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Max Essa - Lanterns is a brand new artist album from the Japanese based Producer & DJ and his first release on Copenhagen's Music For Dreams label.
'Tranquility, alone in a taxi riding through empty streets, neon fades into sunrise. A refuge from the disorientating energy of the night. The sleeper train to Izumo. An Okinawan beach at dusk. ' Max Essa
"An LP of music that makes you imagine you're floating on a calm sea, underneath a blanket of stars." Balearic Mike
'A delight from start to finish. The sound of 2018 taking a siesta on the beach.
Undoubtedly one of the albums of the year' David Pickering (One Million Sunsets)
Max Essa has been active as a DJ and producer since the early 90s, initially releasing music on labels such as Warp Records and Paperecordings and DJing alongside the infamous D.i.Y Sound System. His recent work, for labels like Is It Balearic Recordings, has been play-listed by the likes of Andrew Weatherall and the late David Mancuso, gaining him a devoted following around the world.

2015 saw his first release with a major label in the shape of the 'Vacations Never Taken' CD for Victor Entertainment (Japan). The same year also found him completing another round of world-wide DJ bookings in Brazil, Indonesia, and Vietnam to name but a few.

2018 sees Max continuing his hectic weekly DJ schedule in Tokyo as well as playing the length and breadth of Japan from Sapporo to Okinawa, and releases are scheduled this year for Hell Yeah!, Music For Dreams, Palms & Charms, and Aficionado.

For this EP, Jófríður Ákadóttir has re-recorded some of the finest songs from her bands and solo-projects (JFDR, Samaris, Pascal Pinon) with new string arrangements. These versions have a simple, inherent beauty that is juxtaposed with their seething, stark intensity.

To replace the original arrangements with strings was originally planned as a one-off event: When preparing a Pascal Pinon performance in Portugal, Jófríður asked NYC-based composer Ian Davis to help her re-arrange four tracks. After the show Jófríður realized that the material deserved to be captured.

The featured songs were chosen from the repertoire of JFDR (her solo project) and Pascal Pinon (the duo she forms with her sister Ásthildur). There were no objective selection criteria: - I chose the songs that called for strings, songs that I was interested in continuing their story', Jófríður says. - Making this EP was meant to cast new light onto old bodies, to explore what is song and what is arrangement'. Indeed, the arrangements establish a fresh perspective on the selected songs (except for - My Work' - as the track will appear on a forthcoming JFDR album). Being freed from genre, these versions also expose JFDR's voice and its dynamics— the absence of beats gives her vocal performance new possibilities.

The EP was recorded live in a studio in Reykjavík, where Jófríður was joined by producer Albert Finnbogason, her sister Ásthildur (additional vocals and piano) and a string quintet. Ian Davis also made it to the recording sessions and brought two new transcriptions: - I wanted to have moments of clear simplicity juxtaposed with more dense, experimental passages. Sometimes the strings are just holding root notes and simple chords and other times they open up into more contrapuntal and textural moments', Ian explains. As a result, you'll find both moments of modest beauty as well as intensely seething passages. Even if Jófríður's voice clearly is the main attraction here, this EP - as she emphazises herself - is a collective work of those involved: - Trusting your collaborators is the truest gift'.

Edits label from the party series in Berlin, Germany. Balearic, Disco, Hi-NRG

Summer Mode On. BALEARIC 4, compiled by Breese, is the soundtrack for summer, brim-full of beach-ready tunes that truly reflect Ibiza's chilled musical spirit. Featuring two album exclusives: On-U Sound's cosmic fla-menco dub of Los Twangueros and a Breese remix of Robot 84 that brings Spanish guitars firmly to the fore. Digital exclusives too; Quinn Luke's 'Different Aspirations' offers 'I-know-this' familiarity, Emerson Kitamura covers 70s classic 'Rock Your Baby' in lullaby style, while Max Manetti's 'Changuinola' winks back towards the Happy Mondays circa 1989. Other highlights include Gallo's 'Faron' - currently proving the sunset bomb with Ibiza DJs; J-Walk's modern remake of Maze's 'Twilight'; Fuga Ronto's Rework of Kay Zee's 'Barny' as a modern-day down-tempo beauty, plus Joe Morris' 'Skies Reprise', which carries the mood dreamily off into the night. A dozen true pearlers, each one confident and ready to take their place amongst any quality collection.

Liai is the audio/visual project of Lo Bise, a Chicago-based experimental electronic musician and recent graduate of the School of the Art Institute of Chicago. Working largely with digital platforms such as Ableton Live and Max MSP, they create pieces inspired by Minimalist composition, techno and ambient.

