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Favorite Recordings and Jazzy Couscous proudly present a series of three EP's A La French – The Balearic Sessions with early remixes
works for french artists by the one and only Dimitri from Paris.
This project is a long overdue reminder and tribute of Dimitri’s career's beginnings, a selection of less-known works with a balearic style and a distinctive French flair. It tells the story of an 80's kid who, through his love of music and remix culture, helped put together the first pieces of what would later become the French House scene by spreading his love for Garage House and Club Music in general. All tracks have been remastered from the tapes and will be available as a series of three 12" Vinyl with Printed Innersleeve.
The year is 1986. There is close to no remix culture in France and only a handful of pioneers are into this new club sound coming mostly from USA. At the time, Dimitri starts experimenting with homemade remixes, done by cutting tape, inspired by New York producers Tony Humpries and Shep Pettibone. Dimitri starts playing his remixes at radio and his work gets noticed. Starting his own radioshow "NRJ Club - The Sound of New York", Dimitri's audience quickly became bigger. His remix style starts to settle, and the requests start piling up: Stephanie De Monaco, Gerard Blanc, Elsa, Etienne Daho, Marc Lavoine…Many French pop stars come knocking on Dimitri's door to get a club remix of their latest hit. At this time, Dimitri often works with the same sound engineer: Jean-Philippe Bonichon aka JPB. Together, they will shape the club remix sound of the late 80's France unlike anyone else, heavily influenced by superstar remixers like François K, Shep Pettibone, Larry Levan, Frankie Knuckles, or even Stock, Aitken & Waterman. In the early 90’s, the remixes he produces are infused with Garage House, Balearic vibes & a modern Rare Groove
vibe popularized by UK remixers such as Coldcut or CJ Mackintosh, something quite unique in the French musical output at the time.
"Yuku Mon Ukulele (Party Mix)" is one of Dimitri's first remix for Cecilia Noah, a model slash wife of a French tennis star. None other than John Oates (of Hall & Oates!) is producing, and lead singer of infamous French Rock band “Téléphone” is on the writing bill. An unlikely combo the 80's seemed to have no shame for. Despite this manufactured aspect, the solid production and songwriting, along with the cute vocal, make it a
quite charming piece. Alpha Blondy is a worldwide known artist that hails from the Ivory Coast, in the African continent. Singing in multiple languages including French, he’s often referred to as the "African Bob Marley". We're in the early 90's and World Music artists are getting their mandatory "remix treatment" for the clubs. The omnipresent Dimitri is commissioned for a remix of “Yé Yé”. He delivers here a long remix “Club Suite” in two parts: starting downtempo & ending uptempo, to suit both radio and club play. Some may spot hints of D-Train & Chaka Khan, showing yet another reference to the "Sound Of New York". This record laid dormant, until a couple of years back, when the tiny world of obscure dance music diggers
showed interest for its ethnic House sound.
Gérard Blanc was the lead singer of 70’s french pop group - and for the rest of the world - one hit Disco wonder: Martin Circus. A big name in the industry, he played a key role in Dimitri’s burgeoning remixing career, giving him plenty of insider advice. After watching Dimitri work, Blanc was intrigued and hired him to remix his first solo single "Une Autre Histoire". In 1989, with "Dis Tout Bas Dis (Remix Club)", Dimitri returns for a final remix for Martin Circus' frontman after a few collaborations, and the result is outstanding. A beautiful piece of balearic club music, mixing House elements with deep synth chords (played by infamous session player, and library music producer Thierry Durbet) alongside epic saxophone solos.
The perfect track for a sunset mix by the beach, when summer comes to an end...
Princess Erika started her career with the band "Blackheart Daughters" in the early 80s and was soon established as a member of the Zulu Nation by Afrika Bambaataa. In 1992, Princess Erika delivers her first album on which appears “Calomnie”. This Dimitri remix is particularly influenced by Frankie Knuckles’ work, and the Def Mix sound of the time. Having rinsed Knuckles’ Beyond The Mix LP on his shows, Dimitri uses that similar piano/flute formula over a downtempo House beat. Olivier Masselot is playing the beautiful keys, and a young engineer named Philippe Zdar, assisted by Etienne de Crecy, run the mixing desk. The latter two will soon be bonding and releasing the Motorbass record, a milestone of the French Touch era. This “Calomnie” remix originally came out as promo only Vinyl and CD. It’s now officially out, 29 years later! Another one of Dim's
very personal favorite.
Through his radio and remix work, Dimitri unknowingly laid down the fundamentals and planted the seeds for what would later be
known as the "French Touch" scene. There is indeed a straight filiation between some of the artists representing the French Touch from 1995/1996, and Dimitri. He ultimately showed France had nothing to be ashamed of, and in the process, helped to spread a historic U.S. club sound and to consolidate its associated culture in his country

