their unique blend of erotically charged slo-mo disco. Label stalwart DJ Steef provides their latest release, which features five slice of quirky leftfield dance. 'Source Bal' is total stoned-on-a-beach cosmic disco joy, 'Music Of The Hot' is heavily compressed electro-disco, 'Satisfied V1' is loopy minimal tech-house with a surprise blues vocal sample, 'Tiger Lady' is more your Italo-disco fare and finally 'Satisfied V2' goes deeper than original for some afterhours vibes. Review: Canadian disco deviant Gazeebo returns with the third (count 'em) instalment of his well-respected Adults Only series. This time round, there's no overdubbed groans, just a heavy dose of contemporary electrofunk that gleefully joins the dots between original synth disco, Italo and noughties nu-disco.

The bottom end is heavy, the beats snappy and the synths authentically vintage. Airbag Resetting Software. Orlando-based Whisky Disco man Sleazy McQueen provides the standout remix, upping the tempo and adding some swing to the beats on a swirling, funk-laden nudisco take.

There's also a delightful blast of Italo campness in the form of Zoe's Raygun Remix - the most markedly different of all the included revisions. Review: The tireless Jon Nedza once again dons his Gazeebo guise, this time for a remixed version of his Made In Mars mini-album. There are three tracks from the original set under the remix knife ('Hyperspace Hotmix', 'Planet Boogie' and 'Red Eye To Saturn'), with a pleasing variety of reworks on offer. Contrast, for example, the electroboogie-era hip-hop vibes of DJ Raw Sugar's version of 'Hyperspace Hotmix' with Roctiv's two deep house-meets-electrofunk mixes of the same track. While all of these rubs hit the mark, it's Trotter who delivers the stand-out remix, layering subtle scratches and hip-hop vocal samples over a laidback disco groove featuring live bass, pianos and clavinet chords. Review: Disco mash-ups and edits aren't new. However, that doesn't stop countless chancers riding the re-edit gravy train still to this day.

Gazeebo though, were there first and have the catalogue to prove it. So much so in fact that it's taken a second compilation to capture all their gems. Highlights (of many) on this 12 tracker include the bluesy electro-funk-rock jam that is 'Dis Go Zone', the prolonged climax of Frankie rework 'Gazeebo Goes To Hollywood' and the bongo-led jungle workout of 'Monkey Balls'. There's life in the old disco dog yet! Review: We've commented many times in the past about how, when it comes to re-edits and disco mash-ups, Gazeebo were there first and wore the t-shirt. Well, if the previous two action-packed instalments in this, their retrospective series, wasn't enough, they've decided to drop a third!

So now we have a further 12 retro sizzlers to contend with including the dreamy Chic-esque 'Disco Forever', the Bee Gees-ripping 'I Love Me Some BJs' and the slightly unexpected (and bonkers) New York diva house of 'Kasual Reverb'. Review: It's been 12 years since Community Recordings boss Jon Nedza started distributing high-grade disco edits to friends and fans under the Gazeebo pseudonym. To celebrate, he's decided to launch a series featuring a mix of in-demand scalpel cuts and unreleased gems from the vaults.

For those seeking high quality disco remakes - especially of a dubby, largely instrumental persuasion, there's plenty to get excited about, from the Puerto Rican disco-funk madness of 'Latin Bandits' and string-drenched delights of Love Unlimited Orchestra rework 'Late Night Drop', to the smooth grooves of 'Scaredy Cat' and anthemic 'I Need It'. Oh, and a brilliant dubwise take on Sylvester's 'Band of Gold' by pal Shawn Ryan. Review: The best way to describe 'Last Night' or 'New Directions' by Canadian discomeister Gazeebo is like witnessing a soul night, circa 1983, in say, somewhere like Romford.through a slo-mo dry ice haze; the lazily blinking neon underlit dancefloor, the white stilettos and grey leather slip-ons writhing in half time to the beautifully warped synthetic funk soundtrack. That's not even taking into consideration the dub versions, mind. Monged out glamour, what more could we want.and Gazeebo keeps bringing it. Review: If giant steps are what you take, you need to get your ears around Gazeebo's undeniably dubby and spaced-out cover of The Police's 'Walking On The Moon'.

Becalmed, trippy and Balearic, the Colarado producer's interpretation is generally pretty faithful to Sting and company's original, except for one significant difference. With no lyrics or vocals present, the vocal melodies are instead played in chiming synthesizers. If anything, it makes the track even more attractive. If you're in the mood for something even dubbier, check out the Drum & Bass Mix. Rather than being a rip-snorting jungle revision, it's actually a sparse, jazzy and bass-heavy rhythm track. Review: Another week, another Gazeebo release!