Recorded 2016-2017 in Chicago, IL Art and music by Lo Bise

The Brooklyn duo of Bryce Hackford and Joakim teamed up again, this time as Joyce, 2 years after their debut as Jhack.
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/A two track 12' featuring a thumping and heady psychedelic deep house groove, in a classic Prescription zone, on the A-side ( Bubbles'). On the B-side, Die Siesta' is a tribal ode to the Balearic art of napping, a moody live percussion improvisation jumping down the bpm and floating on filtered piano chords.

General Purpose brings you Len's latest offering, Initials. An electronic experimentation in forward-thinking Balearic music.

Originally written between 2014 and 2015, these discarded, lost ideas persisted enough to require further investigation. Taking a pause between his dub explorations, Initials is the result of this inquiry.

Two of Russian electronic music's rising stars, Phil Gerus and Alexander Lay-Far, invite you to join them at the Solitary High Social Club. While table service is provided, they'd much rather you throw caution to the wind and head to the dancefoor.
Before joining forces in the studio, both Moscow-based musicians have delivered a string of memorable solo productions. Lay-Far has previously released a wealth of material on such labels as Local Talk, City Fly, Lazy Days and 4Lux Black, while synthesizer fetishist Gerus has showcased his electrofunk and disco-fred cuts on Futureboogie Recordings, Sonar Kollektiv, Public Release
and Superior Elevation Records.
The fve tracks that make up Solitary High Social Club deliver a perfect marriage of the two producers' distinctive solo styles, combining the rich musicality of Lay-Far's house productions with the spacey, intergalactic electronics of Gerus's discoid adventures. In many ways, it's a marriage made in heaven - or in Lay-Far's celebrated In-Beat-Ween Studio, at least.
The duo's spacey and melodious musical fusion is arguably best exemplifed by lead cut City 2 City, Star 2 Star', a widescreen, mid-tempo disco epic rich in tactile Rhodes riffs, supernova synth solos, delay-laden drum beats, tumbling melody lines and heavy analogue bass. Fittingly, the track returns in Reprise' form - think sweeping, weightless ambient bliss - to round off the EP.
Elsewhere, the duo provides further proof of their combined musical talents.
Check, for example, the gentle drum machine electro beats, cascading new age melodies and sparkling, stretched-out synthesizer chords of the impeccably beautiful Am I Tripping', or the devilishly percussive, mind-altering brilliance of Love Life', where mutant electro bass, wide-eyed chords and alien melodies rise above a heavy, Afro-infuenced groove. As for Snowfakes On Her Lips', you'll struggle to fnd a more confdent and positive dancefoor workout all year. Blessed with killer piano parts, darting analogue synth-bass and a range of disco-tinged musical fourishes, it's by far and away the most celebratory moment on an already happy-go-lucky EP. It confrms, too, our initial hunch: at the Solitary High Social Club, life is always good.

Claremont 56's latest beguiling two-tracker is as picturesque, sun-kissed and humid as they come. It may surprise some, though, to fnd that the artist behind these intoxicating tracks is
not an experienced creator of wide-eyed Balearic fare, but rather a little-known but fast-rising producer from Moscow.
Alterleo is the production alias of Denis Leonovich, a television sound producer who has spent his spare time making music for the best part of ten years. He released a handful of
danceoor-focused EPs (mostly on local label National Techno) at the dawn of the decade, before retreating to the shadows to experiment further in order to develop his own trademark
sound. Last year he resurfaced via a track on a two-part vinyl compilation
It's this exotic new direction - inspired, Denis says, by his desire to join the dots between psychedelic disco, Balearica and tribal rhythms - that's showcased on the producer's Claremont 56 debut, which also marks his frst solo vinyl excursion. Both tracks are underpinned by gentle, undulating tribal rhythms, and include sounds and melodies crafted by the producer on kalimba, vargan and some of the small native instruments that form part of his
growing collection of such items.
A-side 'Sunset Sparks' is a thing of rare beauty: a dreamy, humid and tropical excursion in which uttering ute melodies and delay-laden African vocals gently rise above slowly-shifting
chords, psychedelic electronics and a synth bassline so squeezable that you could use it as a stress ball.
Denis's love of bold synth basslines is also evident on ipside cut 'Boma', a slightly bolder and more polyrhythmic excursion whose sparkling melodies, fuzzy guitar motifs, Jew's Harp
lines and foreboding aural textures create a quietly trippy mood. Some may note the inuence of Jan Schulte's Wolf Mueller project, but Denis has crafted a mesmerizing signature sound
all of his own.