Favorite Recordings and Jazzy Couscous proudly present a series of three EP's A La French – The Balearic Sessions with early remixes
works for french artists by the one and only Dimitri from Paris.
This project is a long overdue reminder and tribute of Dimitri’s career's beginnings, a selection of less-known works with a balearic style and a
distinctive French flair. It tells the story of an 80's kid who, through his love of music and remix culture, helped put together the first pieces of what
would later become the French House scene by spreading his love for Garage House and Club Music in general. All tracks have been remastered
from the tapes and will be available as a series of three 12" Vinyl with Printed Innersleeve.
The year is 1986. There is close to no remix culture in France and only a handful of pioneers are into this new club sound coming mostly from
USA. At the time, Dimitri starts experimenting with homemade remixes, done by cutting tape, inspired by New York producers Tony Humpries and
Shep Pettibone. Dimitri starts playing his remixes at radio and his work gets noticed. Starting his own radioshow "NRJ Club - The Sound of New
York", Dimitri's audience quickly became bigger. His remix style starts to settle, and the requests start piling up: Stephanie De Monaco, Gerard
Blanc, Elsa, Etienne Daho, Marc Lavoine…Many French pop stars come knocking on Dimitri's door to get a club remix of their latest hit. At this
time, Dimitri often works with the same sound engineer: Jean-Philippe Bonichon aka JPB. Together, they will shape the club remix sound of the
late 80's France unlike anyone else, heavily influenced by superstar remixers like François K, Shep Pettibone, Larry Levan, Frankie Knuckles, or
even Stock, Aitken & Waterman. In the early 90’s, the remixes he produces are infused with Garage House, Balearic vibes & a modern Rare Groove
vibe popularized by UK remixers such as Coldcut or CJ Mackintosh, something quite unique in the French musical output at the time.
It's in 1989 that Dimitri started to collaborate with Marc Lavoine, a monument of French pop music, a status he is keeping to this day. Lavoine
was already an established artist and remixing him might not have been an easy task. Being the man in charge of most remixes on the French
market at the time, and in order to give those songs a "Club" credibility, Dimitri had to be inventive. The "Jazzy Vibes Mix" of "Rue Fontaine" first
aired June 1990, on his now solo Sunday night radio show: NRJ Megamix. It naturally blended in with tracks like: Morales remix of "Stronger
Together" by The Chimes, "And I Loved You" by Satoshi Tomiie or Jamie Principle’s "Date With The Rain " amongst others... French 90’s chanson
never got as close to U.S. House. Of the original, Dimitri only kept Lavoine's vocal and the brass section, giving the song a very balearic feel that
aged pretty well. After all the years, this is one of Dim's personal favorite work from that era.
"Belle comme Isabelle" dedicated to the french actress Isabelle Adjani, by short lived band Midi V, became a minor hit on french FM back in
1989. Dimitri was very much influenced by the US remixers way of remodeling a track in order to make people dance. He was also starting to add
his own production to remixes, something that wasn’t yet very well accepted by artists and their labels. Here, with only the rhythm section replaced,
Dimitri’s mix sounds totally in line with what he was playing on his "NRJ Club" mixshow. A Stock, Aitken & Waterman influence can be heard here as
Dimitri, still a big fan, was playing a lot of their stuff. Dimitri's remix originally only came out on a limited 12inch promo vinyl.
Kaoma is an interesting band, whose history was completely overshadowed by their planetary hit "Lambada". Released in 1991, “Danca Tago
Mago" is one of Kaoma’s last singles. For some reason the record label released two differents remixes of the single on two different releases. The
longest "Latine Soul Remix" by Dimitri leaves the batuccada drums behind, with a complete re-production of the original with a deep bassline and
again extensive keyboard work by Olivier Masselot. Although they don't sing in French, we decided to include them in this project because of the
obvious French origin on the production side.
Kassav' is a monument of French music. Composed by many talented musicans, among which we can find Jacob Desvarieux or Georges
Decimus, Kassav' is considered by many as the originator of Zouk, a music style coming straight from the French Caribeans which gained huge
popularity in metropolitan France around late 80s/early 90s... It was only natural that in 1990, Dimitri crosses Kassav's path and get to remix one of
their title "Ou Lé". Dimitri recalls that Jacob Desvarieux himself came into the studio to make sure he was satisfied with the result, and he was for
sure! "Ou Lé (Metropolys mix)" manages to keep the original zouk vibe of the track by adding low BPM house beat to it, and some funky piano
played by Olivier Masselot to bring in the break. The result is an extremely pleasant summer/caribean slow house track, perfect for any beach
balearic set.
Through his radio and remix work, Dimitri unknowingly laid down the fundamentals and planted the seeds for what would later be
known as the "French Touch" scene. There is indeed a straight filiation between some of the artists representing the French Touch from
1995/1996, and Dimitri. He ultimately showed France had nothing to be ashamed of, and in the process, helped to spread a historic U.S. club sound
and to consolidate its associated culture in his country.

Fourth release for the young label Slow Bistro Records, created by Slow-L in 2019.
Great EP from the established house producer Laroze (D.KO records / Let's Play House / RTCT). Between classic 90’s house, Balearic and more raw Detroit-influenced tracks.

Working his mellow magic on the Growing Bin, Sorcerer entertains your inner child with eight tracks of instrumental west coast pop suitable for dancing, dreaming and surfing a wave or two.
While Basso sat in a Teutonic treehouse, feeding his head with the sounds of the woodland, Dan Judd danced on the sands of San Francisco's Baker Beach. Stretching between them, like the world's longest tin can radio, was the Dream Chimney. This legendary forum, run by Ryan Bishop, better known as The Beat Broker, helped to launch a thousand labels, and the Growing Bin is one of them - all hail the Chim!
Here, Dan, naturally mystic in his Sorcerer guise, satisfies all our sensory needs with a Kinder Surprise of sweet melodies, coastal cool and playful rhythms inspired by his children's earliest responses to music. Following his feelings and avoiding overthinking, he creates open, enticing and accessible cuts; each living and breathing that mellow magic you only get on the West Coast.
'Kids World' kicks into gear with the spheric bass of '2000 Studio', a bouncy embodiment of that spacious San Francisco sound. There's a nod to nu disco but the dreamy dubiness takes the track much deeper, especially as those surf guitars start to detune in the summer heat. The breezy fretwork continues on 'Disco Drums', topping a wriggling groove tailor made for the terrace. Shades of rave refract through a healing crystal at the midpoint, encouraging al fresco dancing from sunrise to sunset. The A3 sees Sorcerer get into the groove of 'Bahia Brothers', rolling that rubberised B-line out of his own Paradise Garage before putting the top down for the carefree Balearic pop of 'Spray Paint.'
The B-side glides into being via the night dubbing grooves of 'Fire Feel', a reverb laden journey though glassy tones, off beat perx and gorgeous chord progressions. Next up, the new wave inspired 'Crunchy' translates Sheffield's daring synth pop into a wide eyed blast of psychedelic house, boosting our mana ahead of the loose limbed and light footed 'First Wave'. Ringing guitars reference Ghanaian highlife, shimmering in the heat haze as Dan funks up the drum kit ready for the broken beat and blissed out energy of sundowning set closer 'Escape Route'.

Mark Barrott is the man behind International Feel, Roca, Future Loop Foundation, as well as being a founding of the Balearic boy-band 'Talamanca System' alongside Gerd Janson & Lauer. Nature Sounds of The Balearics is Mark's debut LP on Running Back Incantations.

If Shelter swam through the serene side of the Library experience on GBR016, CV Vision blasts off in the opposite direction, riding an explosion of funk breaks and frazzled synths into the event horizon on his retro-futurist opus ‘Insolita’.

As contemporary life accelerates way past peak-weird, CV Vision leans into uncertainty and leaves Earth in the rear-view. Strung out on Simulacron-3, World On A Wire and Omaggio Ad Einstein, the Berlin-based musician imagines his own Brave New World, an alternate eXistenZ in a secret simulation.

Using the space age obsession of the Italian libraries as a launch pad, Dennis Schulze slathers a sonic storyboard with ferocious percussion, psychedelic fuzz and the pastoral electronics of Germany’s Kosmische movement. But this is less Can, more uncanny - and Schulze perfectly renders the cognitive estrangement of a simulated reality through his adventurous production. The monolithic live drums, recorded in a Neukölln garage on a battered Soviet kit are smeared with tape hiss, compressed to death and fired through LFOs, re-materialising on record in impossible scale. Time slips out of joint under the wow and flutter of the reel to reel, drum computers add digital interference to organic rhythms and the unfaltering slew of the 303 lends the hallucinatory thrill of the club sound system to an already psychedelic affair.