This time, the ever-productive disco crew turn their attention to the spacier end of the spectrum, offering an eight-track mini-album packed with sample-heavy nu-disco, electrofunk and boogie grooves. Gm Global Tis Keygen. Expect a variety of sharply dancefloor focused cuts, from the slo-mo, solar system bounce of 'Planet Boogie' (kind of like Chicken Lips after a few too many spliffs) to the 'everything but the kitchen sink' fun of 'Hyperspace Hotmix' via the midtempo Rhodes 'n' reverb plod of 'Red Eye To Saturn'.

Also included is a handy EFX DJ tool - all cosmic noises and alien electronics. Review: If there is such a thing, Gazeebo's 'Adults Only' series is 'porno-disco'. Certainly, there's a cheeky bent to proceedings - 'Suck My Photon' opens with a blast of orgasmic sampling, and there's a sweaty bump-and-grind to the sparkly nu-disco grooves that could certainly be described as dirty.

Faze Action don their Rudy's Midnight Machine guise for a fist-pumpin' rework that gets just the right balance between cheery campery and hip-shaking dancefloor pomp. The money shot is provided by the Space Dub - a stripped-down version that retains the original's core dancefloor thrills. Review: Longtime fans of Jon Nedza's Gazeebo productions can't help to have spotted his love of percussion; many of his edits and original productions are effectively glorified drum tracks.

This is not a criticism in any way, though; for disco DJs with a similar passion for percussion, Gazeebo tracks are must-haves. He's at it again here, delivering two tracks built around bongo-laden live percussion. While the original version of 'Mango Moon' - think dense percussion plus a few fuzzy guitars and decidedly spacey, cosmic synths - is excellent, the real killer is the alternative 'Drums in Space Mix', which strips the track back to the brilliant beats and a few well-timed cosmic sound effects.

Review: Some people aren't really fussed about celebrating their birthday and some other people really like to go all out for the occasion. Gazeebo are most definitely in the latter category, with the past few months seeing an onslaught of retrospective comps to mark their 12th anniversary. Here now is a fourth instalment and the nu-disco heat is still very on!

Highlights include the six-minute acid drum break odyssey, 'Boogie Monster' (culled from Lets All Chant), the linear electro-funk of 'Meet The Beats' and the slightly camp, bouncy electro-disco of 'Take It There'. Review: Gazeebo has always done a neat line in sparse, synth-heavy space disco. Here, the veteran producer continues in this vein with 'Dark Lloyd', arguably one of his strongest releases for some time. With its stripped back analogue synthesizers, delay-laden production and hypnotic groove, it sounds like vintage Chicken Lips or Emperor Machine with a dash of mid-80s New York proto-house.

Brilliantly, it also features a superb vocal breakdown, which adds a little surprise soulful flavour and adds a frisson of excitement. There's little to the track, but the sparse elements combine beautifully. Impressive stuff, all told. Review: Romanian producer Razvan Ghenciu is going places in the nu-disco universe, having already released on the Los Grandes label, he now returns on Gazeebo International.

Perfectly suited to the label's woozy cosmic ethos, this EP is a collection of three exquisitely produced forays into the cosmos. 'Plus Lights' is a mid tempo funk workout with a slinky bassline wrapping around gentle bongos, spacey toms and chiming guitar work, 'Wanderlust' is a slow and trippy accidental stumble into an exotic sauna scene from an old blue movie and finally 'Barefoot' is a lazy, galloping soundtrack to a yacht party at sunset. Review: Denver, Colorado-based Ejay Toledo has provided slo-mo house and disco lovers with some notable jams in recent times, with releases on Editorial, Audio Parallax and Aspect Audio. Here he returns to Gazeebo International with an album's worth of atmospheric, head-nodding grooves. There's much to admire, from the sparse, West Coast deep house of 'Burning' (also available in cosy Heion remix form) and dubby disco escapism of 'Fever', to the old skool US house bump of 'Moog Moods' and Rurals-ish 'InLove'. There's a lovely bonus in the shape of a typically deep and groovy, synth-laden rework of 'InLove' from In The Woods regular Joseph Terruel, too.

Review: Having provided digital DJs with all manner of cut-and-paste escapades over the past couple of years, the Gazeebo label is moving towards original production. This two-tracker from Hotbox lies somewhere between the two schools of thought. On one hand, it bears all the hallmarks of the sample-heavy, slo-mo disco edit sound (think Nicholas, Matthew Kyle, Andy Ash etc). On the other, both tracks are clearly original deep house productions. However you class 'Pitched Down Bound', the material is pretty strong - most notably the smoky, head-nodding delights of 'Marvin's Gangster Groove'.

Certainly, it's the best thing Gazeebo has released for years.