(LP+CD


"I use music as a medium to talk to other people", Sun Ra once revealed. The Düsseldorfer Stefan Schwander would agree with this statement by the avant-garde jazz great, though he would not necessarily sign his name to it. He also speaks to people through music. Yet he also likes to let music talk to music. Since 2008, as Harmonious Thelonious, on numerous EPs and two albums, he blends the reduced patterns and structures of American minimalist music with African, Latin American and Caribbean rhythms. For his new work "Santos", which he sees as an LP with a unified concept, he embarked on a mental journey to the north of the African continent and became entranced by Moroccan trance music. The resulting pieces are light, with traces of pop, interweaving the atmospheres of the Master Musicians Of Joujouka and Gnawa music with the driving force of techno. This time Schwander invited a handful of guest musicians to serve as sound sources. The Berliner Ghazi Barakat, former bass player of Stereo Total and man behind the psychedelic experimental project Pharoah Chromium, contributed modified sounds from his Moroccan flute. A second guest musician is the Cologne-based composer Volker Zander, who has long played double bass and electric bass with Calexico. For songs like "Mountains" or "Belloumi" he played a melody on the Turkish Tambur, lending an oriental flair to the vital rhythms of the tracks. The intricate rhythmic patterns also incorporate instruments such as banjo, mandolin and Afro-Cuban drums, played by the percussionist Stefan Suhr, who studied Afro-Cuban ritual drumming in Cuba. Schwander's electronic sequencing blurs these organic sources and brings them into a fluid dialogue with his electronic ideas. For a piece like "Rendez-vous of the Dead", for example, Harmonious Thelonious projected himself out of the studio onto the Djemaa el Fna square in Marrakech. Here, every evening after sunset, local musicians meet and play themselves into a frenzy on distorted mandolins. Harmonious Thelonious translates this dream into a quaking dance monster whose home might be a techno club with an experimental sonic approach. Of course, most of the pieces of "Santos" are heavily danceable, although this time Harmonious Thelonious' tracks roll a little slower than previously. Their rugged beauty has also given way to a very smooth sound. His music, however, has lost none of its complexity. The many voices speak together, propelling each other toward something that traverses traditional genre boundaries, creating a playful trance. The cover of "Santos" underscores this: It is a collage designed by the artist himself, depicting his notion of an all-star band. Everyone must decipher for themselves exactly who is to be found there. Here, once again, the pictures are not direct portrayals, but veiled references to an emotional state hidden far beyond the visual realm. Just like the music of Thelonious Harmonious, which uses various layers tell countless stories.

Infusing tropical vibes and electronic grooves to reflect the vivid ever evolving Latin American soundscape is the fresh musical excursion 'Electropical' as synthesised by London based producers, Juantils a melting pot of authentic Latin anthems, jazzy grooves, disco infused songs and Balearic sounds all processed in HD for an immersive experience which explores the colourful influences of the Caribbean, vast Amazonian dimensions and beyond. Its heart-warming journey is a highly seductive experience that further enhances the mood with repeated play.

'Electropical' sees Juan Laya & Jorge Montiel (best known for their Los Charlys Orchestra albums and tracks) re-imagine some of the most emblematic tracks from the Latin music world including ''Manduco' and 'Fruta Fresca' as well unveiling new material including an awesome jazzy Latin Disco version of the millennial summer anthem 'Pasilda'. Playful sounds and organic grooves are carefully balanced with a subtle 'Electropical' touch to forge a natural expression of fusion - a perspective that has characterised the work of Juan & Jorge for more than a decade now.

From the impressive folk-inspired Todd Terje favourite, 'Cumbanchero' (included on his Radio 1 Essential Mix) to the raw percussive style of 'Tambor Urbano' 'Electropical' elegantly weaves into its textures the primal drums, rippling jazz guitar, undulating bass and unique sounds such as vibraphone, Peruvian pan flute and congas conjuring the roots of Latin music in 'Electropical' style. This unique sonic landscape forges an intimate connection.

Flag-bearers for contemporary Latin-infused sounds London/Venezuelan production duo, Juan Laya and Jorge Montiel, celebrated their 10th anniversary in 2017 by joining forces with the soul legend, Omar on 'It's So/History' alongside classic cuts such as 'All Around The World', 'Everlasting Love' & 'Sunshine'

Credits

Angelica Rincon - Vox, Alejandro Martinez - Congas, Andre Espeut - Vox, Carlos Saldana "Kentiqena" - Perubian Flute, Eikel Venegas - Trumpet, Grahan Mushnik - Accordion, George Malamas - Bass, Jon Desbrulais - Drums, Kiris Houston - Keys, Maria Rivas - Vox, Matheus Nova - Bass, Marcelo Andrade - Flute & Sax, Raphael Delfino - Guitar & Percussion, Zeu Azevedo - Accordion, Xantone Blacq - Vibraphone.