As Schulze’s imagination runs free, we’re taken through epic space battles and narrow escapes, moments of reflection and affection and a final resolution, all expressed through a dexterous control of movement and mood. For every explosion of break-fuelled adrenaline, there’s a cruise into cryo-chamber music and holodeck exotica. For each neck-snapping blast of acid funk, there’s a zero gravity lullaby waiting just around the corner.

So put isolation on ice and surrender to the strange, this is a trip you don’t want to end.

Completing a red hot trio of remix EPs of Calm’s By Your Side album is this final part with Lucas Croon, Cantoma and Gallo and Yuri Shulgin all serving up expansive and mind altering new versions.

He doesn’t release often but when he does you need to listen to Lucas Croon. His unique take on ‘Before Landing’ is a proper dance floor heater to get you on your toes. Once you're there, a gentle rush of rave euphoria tases over you and sends shivers down your spine as old school breakbeats and glowing pads complete the trip.

Elsewhere, long time Balearic pin up, scene hero and all round blissed out boss man Phil Mison has a new album corn gin the spring. Before that, he becomes Cantoma for a timeless version of ‘You Can See The Sunrise Again’ that has bright blue skies and jaunty chords making you move.

Regular label artist homie Gallo is in the form of his life right now - he's resident DJ at Hell Yeah's weekly Balearic night Buena Onda in Berlin, has a growing reputation for being one of the best eclectic selectors in the game and is currently working on compiling the forthcoming BUENA ONDA comp with label head Marco. He gets long legged on his deep cut remix of ‘Sky Color Passing’ which is another killer that slowly but surely works you in a slow motion acid trance.

Completing this most exquisite outing is Yuri Shulgin, a multi-instrumentalist music producer from Tajikistan with credits on Cocktail d'Amore Music. His spellbinding take on 'Ending of Summer, Beginning of Autumn' is a fusion of jazz, leftfield and electronica will have you in a spin and your head lost in the clouds amongst the twinkling stars and cosmic pads.

After putting out Kito Jempere's well received Sea Monsters album last year, Hell Yeah now serve up another selection of remixes of it. Accomplished musician Jimi Tenor, plus Miskotom and Max Essa all contribute before a 7", also taken from the album, lands later in summer. First up is Jimi Tenor, the legndary Finnish musician who has released on Warp, collaborated with Tony Allen and has his own band as well as occasionally playing sax with Kito Jempere Band at live gigs. He flips Puzzled into five minutes of stripped back and moody electronics with plenty of his own flute playing in the track. Busted drum sounds, spooky sci-fi synths and scattered hits make it woozy and late night and utterly absorbing. Miskotom—a newly emerging pair made up of Mik and his wife Andra, both based in Vilnius, Lithuania with credits on Pleasure Unit and Balearic —then reimagine 'Ampa' as a beatdown but of deep house with trudging drums staying low and shimmering synths drift out in all directions. Crunchy hits bring a subtle sense of funk and reverb drenched vocals bring a heavenly feel to the soul drenched grooves and summery keys.
Then comes Max Essa, the Japan based Brit who is a regular on this label as well as the likes of Is It Balearic. His first remix is a huge one that is sure to soundtrack many a boat party this summer. It's a gorgeous rework of 'Ampa' that puts achingly blissful vocals front and centre as low slung bass and slowly turning drums sink you into a pan-pipe laced reverie. Secondly, Essa offers a Dub Reprise that removes the vocals and places all the focus on his churning drums and new age grooves.
This is another perfect package of masterfully electronic horizontal sounds.

Black Pearl Records is very proud to present the very timeless
and diverse club-music album "Alles Paletti!", by the
internationally recognised and well respected DJ & Producer
Enzo Elia. "Alles Paletti!" will take you on a musical journey
through the 80s & 90s club music era and it´s genre clash of
Disco, New Wave, Electro, Dub, Balearic, Cosmic, Loft Classics
to the early years of House productions, that again merges
perfectly into the "Zeitgeist" of today. Growing up as a
teenager and a music interested mind at those decades in
Italy, of course Mr. Baldelli & Co. has left a permanent
impression, and the "Cosmic" influence of this unique club
scenery is easy to recognize in Elia´s music. Bringing all these
influences and experiences of Enzo Elia together, melted into
one piece of vinyl, is the perfect time-capsule that captures the
essence of those influential early years onto this album. The
title "Alles Paletti!" resumes out of a typical Berlin phrase,
shows the Berlin-Italian connection, and the city of choice for
Enzo Elia to live for the last 12 years. The whole album was
realised in a very playful time period of about one year,
creating new ideas from scratch or build on Elia´s skteches
together with the producer Roskow Kretschmann in his studio,
preppered with quite a few guest insturmentalists and
vocalists. Since beeing a youngster Enzo Elia is spinning
tracks and delighting audiences in small clubs to big festivals,
releasing music on several reputable labels from mellow-sundown-balearics to hard-hitting-techno, that made him the
international respected DJ and Producer he is today.

Mr Telephones pumps up the pace drastically from his previous downtempo-oriented "Point Breaks / Beach Breaks" EP. Here closing in on the 150 bpm mark, with the vibey raw pump of "Blue-Tek", a funky oddball-roller hybridizing ghettotech, balearic, detroit and italo house. Flip wax for the soundscapey ambient techno-trip "FV555", twilight-speeding through hazy highways, with the forest on one side, and ocean on the other. Both sides neatly wrapped up with trippy reprise-versions. Pressed at 45 for max flex! Essential.

Limited edition 12's - hand-numbered - and dedicated to the 1984 Long Version of the famous hit 'Kalimba De Luna' by
Tony Esposito. Enriched by two remixes by the magical Italian duo Hear & Now.
On Tony's Tamborder: You are also an instrument maker: you created the Tamborder - how do you create an instrument? Where did the idea of creating an instrument that creates sound come
from?
Tony: Every gesture always hides a basic culture. I come from the art academy, from drawing. A person that comes from drawing, from painting, clearly comes from an impact with colour. I turn to music first with a colourist aspect, that is, the music for me
is in color; for me the combination of colours is fundamental. When I go to Africa, I see that there are coloured things... I used to say: I play the drums, everyone's drums, but what is my drum? So I thought of combining a bit of modern electronics with what is instead the sound of Africa and the Tamborder was born - which means frontier drum.
An instrument was born over the years, perfected but unique. I made Kalimba's notes with that instrument, I can make a complete composition with that instrument. I have been to America to do music therapy and to universities to show this instrument. It was born like this, by chance, I can't tell you how the path went, it was magically born from a mistake. I was looking for something, on my own I was trying to mix crazy combinations and this unique sound was born.
Archeo Recordings is a re-issue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70's, 80's and 90's.
All releases are licensed, audio tracks re-mastered in their original form, and sleeves re-created for today but all based on the original images. Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.