Produced by Juan Laya & Jorge Montiel.

Almost three decades after he put out his first record as one half of Tummy Touch twosome Tutto Matto, Paulo Guigliemino continues to produce effortlessly brilliant music that joins the dots between vintage disco, boogie, proto-house and sun-kissed Balearica. For proof, just check the heavyweight dancefloor sunshine that is 'Bella Topa', his first release on Leng Records.

Slow, sensual and blessed with all manner of delay-laden drum machine percussion hits, the track fixes the producer's usual colourful, boogie-era synth flourishes and ear-pleasing instrumentation (think fluid electric pianos, fluttering flutes, eyes-closed jazz guitar solos, lilting saxophones and spacey electronic chords) to a chugging, head-in-the-clouds groove reminiscent of Lindstrom and Prins Thomas's early collaborative work. 'Bella Topa' cleverly shifts shape several times throughout, utilising jazzier rhythms and bolder melodies to light up key moments.

Remixes come from Guigliemino's old pal Federico Marton, a producer best known for being one half of sometime Get Physical, Superfiction and Snatch Recordings artists Italoboyz. He lays down two distinctive revisions, starting with a 'Slow' club reconstruction that adds additional percussive heaviness and sparkling electronics to Super Paolo's twinkling, sun-baked original.

His other version, a 'Fast' club reconstruction, drags Guigliemino's track towards peak-time dancefloors kicking and screaming. Making the most of his friend's killer groove and finding sufficient time and space for each life-affirming musical element to sparkle, his mix bobs, weaves and eventually soars for 12 mesmerizing minutes. The mix, like his slow version, makes use of additional percussion and wisely gives more prominence to the A-side's spacey electronics and boogie-influenced synthesizer flourishes. The results are little less than breathtaking.

Next up in Tartelet's limited-edition series is renaissance man N.O.T.E. with Night Frames' - a compilation of barrel-aged sounds for the warm nights ahead.

N.O.T.E. is a new project by an already established artist who might be of Swiss or Italian origin, depending on who's asking. A seasoned sailor of musical waters, he enjoys jazz piano, fine wine and silk linens. Though none of that matters.

The first release under his new name could be described as a mini concept album where different routes are explored, bringing N.O.T.E.'s musical diversity and capabilities to light. Starting with Falsa Laudis,' N.O.T.E. takes the listener back to the 80s with clear references to Italian boogie and jazz-funk of that era. The track is warm, fat and sparkly, and best enjoyed with a cocktail in hand. Following this is the title track Night Frames' - a bruk-jazz escapade not shy of elaborate Rhodes solos and filthy funk.

The B-side opener moves further south: Obaleyako' is fueled by tropical energy, mixing African percussions with soft piano chords. It's weird, mysterious and red hot! Last but not least, N.O.T.E takes on the finest deep house sound with En Route,' where endless layered melodies and percussion form the farewell.

This is an ultra limited-edition release of 250 copies (strictly no repress!), written and produced by N.O.T.E. and mixed at Panalama Studios in Copenhagen on the Neve 5088 Shelford console for good measure. Enjoy!

Robot 84 returns with another set of killer balearic inspired reworkings.'These Drums' opens up the e.p. layering drum loops and bongo fills with dubbed out keys, brooding pads and afro vocals. The A2, all the more cosmic yet club ready in its nature, marries a powerful bassline and captivating kick pattern with some space echo synthwork, before those epic toms and vocal chants ring out.On the flip side, 'Long Hot' is exactly that....a smoldering, soulful, slow jam rework to ride off into the sunset to.

Seb W & Phil B present Azure Lagoon.

Hell Yeah’s summer will be all about Passages, a brand new and fantastic album from Quiroga that shows off his unique take on the Neapolitan sound. It is a soothing mix of real musicianship, laid back funk, soul and jazz stylings that wash over you, fill your heart with warmth and take you to a faraway beach where all your worries melt into the ether.

It is 11 years since Walter Del Vecchio’s last album on Cactus Island Recordings and since then he has put out a steady stream of sublime EPs on the likes of his own Really Swing as well as, of course, Hell Yeah. Label boss Marco calls him “a delicate musician” and it’s true that his deft sound is filled with beauty and detail.