After some inaugural heat from Hamburg, we catch up with our man from Saint-Ouen for Drum Chums Vol. 2!

As far as Percussion Pals go, Plastic Bamboo has the highest credentials.
Not only did he spend a decade behind the drum kit, but he was my flatmate for a few happy years in Manchester. Since relocating to Paris in 2012, he's played sets all over Europe, worked the scalpel with the Good Plus crew and secured a second dan black belt in digging.
Let's see what the prince of Les Puces has in store for us...

On the A1, Plastic Bamboo double doses an unknown new beat 7" extending the Arabic acid delight for a six minute soak. Properly peaking and packed with Middle Eastern flava, 'Ra Beat' is primed for dance floor demolition.
The Frenchman swaps the Arabic coffee for an Italian cocktail on the A2's 'Bertini', sticking an extra large umbrella in the frothiest of disco winners.

'Kamboja' offers a chance to catch your breath on the B1, bringing Balearic boogie with the upmost emotion and a melody you'll never forget.
We end the set in a peak time mode via the mysterious 'Forest Dance', a witches brew of dark disco and new beat stomp with just a hint of that techno-tropical flavour the Talking Drums love.

Bon soir et bisous.

Embarking on a journey from Italy to Anatolia and from Africa to the Americas, Nelson of the East soars over imagined landscapes in his debut, motion picture- inspired album, Kybele. Plug in your headphones, drown out the world, and set
out on a mystic voyage of Earth through the lens of Kybele, the Anatolian goddess of wild nature.

With the world in flux and isolation taking its toll, musical escapism has become a much needed pastime for today’s armchair adventurers. Treating recorded sound as a vehicle of time travel, Milanese artist Nelson of the East (N.O.T.E) takes listeners on a journey through kaleidoscopic soundscapes with his debut album Kybele released on Tartelet Records.

Skillfully weaving the sounds of East and West, the nine-track LP fuses Turkish and cosmic influences with a strong electronic backbone into an otherworldly soundtrack of our time.

“The feeling that passes through the record isn’t straight. It changes, it turns, it is never predictable. Never being able to predict which landscape you arrive at next or where the music is taking you is key to enjoying the sound journey,” says Nelson. “

Named Kybele after the Anatolian goddess of nature, fertility, mountains, and wild animals, the record is a continuous saga that takes from the Berlin-based artist’s own adventurous spirit. Following his previous EP releases Night Frames and Phase Alternating Lines, Nelson explores new territories on Kybele.

The album opener, “Explorer,” is an exhilarating build up to what could be a 80s sci-fi movie, showcasing Nelson’s knack for cinematic moods. “Draw Me,” speaks to the artist’s intention of making a “snare album,” with an irregular, dominating beat untethering it from time or boundaries. “What I realize while I was writing the rhythm part is that the more you keep a beat simple the more difficult it becomes to make it interesting. So I just put down some rules to follow. For example, using swing as smoothly as possible, or using lot of syncopated sequence over the straight 2-4 groove,” says Nicolas.

Another thing Nelson achieves in this album is ambience, or the “motion picture touch” as he calls it. Tracks like the wild and obscure Culto, with its Anatolian nuances and middle eastern-sounding scales are made by layering synths to achieve an orchestral effect.

Other tracks capture the musician’s penchant for African and Brazilian grooves, like the Saudade mix of Burning Palm. On the B side, the Italo-flavored Phase Lines comes through with shimmering synth and electronic drums complete with hazy vocals delivered by DJ Rayne and Nelson himself. Yahuda dives into dark, melancholic electro with a Detroit feel not far from the sounds of the great Drexciya.

The album closes with ZETA, a track that could easily double as an obscure cinematic composition. The nine-track LP is strictly limited to 300 copies, pressed on 180g vinyl with artwork by The Emperor of Antarctica. No repress.

New Zealand collective Flamingo Pier's debut album - serving up euphoric disco hooks, classic house choruses and forays into Latin funk, balearic and psychedelia

Auckland. Musicians from the tightly knit local scene swung through to contribute to the recording, including fellow Soundway act Julien Dyne on drums, as well as saxophonist Nathan Haines.

The self-titled album draws from the band’s wide-ranging taste, as well as what they’ve been playing in order to keep spirits up. Channelling classic emotive house, to disco, Afro and jazz funk on their debut album, Flamingo Pier cite a wide range of musical influences such as Khruangbin, Roisin Murphy, Peven Everett, house legends Masters at Work and Brazilian artist Tim Maia. This translates into an uplifting but nostalgic current running throughout the album - reflecting on last chances, soul-searching and longing for the carefree days of the dance floor.

Precious gems mined from a wall of vinyl. Cut, polished and mounted for maximum love.

While the ongoing global pandemic means our chances to gather and dance beneath deep blue skies are likely to be limited, there’s never been a greater need for warm, positive and life-affirming music. NuNorthern Soul has decided to do its bit by offering up a brand new 'Summer Selections' sampler that’s packed to the rafters with magical musical treats lifted from some of the label’s most potent forthcoming releases.

The EP begins with something rather special from Canadian producer Igor B: a gentle, sunrise-ready soundscape rich in languid hand percussion, bubbly synthesizer lines and glistening guitars. Entitled 'Deep Breath', the track is just one of the many highlights you’ll find on his forthcoming debut album, “Stranded Seaside”.

There’s a similarly tactile and immersive feel to 'Early Morning Ferry' by George Koutalieris, a Greek producer whose debut album 'Stop, Look, Listen' will be released by NuNorthern Soul later in the year. On his contribution to 'Summer Selections Two', Koutalieris wraps lilting, sun-soaked guitar solos and soft-touch electronics around a chunky groove that doffs a cap to the more laidback end of the 1970s West Coast rock spectrum.

Next up, long-time friend of the family Chris Coco delivers a stunning interpretation of 'Dinum', an overlooked neo-classical/ambient fusion track by Faroe Islands-based producer Kristian Blak’s Yggdrasil project. Coco’s simmering, string-drenched re-imagining is featured here as a teaser of NuNorthern Soul’s reissue of the 2014 track in the autumn, which will also feature a mind-blowing 10-minute rework by Mike Salta – an artist who is also featured on 'Summer Selections Two'.

This time round you’ll find Salta collaborating with Mortale on the starry, EP-ending ambient bliss of 'Bells of Burgibba', a deliciously drowsy mixture of twinkling electric piano motifs, chiming lead lines and woozy pads taken from the forthcoming “Celestial Hike EP”. It paddles in similar sonic waters to label boss Phil Cooper’s stretched-out, slo-mo Balearic dub of new signing Faint Waves’ 'Aphrodesia', a teaser of the artist’s “Islands In Time EP” which can be found elsewhere on 'Summer Selections Two'.

No NuNorthern Soul label sampler would be complete without a contribution from BJ Smith, an artist who has been with the imprint from its earliest days. Smith returns to the imprint with another reminder of his uncanny ability to deliver ear-catching cover versions that re-cast classic cuts as loved-up rays of Balearic sunshine. This time round Smith takes us on a huggable shuffle through Prefab Sprout’s 'All the World Loves Lovers', re-imagining it as a future Balearic anthem and a summer 2020 sing-along. It’s not only a sneak peak of what we can expect from 'Dedication to the Greats Volume 3', his first covers collection for nigh on six years, but also a life-affirming highlight of an EP that oozes musical positivity from start to finish.

LTD EDITION (500) COLOURED VINYL. Stella Polaris is the world largest free chill out event, and this is their 16th album release featuring new material from upcoming Danish artists and exclusive Stella Polaris custom made remixes of well-known artist. Past highlights include the launch of Trentemøller material before his world debut and remixes of legends like Phil Collins, Moby, Groove Armada and Forster the People to name a few.
The music is always a great eclectic mixture of Scandinavian Electronica, Leftfield, Balearic and Chill-out. It takes all kinds, as long as it’s a tune you could envision played in at Mambo, Café Del Mar La Torre in Ibiza or the like.

This release features Stella Polaris remixes of Yeasayer, Unkle, Der Dritte Raum, Erasure, Thomas Dybdahl, moi Caprice, Days Of May, and Ian Dawn.

If you are a fan of the Back To Mine or Late Knight Tales compilations, then this is right up your alley.

After he became one of the most respected name in the global Balearic scene skipping rocks across water and moving through an amazing and different philosophy. A Vision of Panorama's latest release is an extremely well-designed album which is morphing his synth-o-logy on even more subtly and glistering shapes. With previous 12'' releases on Mellophonia, Cala Tarida Musica and Omena gave us the first sings ''Tiger'' was a matter of time. Boogie-crafted sound with squelching percussions and a touch of 'jazz in the house' which representing the charismatic sound of Larry Heard is managing not only to satisfy his already fans but to be discovered by tones of new ones who their musical references are not only the European 'state of Balearic music' but the breezy US sound too

Jazz N Palms selects 100% fusion, jazz, funk in full exotic effect, re-edited and retouched with a modern approach and new sounds to listen under the palms or simply imagining it.
Limited Mixtape, cassette only, including tracks from the first three vinyl releases (JNP 01-02-03) + 2 unreleased.

Download code included (unmixed tracks).

Coastlines is the self-titled long player from the new Japanese production unit of DJ and producer Masanori Ikeda and solo artist, session musician and Cro-Magnon keyboard player Takumi Kaneko.

Masanori and Takumi have been part of the Japanese dance music scene for years and Coastlines was born out of their working together on soundtracks for video projects. The pair wanted to make laid-back listening music for now, laying Takumi’s playful keys over Masanori’s widescreen balearic jazz-fusion to conjure beautiful and breathtaking “coastlines”.

A couple of two-track 7"s put out in late 2018 and early 2019 on Japanese house music label Flower Records soon sold out. Those four tracks were expanded to a full album of music, “a joyous, relaxing, summery soundtrack for everyone’s after hours wind down” that was released just in time for summer. It soundtracked many a Be With BBQ in 2019.

The album opens in the horizontal with the sophisticated, cocktails-by-the-pool groove of “Sunset Reflection”. A lush, beatless wonder. Their re-imagining of Ralph MacDonald’s “East Dry River” removes all the original’s bells and whistles (quite literally) and re-gears it with a subtle balearic chug. The result is a percussive gem.

“Coastline” is a beach-jazz noodle. “Drifting Ice” is as chilled and glacial as its title would suggest, yet Masanori’s head-nod slo-mo house beats throb not far below the surface. “My Fire” is another soft killer, all swelling, swirling organ over muted kicks and snares. An elegant boom-bap.

A pair of insistent tunes of the deeply balearic variety raise the tempo, but not by too much of course. On “Woods And My Guitar” a half-heard vocal refrain breathes life into the synthetic xylophone and guitar. Deft piano-work turns “Half Moon Shadow” into lounge-house for the sophisticated beach bum. A classy duo.

The self-assured re-work of Azymuth’s “Last Summer In Rio” is arguably the album’s centrepiece. Ten minutes of casually propulsive slapped bass, steel pans and slick 80s soul beats. Cue the steel drum interlude of “Maracas Bay” before album closer “Down Town” transitions us one with a shuffling, string-hinted hit of ethereal, euphoric piano bliss. Gentle disco for the new decade.

As former Test Pressing scribe Dr. Rob observed on his ever-reliable Ban Ban Ton Ton blog, the Coastlines fusion is very much in conversation with their 80s counterparts, both at home and along the coastlines of different continents. So among the nods to revered Japanese artists like Hiroshi Sato, Sakamoto and Casiopea, there are also hints of Marcos Valle and Mtume, of the aforementioned Azymuth. “The production though is very much now, not then. Not retro, just proper”. We couldn’t put it better ourselves.

Coastlines was originally a CD release only available in Japan, with HMV putting out a super-limited vinyl version a few months later for Japanese Record Store Day. But this music is just too good, so when Be With was asked via Ken Hidaka to take care of a vinyl version for the rest of the world it wasn’t a tough decision.

Mastered by Simon Francis and cut by Pete Norman, just 500 copies of this double LP have been pressed by the good people at Record Industry.

The first release on new Melbourne imprint Companion comes from Naarm (Melbourne) based producer Kae Kitzler, under the alias of KiTA. Following on from two impressive singles in 2020, the debut release from the Balinese-born producer is a welcome plunge into long-form listening.

Recorded over the spring and summer of 2020, months spent in lockdown in Kitzler's apartment in the south-eastern suburbs of Naarm, Lucent feels deeply introspective. The EP explores the contradictory influences of Kitzler's upbringing, weaving a gentle ensemble of organic textures with strands of crisp, pulsating percussion. The result is powerfully cinematic, evoking a sense of longing for vaster spaces - an ode to the meditative power of mountain and sea.

KiTA has crafted a release for contemplation and inward meditation, a sonic antidote after a year of social isolation. Reflecting on the process, he concludes "an image comes to mind, a sight common to those travelling at the crack of dawn on tropical coastlines. It is one of the sun rising above the deep blue horizon emitting a gradient of lucent red and gold across the sky." Lucent conjures these feelings of awe, wonder, and transitory periods of wholeness.