A lot of attention is currently on his native Naples scene, but Quiroga doesn’t fit with the usual narrative thanks to his left of centre take on the breezy Mediterranean sounds of the city. This new album features six brand new cuts as well as six of his favourites that have previously been put out Really Swing, and is a fantastic showcase of his sound, with two of the tracks already getting big support from Italian ensemble 291out.

Gentle groove undulations and refrained vocal euphoria define opener Got Your Love, while fat bass twangs and nodding keys light up the jazzy-soul-funk fusion that is Martinica Feelings. Things get even more horizontal and romantic on The Zoist, with its steamy female coos and delicate keys, and North Hollywood Witches is a glorious bit of slow motion boogie with squelching bass and effervescing keys.

Elsewhere there are the lazy tumbles of Non Dire Notte, which is awash with acid gurgles, while glistening dreamscapes like Citto Di Mare shuffle on lush live drums and new age melodies. There are hippie vibes on Luzhin Defence which evokes sun beams breaking through the clouds, then Chiaia Sunset will melt your heart with its diffuse keys and rippling rhythms and ambient closer Bava casts you adrift into the clouds.

With many other gems along the way, this a perfect summer album that will temporarily rid you of whatever problems you may have.

Into the Light continues its journey to unearth and update overlooked Greek music. This time focuses on a smooth, warm, youthful yet intelligent work that finds effortlessly its place in the tiny Greek electronic scene of the mid 90's.
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"The Nireus Years" is a rare selection of eight unheard home recordings produced between 1995 and 1997 by the then 16-year old Angelo Ioakimoglu in Athens. The album encompasses his most special productions ranging from bucolic new age to dubbed out midi electronics, jazzy r&b to Mediterranean ambient trance!

Angelo was born and raised in Zografou area of Greece's capital in 1981. It was there where his father had a typical 80's electronic lab and it was that specific environment where Angelo spent most of early childhood. A first attraction for electronic musical equipment was developed that very soon became a passion for hunting down used pieces of gear soon to form the basis of his well equipped bedroom setup.

During his teens, his connection with music was either practicing the piano at home or listening to the most recent dance hits at his uncle's place who happened to be a professional DJ. Big part of Angelo's demos around that period is driven by those two aforementioned worlds. But there were moments of escape. Moments where the music went for the unexpected. Leaving the producer following a solitary path where he could express his teenage dreams and fantasies...through extensive midi programming, live keyboards mimicking string, brass and steel instruments and sampled portions of his live percussion burst.

Angelo's work, which can sometimes seem naive or surrealistic, is supported by his unique and surprisingly energetic approach, one that gives us the courage to continue something different.

Rerpess

For the newest release on Disco Halal and his solo debut on his own label, Moscoman has shared one of his personal weapons with the world. The Disco Halal boss explains: 'You need to know where you came from to know where you're going. For my first original EP on Disco Halal, it's time to go back to the middle eastern roots of the label. It's a special track that has been the ace up my sleeve on countless dance floors across the globe. Accompanied by my fellow travellers Simple Symmetry on remix duties, I'm proud to release this two sided work.' A patented dance floor scorcher, 'I Ran', sees Middle-eastern vocals thread their way through a lofty percussive blend, simmering up a psychedelic energy which will be turning dance-floors upside down for times to come. On the flip, trusty Disco Halal comrades Simple Symmetry, the duo responsible for 'Voodoo Your Ex', one of 2017's most rinsed anthems, spin 'I Ran' into a chugging guitar anthem, all in cinematic twist and turns. 'I Ran' will be released March 16h on vinyl and March 30th digitally and the EP snippets are free to share now

Following up from last years ep on Pleasure Unit the folks from Miskotom deliver a lovely 5 tracker for our other imprint Pleasure Wave following on from g Marie and Jonny .,The guys(guy and girl) carry on in much the same vein but drop gears ever so slightly for some more sun drenched tropical sounds. The Opener Hyena's laugh could be Wally and Larry jamming with the locals on Kong Island. Senoi takes you on the back of a pick up truck and transports you from the coastal town and out onto the dusty tracks and into the night for a ride through the jungle and onto the other side. 10th day is all about cocktails by the infinity pool in the secret resort and soaking up that late afternoon sun. Kuai can Che is all Twilight era Maze tougher drums and chimes with those floaty synths. Seeing us out is final cut Kopiek lying back on the boat as you leave the island and it all becomes a tiny dot on the horizon...Float on.. file under Tropical, Balearic, beach sounds...