REPRESS: Rising Sun Psyche aka Berlin's hugely prolific but somehow rather lowkey Steffen Laschinski hits an amazingly bittersweet spot on his latest offering. It combines post-rave ambient, breakbeats, IDM and deep house into a real trip. "The River Experiment II" is a dreamy opener with gorgeous synths while "Back Home" is backlit with a celestial glow of melody and spoken word snippets that add to the reverie. There's gentle minimalism in "The River Experiment I" and followed by punchy and emotive number "Feel What I Feel" amongst many other highlights.

The second album from Brighton based Balearic duo Andres y Xavi. This time with a little help from Rolo McGinty of Peel faves and Balearic Beat legends The Woodentops. This is a love letter to the forgotten side of Ibiza: dusty lanes, olive groves and clearings with sea views that go on for miles.

10 original compositions plus a cover of Talk Talk’s Renee.

The self released and distributed first album found favour with Balearic DJs across the world. Lead track ‘My alibi’ was picked out by the likes of Kenneth Bager, Danny Psychmagik and ‘Never seen Ibiza’ was a firm favourite of Phat Phil Cooper and Balearic Ultras.

Rolo adds guitar and vocals and a Woodentops vibe to two tracks on the album ‘What do you see in me?’ and ‘Walking in the sun’, his personal tribute to Jose Padilla.

First album received support from Kenneth Bager (Music for Dreams), Phat Phil Cooper (NuNorthernSoul), Chris Coco, Mike Salta, Leo Mas, Balearic Ultras, David Pickering (OneMillionSunsets) and many more!

And was described by Dr Rob (Ban Ban Ton Ton) as "Smokey Muscle Shoals organ plays, strings swoon, and Kosmische synths blink like distant stars... an overall “vibe” somewhere between Mo`Wax and the Sunday Best of Bent and Dan Mass... adorned by cascading Indie “neo-acoustic” guitar jangle. Like The Stone Roses by way of Horsebeach."

For the fifth entry in our Collector`s Series we enlist the skills of Japan-based musical connoisseurs, Ken Hidaka, Max Essa, and Dr. Rob. Their compilation Oto No Wa sets out to map the evolution of chilled Japanese sounds across 3 decades. Collecting 14 tracks, produced by a wide range of artists. From ambient pioneers to dance-floor veterans. Roping in 9-piece reggae band, Little Tempo, percussionist Kazuya Kotani, and organic, psychedelic collective, Olololop.

Beginning in the late 1980s, the era when “environmental music” became prevalent, there`s Yoshio Ojima`s cool computer-generated Sealed. The compilation also includes later work by his contemporaries Takashi Kokubo, and Yoshiaki Ochi. Theirs are compositions designed for art galleries and museum installations. “BGM” built from emerging technology, and / or counterpoint tapped out expertly on sticks and stones. The 90s give us the seminal electronics of Susumu Yokota, and the solar-flare strut of Scha Dara Parr - Japan’s answer to The Beastie Boys. Here, remixed by the legendary Major Force. Moving into the 21st century we have the post-house productions of Flower Records. Kentaro Takizawa`s oceanic Gradual Life, and Little Big Bee`s colourful coral reef-diving Scuba. Fellow traveller, Kaoru Inoue`s “Kyushu kosmische”. Representing the next decade are Flower Records` current rising stars, Coastlines, who calmly combine classic fusion, library music, and gentle nova bossa nova rhythms. Alongside them are the sun-baked electro-acoustics of Karel Arbus & Eiji Takamatsu, plus Chillax` previously unreleased epic analog / modular jam.

All of these selections are the result of some serious “digging” but more importantly they represent physical connections made during Ken`s 20-plus-year career in the “Biz”, Max` decade of DJing all over Japan. Music made by folks interviewed by Rob at the websites, Test Pressing and Ban Ban Ton Ton. Friendships forged at Lone Star - the trio’s long-running party, which takes place every month at Bar Bonobo in Harajuku.

2023 Repress.

Music From Memory are excited to present the debut LP of Kaifeng born, Vancouver based artist Yu Su in collaboration with Chinese label bié Records. Titled 'Yellow River Blue' it is our first release of 2021 and the second collaboration between label and artist, following up on the strongly received EP 'Roll With The Punches' from 2019 on Second Circle.

Named after the world’s most heavily silted river, 'Yellow River Blue' is Yu Su's personal musical autobiography, constructed around stories of chasing something inconceivable. Written and recorded in different continents in between August 2019 and March 2020, all songs seek to musically translate years of moving and touring, temporarily settling, and the feelings of both being turned away and accepted. In her own words, “The world is my home and it isn’t, but as long as there is generosity of water and mud...” It is an homage to her home beside the Yellow River.

Yu Su's debut album consists of eight songs that are versatile in both writing and aesthetics. Versatile individually, consistent as a whole. Yu Su is in a class of her own, dodging the obvious while combining sounds and inspirations of various origins into a new destination that sounds like her home in the here and now. It's a release that is constantly in motion and moves fluently between contemporary pop, ethereal sound compositions and dance-floor experiments.

'Yellow River Blue' comes as part of a collaboration with Yu Su's co-founded new label bié Records and will be released as MFM052 in vinyl format by Music From Memory on January 25th 2021, after seeing a full digital album release via bié on January 22nd in the new Year of the Ox, according to the Chinese zodiac. Both formats come in different exclusively designed artworks.

Not Waving renders his pop soul on a definitive album opus ‘How To Leave Your Body’, starcrossed with guest appearances by Jim O’Rourke, Jonnine Standish, Marie Davidson, Spivak and Mark
Lanegan
An escapist parable for the times, Alessio Natalizia marks a career high with his most sensitive production and songwriting illuminated by a coterie of notable collaborators. Its 11 songs deal with the necessity of friendship, the fragility of loss and spiritual transcendence via a spectrum of strategies that ultimately arrive at a mutual conclusion: love is the message. It packs sample amounts of nostalgia into a fantasy sequence of elegiac pop, skewed rave and midnight lullabies that fine-tune over 20 years of devotion to his craft, perfectly matching experimental restlessness with enduring pop appeal.
Perhaps unavoidably, circumstances had a hand in the creation of ‘How To Leave Your Body’, forcing Natalizia to work with collaborators remotely. Yet the strength of his bonds bleeds through in the album’s handful of poignant vocal pieces, none more so than the hushed intimacy of Marie Davidson on the bewitching downbeat trance hymn ‘Hold On’, but also in the bruised blush of ‘My Sway’ featuring Jonnine’s spine-tracing lilt over hovering organ and dembow bumps, while the hook-up with Mark Lanegan once again yields bittersweet fruit on ‘Last Time Leaving Home Part 2’, with gravelly blues vox diffused into detuned, miasmic cello that really tugs.
Effortless and made for rinsing, the whole album is testament to the humility and pathos of Natalizia’s oeuvre, which has gotten better with age. It plays out like a lovingly crafted mixtape, decanting all original material with a classic cadence and fleeting play of styles, from aerial jazz notes in ‘You Are Always Younger Than The Future’, to the gnawing club grind of ‘Define Normal’, a noisily gurning ‘Self-Portrait’, and the lushly resolved admittance of ‘My Best Is Good Enough.’
Comparisons don’t really work with this one, it’s just Not Waving.

Over the course of his near 50-year career, jazz guitarist Ryo Kawasaki released some of the most imaginative, inventive and in some cases unusual music ever to emerge from Japan.

Amongst the most impressive of these was 1983 album, Lucky Lady, a breathlessly brilliant and musically eclectic set that saw Kawasaki push the boundaries of both jazz and the rapidly evolving sound of electronic music.

* repress on sandstone colour vinyl

For 'Music For Dreams’ collector’s series, we aim to bring you something a little different, something a little out there. After eclectic contributions from Jan Schulte, Moonboots and most recently Basso, we’ve lent the slot to Belgian sonic globetrotter DJ soFa. As always, he’s been granted supreme curatorial sovereignty, and trust us, he held us to our word on that one. For elsewhere Jr I, soFa takes us on a trip to the alluring and magical reality of childhood - and a trip, it is.

This double LP features both new and old compositions from a wide range of countries, all centered around the youngest citizens of planet earth. The compilation has been 2.5 years in the making, with soFa collecting obscure pieces from all over the world and inspiring young collaborators to produce new tracks mostly by means of analogue synthesizers and vintage drum machines. The result is a thematically and sonically homogenous collage of cosmic children’s music.

'soFa' starts us off with Milo Kolarov’s exercise in sonic imagery ‘Analogue Beam’, a story about animal characters, presented to us as distinct motifs of bleeps and blitzes. Next up is the surreal jigsaw puzzle dub ‘Totti und Pippo’ by Jah Limonardi and 'Die Kleine Gräfin Dubski'.

Here, we come bouncing on giant, iridescent mushrooms, lulled deeper and deeper down the rabbit hole by incantations of a child’s voice. Throughout, the record is full of these synaesthetic properties, immersing the listener in creative ways, nudging you down hidden experiential pathways.
All of the tracks, more precisely ... they were pleasantly engaging, often blooming with charming grooves and provided with a whimsical melody.

Crossbreed ist das neue kinky, sex-positive Label des britischen DJ/Produzenten Alex "Kiwi" Warren (Optimo, 17 Steps, Disco Halal, Cin Cin, Correspondant, NeedWant, Futureboogie). Sein erster 12" Release ist eine feine Kollaboration mit dem italienischen House-Maestro DJ Rocca (Defected, Skint, Futureboogie, Rekids, International Feel, Rebirth) mit Elementen aus Balearic, Acid und Early-Rave.

LTD Blue/Yellow 2LP+MP3

16 bisher unveröffentlichte Tracks von Poolside, Roosevelt, Kraak & Smaak und vielen weiteren exklusive auf dieser Compilation!

The Sunset Manifesto erscheint am 04.12.2020 auf How Do You Are? und versammelt eine eklektische Gang von der Westküste der USA bis nach Norwegen und allem was dazwischen liegt- mit einer gemeinsamen goldenen Wurzel: Diese warme, akustische, aus Laurel Canyon Leuten und LA Session Göttern bestehende Clique, ausgestattet mit einer zeitgenössischen, elektronischen Sensibilität. All diese Acts berühren den zurückgelehnten, Daytime Disco-Style, der als Balearic in die Musikgeschichtsbücher eingegangen ist. Aber es liegt etwas Neues in der Luft. Die Künstler*innen auf The Sun Manifesto versuchen nicht einfach die Vergangenheit neu aufzurollen. Nein, das hier ist mehr „Parallel Pop“- und damit der Soundtrack für eine herrliche, imaginäre, aber dennoch zeitgenössische Welt jenseits von Retro-Kitsch. 16 anspruchsvollste, AOR- und Dance-orientierte, zeitgenössische Popsongs aus dem Too Slow to Disco-Universum. Wie ein Detektiv hat DJ Supermarkt die Künstler*innen auf dieser Compilation lange beobachtet, ihr Schaffen verfolgt und dann im richtigen Moment Nägel mit Köpfen gemacht. Worauf wir dieses Mal ganz besonders stolz sind: Alle Tracks auf The Sunset Manifesto sind exklusiv und unreleased und wurden teilweise extra für unsere Compilation gschrieben, was für eine Ehre!

The 71st release on International Feel is not only the wake-up-call from the label’s well-deserved lull, but also the constitution of Charlie Charlie.Consisting of Gabriella Borbély alias Bella Boo and Jens Resch better known as Chords, their genesis didn’t happen in their home port Stockholm, but on a beach in Southern California – and the music kid of gives it away, too. „Save Us“ takes a sun bath in pop melodies with infectious vocals of Mapei and a cabriolet ride on the proverbial highway, while „Charly“ is its instrumental counterpart that would sound good on any beach on this planet and was to be expected on a label like International Feel. Balearic on a meta-level and soon to be experienced in full album mode. Hey Charlie!

A blossoming creative relationship has been bubbling between young talent CERPINTXT and Stevie R ever since she appeared on his label Inside Out in late 2017.
Kindred spirits with a shared appreciation for the leftfield fringes,
experimentation and deep dark grooves, here they continue their collaborative work on Chapter 24 with the first release from Stevie R's forthcoming album. A new chapter beckons...

'Madilo' ignites the fire, a bright, relentless house affair laced with a dreamy vocal chop and an underslung bassline that bites beneath the surface like a shoal of piranhas. Twisted but restrained and peppered with infectious percussion, it sets the
scene for the Greco-Egyptian collaboration in London perfectly. 'Red Lemon' is a much darker jam that's built around a granular staccato riff that changes in texture and weight as more loopy layers are introduced. The word hypnotic is bandied
around too much these days, but this truly is a mesmerising moment.

Meanwhile in the parallel universe of remixes, Chapter 24 have gone to town, recruiting two significant and influential heavyweights on the revision duties.
Counterchange bossman Ed Davenport returns from his Inland guise for a thumping twist of 'Red Lemon' that's equal parts pneumatic and aquatic, while Man Power breaks down the original groove to its bare-naked acid line and rebuilds it with a
crushing analog hook, off-beat timpani and a host of subtle trippy textures.