The Safe Trip Organisation Has Been Broadcasting Their Musical Version Of A Traditional "numbers Station" On The Frequency 5079. Human Intelligence Suggests The Agent Behind Four Regular, Ear-pleasing Transmissions Is The Safe Trip Associate "artis".
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Using A Specially Modified "one-time Pad", We Were Able To Decipher These Undercover Operatives. The Ethereal, Dreamy, Arpeggio-driven Throb Of "panthera Pardus", With Its Poignant Tone And Undulating Lead Lines, Was Clearly Meant As A Warning.. The Same Could Be Said Of "cetacea", Where Melancholic Synthesizer Sounds And Meandering Electronics Gently Wind Their Way Around Hybrid Electronic/acoustic Percussion.

Panic Set In Once We Deciphered "giganthopithecus", A Composition Littered With Frequent Increases In Percussive Intensity And A Mind-altering Melodic Refrain. Our Hunch That Artis Was Ordering Immediate Action By Agents Was Confirmed By "delphinae", Whose Colourful Melodic Fluidity, Futurist New Age Construction And Layered Wooden Drum Hits Deeply Affected Our Researchers. We Ordered Our Own Agents To Raid The Station, But Artis Had Long Since Scuttled Off Into The Hazy Morning Sunshine.

The sprawling ambience we hear throughout "Paz & Amor" unveils the present stage of the fascinating aesthetic progression that Lilocox has been sharing with the world ever since this Eurochild of Cape Verdean descent started to produce his original music. Lilocox comes out in open field, with a lot more space, building the groove around complex rhythm grids now unfolding peacefully. He scored a bouncier underground hit with "La Party" back in 2015, coming from a background of intricate batida drum patterns but his sights reached further and further away into deeper territory."Ritmos E Melodias" seems to split into two parallel tracks at some point with the house beat balanced by a background rattle more commonly associated with the slower tarraxo vibes. "Samba" is fully-formed from the very beginning but the kick only comes in around the 2-minute mark, joining a bleepy substitute for a bassline. In fact, you will find this music practically does away with the need for a bassline because the rhythm inventions keep the feet moving effortlessly. It might seem strange that a genre seemingly rooted in classic house can stay focused on the dancefloor without a bassline, but the skeleton of these tracks is naturally strong and provides all the necessary ground for ambience and melody to shine.

And they do shine universally on "Fronteiras", an intensely emotional and catchy tune WITH a bassline, though very discrete and minimal. It follows the beat more or less independently, but its presence helps to consolidate the human bond we should all feel when exposed to these celestial harmonies. "Fronteiras" seems to contradict its very title.

NOTHING BALEARIC OR BREAKBEATS TO BE FOUND ON THIS. ALSO WOULD PROBABLY NOT ROCK THE BRILLIANT CORNERS FLOOR. KINDA BIG TIP!

Copenhagen label Music For Dreams release yet another brilliant debut album, this time by the Danish duo Dalholt & Langkilde. The album has a wonderful warm summery vibe, with slick smooth production, hypnotic groove baselines, live guitars & vocals.

The sultry French spoken word vocals on opener 'Charite', 'Sur Plus', 'Tranquille' '& Je M'appelle Spacy' certainly channel the spirit of Serge Gainsbourg & Max Berlin which compliment the euro flavour to the overall production of the album.

There is a jam like feel to most of the tracks on the album - The Moonboots faves "Bonne Nuit" and "Doucement" both sounds like a Durutti Column /Vini Reilly session made in Copenhagen.

Demise Ducha provides the vocals on tracks 'Disco Disco' & 'Afrique'. Demise's ethereal voice brings an almost Cocteau Twins feel to the tracks combined with the sweet African (soukous) guitar licks and floaty bongo rhythms are sure to propel these tracks into balearic classics on the white isle.

The album also features the track 'Versaire' with Copenhagen friend Emil Breum (The Swan & The Lake) soft sax tempered with atmospheric synth combine to wonderful soundscape effect, a summery 95 BPM chugger!

After releasing their debut single 'Charite' in 2015, and 'Sur Plus' which featured on last years acclaimed Jockey Club (Ibiza) Sunset Sessions #4 compilation, the duo (Mads & Frederick) have been busy in the studio crafting this debut album to be released on Kenneth Bager's Music For Dreams label.

Dalholt & Langkilde first met when Frederik came to view a room for rent at Mads' apartment. After five minutes they clicked and were roomies. Mads was already an experienced DJ and Frederik had played at parties with a live band, but neither had any experience making their own music. The first track 'Charite' was born in the summer of 2014. Charité was and old idea Mads had, that he would like Frederik to try out ... some first takes later in a gloomy dark basement studio and Charité got its first airplay at Kenneth Bagers radio show at Sonica, Ibiza.
The Duos main goal is to make people relax and enjoy, with or without a balearic sunset ...

Nach Einer Siebenjährigen Auszeit Meldet Sich Us-produzent Sam Grawe Aka Hatchback Mit Seinem Dritten Longplayer "year Of The Dragon" Auf Lo Recordings Zurück Und Dringt In Neue Horizonte Aus Electronica, Prog-rock, Balearischen Rhythmen Und New Age-atmosphären Vor. Das Album Komplettiert Nach "colors Of The Sun" Und "zeus & Apollo" Seine "california Cosmic Sound Series" Trilogie.

The penultimate release on Optimo Trax (at least for now) comes from Tel Aviv's mighty Kalbata. I was already a big fan and was so delighted when he got in touch to see if I would be interested in releasing something by him. Unusually for Optimo Trax this is one track in 3 versions but each version is so different that often I play them all in one DJ set. Originally there were two versions but as Kalbata is a renowned master of dub (check out the documentary online about him recording in Jamaica), I gently persuaded him to do a no-holds-barred dub mix too which appears here as Enkuan pt 3.
A few words about the record from Kalbata -
I went to Ethiopia in the beginning of 2017 to record musicians. The most memorable one was Mulugeta Teshome who plays the Washint flute on this record. It's a traditional Ethiopian flute made out of wood, and Mulugeta came to the studio carrying a whole bag of them, each one in a different key. We chose the scale and started the recording session. I ended up taking the tracks a lot further with the three cuts on the record but really it all started that day, in a small studio shack in Addis Ababa.

"This release is a 12"" and it's individually 500 hand-numbered limited edition. The first 100 copies are pressed on CLEAR TRANSPARENT vinyls (AR013).
It contains 2 previously unreleased tracks from TONY ESPOSITO's Viaggio Tribale CD (2004): Dove c'e luce and Veronica song + A SPECIAL BALEARIC REMIX of Dove c'e luce from LucaEffeSunset + 3 previously unreleased tracks from the Lucan (Basilicata) musician Antonio Nicola Bruno CD (2004): Storia della terra mia and Danza e ridanza. In addition to the usual Archeo insert of credits and photos of the original album, it features also of a second insert concerning a beautiful photographic journey of 2004 by Manu-Archeo, related to this Music. Archeo Recordings is a reissue record label that regenerates old, lost, obscure (and forgotten) rare gems of Italian music of the 70s and 80s, and not only.
All outputs are licensed by the artists and the vintage labels, audio tracks are remastered in their original form, the sleeves and center labels are graphically recreated 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.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls."

Animals Dancing continues its quest for world domination with a double A side of Russian intelligence from Moscow's Leonid Lipelis.

As the title would suggest, these two sides come from Lipelis' private arsenal of club tracks, beef'd up and shared with the people after some friendly persuasion.

I.O.D.T.F.M.B.N.I.F.E.

The Finnish tropical troupe Maajo is back with a two-track EP. In contrast to the Afro-Balearic sound of their 2016 debut Tropic of Tulli, the new Defo / Mansaba EP is a step in a deeper and sometimes darker direction.

Defo kicks off the EP with a driving 5/4 rhythm. Reminiscent of Mark Ernestus' Ndagga sounds, it is a tribal tune with Maajo's signature ethereal disco elements.

Trevor Deep Jr.'s version straightens out the original's unconventional time signature and focuses on a four-to-four beat and plenty of Berliner dub. The remix is a solid dancefloor tool, traversing the original like a train making its way through a dark rainforest.

The B-side is entirely covered by Mansaba, a 14-minute long journey into inwards. This studio jam, recorded largely live, is a wild mixture of polyrhythmic sequences, krautrock guitar licks, equatorial forest percussion and violin synths. The trip starts slow and soothing, sneakily picks up pace and keeps grow and growing, eventually exploding into a full-on tribal dance.