Two exceptional originals, two respectful, innovative remixes, one massive album to look forward to. Stevie R is just warming up.

A Selection of the most iconic Tracks emanating from the unique-
and magic poolside of Pikes Hotel (Ibiza), reworked, retouched & edited for Maximum Aural Pleasure!

"Jazz N Palms" is the brand commissioned to warm up the monthly exclusive Ronnie Scott's (London) jazz concerts. Jazz Music fused with Latin, Funk, Rock & international Sounds, to be enjoyed under the palms- and sun of the Mediterranean Sea...

3rd release on 7's Clash comes from Justin Deighton and Leo Zero with remix from Pete Herbert, a pair of Italian piano-house influenced Balearic cuts with heavy chugging b-lines and familiar vocal snippets to take you back to the golden age of everything-and-the-kitchen-sink sample tracks. Made for enjoying in the sun.

Number 4 on 7's Clash takes us into folk-rock territory with this tidy chop-up of a 1970 cut with extra drums and fx taking it into solid 21st century dancefloor territory, on the flip we have label co-owner Pete Herbert do his thing with a more atmospheric dub on a trippy Adriatic / Balinese sunrise / sunset tip, perfect 'look out to sea and space out’ vibes.

Finnish band Behind The Trees releases their self titled debut ep.
Curiosity towards world music, shamanistic approach to rhythms and cosmic levels in life made it happen.
There are five different kind of tracks in the ep.
The intro track "Haiku" is a mood setter for the whole journey. Inspired by the mid eastern mystical soundscapes.
Second track "Bonefire" follows the path, painting a picture of desert campfire, where travellers psychedelic guitar will trip you out as your body follows the rhythm.
Third track "Acid Yerli" is the climax on the ep. Turkish disco and acid house combined, you don ́t have to be scientist to figure out the forecast.

On the flip side "X4" is a different kind of expedition.
Hear the waves hitting the rocks and balearic breese corressing your cheek bones. Track "X4" is a kind of balearic homage to eighties AOR, seasoned with chanting soft voice of Finnish singer Suva.
Last track "Gentle" relaxes your mind and body. The piece has a grounding vibe, with healing resonances that will restore your energy.

Dare to see Behind the Trees, the obscure adventure of life.

Everything has its right moment in space and time. And Rhode & Brown’s debut album “Everything in Motion” is no exception to this rule.

But first things first:
Hailing from Munich, Germany, Friedrich Trede and Stephan Braun are the DJ and producer duo Rhode & Brown. Growing up in two neighbouring villages near Munich both of them had been music enthusiasts since their early childhood. Friedrich played drums in punk bands at school and recorded rap songs in his bedroom, while Stephan, as childhood friend of Harold Faltermeyer's son, had the chance to experiment in the impressive studio of the legendary Donna Summer producer in his early teens.

By the late 2000s older friends started supplying them with DJ mixtapes and helped them sneak into clubs they weren’t allowed to visit, yet – cultivating their love for electronic music and club culture. And, of course, the Internet was their go-to source for finding the latest blog house tunes back then, too.

It wasn’t until October 2009 that their paths would cross for the very first (but almost last) time when introduced by a mutual friend: Back then Stephan was selling his old CDJ-player and Friedrich, who wanted to hone his DJ skills, ended up buying it: „When I got home and unpacked the player I realized that it was the wrong model. I thought Stephan was trying to rip me off - so I called him in a rage and demanded my money back.“ Friedrich laughs. To cut a long story short, the two met again the same evening, money and CD-players were exchanged, but luckily so was their passion for house and disco music. It was at that very moment that Rhode & Brown was born.

A lot has happened since the two played their first gigs together and made baby steps in music production. In the past 10 years they established themselves as one of the most reliable house producers around with rock solid releases on Toy Tonics, Shall Not Fade, Public Possession or their own Slam City Jams imprint. As well as becoming a household name in the DJ world, sharing the booth with the likes of Palms Trax, Dam Swindle, Jamie Tiller or Octo Octa - spreading their infectious "Dancing Deejays" vibes around the globe.

Following the great reception of last years „Aku Aku“ EP, June 2021 will see the release of Rhode & Brown’s debut album on Permanent Vacation. A record that showcases their open minded approach to making music and a passion for the nuances between genres - „We found inspiration for this album in all corners of our record collection. That means we are as much influenced by disco or 80s synth-pop as by house and techno of the last decades or the latest viral trap hit on Spotify“, the guys say.

On "Everything In Motion" you'll hear piano house / Italo disco hybrids alongside dreamy Balearic soundscapes and '90s-infused acid breakbeats flawlessly accompanying '80s synth pop anthems. Always infused with that signature Rhode & Brown magic. The album also finds them collaborating with some of the finest vocalists of the moment: Peaking Lights' own Indra Dunis is lending her voice to the title track for this special laid back California vibe, while Berlin's hottest export DJ City evokes a neon light romance affair on "Memory Palace", with a longing poem that makes you wander the rainy streets at night with your walkman on.

At a time when suddenly everything seems to be standing still, Rhode & Brown undeterred moving forward... true to their LP’s title.

Buried amongst the gems on the second Claremont Editions compilation was ‘Oui Non’, a collaborative cut that marked the first label appearance of Jpye (real name Jean-Philippe Altier), a French multi-instrumentalist, DJ and producer best known for his work as part of Twonk alongside Leonidas and percussionist/vocalist/guitarist Renato Tonini.

Here Jpye and Tonini join forces once more for their first single on Claremont 56 – a sensual and seductive slab of slow-motion, sun-soaked synth-pop that features more than a few subtle nods to classic Italian Balearic disco cuts such as Radio Band’s ‘Radio Rap’ and Tullio de Piscopo’s ‘Stop Bajon (Primavera)’.
Built around squelchy synth bass and a shuffling drum machine rhythm, ‘Cosa Ti Va’ is marked out by glistening, jazz-fired guitar solos, vibrant synthesizer squiggles, rich electric piano chords and echoing, dubbed-out electronics. It’s a pin-sharp but effortlessly laidback number that’s as tactile and loved-up as it as lazy and horizontal.
‘Cosa Ti Va’ is presented in two complimentary versions. On the A-side of the vinyl version you’ll find the full vocal, which boasts Tonini rapping in his native tongue in the manner of Italo-disco’s most eccentric and atmospheric vocalists. With his deep, rich tone and fluid flow, it’s hard not to fall in love with Tonini’s previously unheard rapping. Rounding off the single is the pair’s vocal-free instrumental take, in which Jpye’s stunning guitar motifs and tactile, soft-touch production can be savoured in full.