It was May 2017 when Earthboogie's debut release dropped on Leng. The soundsystem-loving East London duo rightly won praise for a fne EP that brilliantly joined the dots between all things intergalactic, terrestrial and tribal.
Having spent the last ten months recording their adventures, Izaak Gray and Nicola Robinson return with Silken Moon', the frst single from their forthcoming debut album, Human Call.
In typical fashion, Silken Moon' cannily combines musical elements from a myriad of styles - most notably Afro-disco, samba and mid-tempo Chicago house - to create a humid hybrid that defes easy categorization. There are bouncy organ riffs, undulating acid lines, clipped Afro-funk guitars, tons of tropical percussion and the chanted, carnival-friendly vocalizations of guest singer Nina Miranda.
The release comes backed with remixes from two members of the extended
Leng family: long-serving producer Felix Dickinson and Turkish rising star Ali Kuru. Dickinson sticks close to the original of Silken Moon' with a mix built around gently jacking machine drums and Earthboogie's sweaty guitar licks while Kuru takes Human Call' in an altogether more cosmic direction. Pushing the track's psychedelic TB-303 lines and tropical textures to the fore whilst
adding his own mind-altering electronics - most notably a fat new synth bassline - Kuru cleverly re-casts the track as a pulsating, late night throb-job.

Shame On Us is a live electronic-percussion trio from Tel-Aviv formed by Naduve, Yovav and Alek Lee. 'NAAM' is their first release and a great insight into their sound: rooted in a balearic spirit, highly percussive and with an hypnotic and uplifting quality. The 12" is rounded with remixes by Fantastic Man and John Talabot, who take the tracks to new dance floor and psychedelic heights. The artwork is an original painting by San Sebastian-Based artist Iker Spozio, with design by Alicia Carrera. This is a limited edition vinyl-only release.

Following on from last years noche espanola release (which received support from tako ,jexopolis, renata do valle ( hello sailor), pete herbert, nick the record, kenneth bager, john gomez , nancy noise and willie graff amongst others ) the follow up ' domino' sees Phil Mison / Cantoma come up with another balearic groove aimed squarely at the dance floor. The outdoor mix is a more summery disco groover while the ' indoor ' mix heads into more spaced out territory.

Limited to 400 copies , hand numbered and stamped.

Valencia based label Discos Malvarrosa comes again with 4 new tracks of Five Points, the young talent Claude Chabrol and a remix of the Berlin based duo Kyodai. Very serious EP with a lot of work behind, Valencia is here.

Limited Green edition Here !!

Paper Recordings' Ben Davis takes off his Flash Atkins cape and mask to launch a new project exploring things left of centre and balearic.

In these disposable times, Stubb will celebrate community and DIY with a limited run of 300 vinyl screen-printed kraft card sleeves of commissioned illustrations by artist Rachel Johns plus hand-drawn labels by Hebden Bridge's The Egg Factory.

We Are Launching is a journey in to psychedelic balearia with one of the most exciting artists of recent years, Jane Weaver
Her Mercury Music Prize long-listed album 'Modern Kosmology' was described by The Guardian as "a lean and thrillingly addictive slice of unearthly pop".
The Stubb collaboration is a sublime head trip to the deep reaches of space and electronica with hallucinatory guitars, burbling synths and arpeggiators that are beautifully set off by Jane's ethereal vocals.

Mike Lindsay is founder and producer of folktronica pioneers Tunng and his distinctive tones sing the praises of doing nothing on Boring Days, which is psychedelic leftfield pop at its finest.
The track is locked down by a nagging fifth bass with vocal pops, hand claps, muted afro guitar, washed synths and arps that build before the choruses hit in a wave of analogue keyboards and fuzz guitar.
After that, a gloriously stretched outro takes you straight to the mediterranean. There's also an edited instrumental that brings out the sunshine...

Quality is the key word from Copenhagen based Music For Dreams and here is another home run. Willie Graff splits his year between DJ residencies in New York and Ibiza. In this new outing with studio partner Darren Eboli, the influence is, as the title suggests, clearly NY-based. Over only four tracks, the pair manage to craft a stunningly comprehensive exploration of the essential elements of dance music.

Opening track "Love Flight" staggers into a lush string-driven groove that recalls the glory of Metro Area meets Wally Badarou vibes. Minimal yet playful, it lounges somewhere in the depths of the house tradition, calling on familiar sounds while throwing in odd details along the way (harmonicas). It takes both skill, devotion and a sense of humor to pull this track off, making for a strong opening. "Moon Tan" lingers on a metallic hook that drags you into a plethora of percussion followed by a rubbery soft baseline. Dubby key work would suggest this was a new wave band jamming at Compass Point, while the icy chill of the xylophone transports you into 80s italo territory.

"Second Sun" pulls out the bag of boogie tricks, relying on a firm but humble baseline and smattering drum machine claps. Nile Rodgers-style guitar licks guide us onwards into a well-orchestrated jam that builds up and breaks down with perfect timing while dreamy chords reach for the sky. "First Light" keeps the groove tight while dipping over towards more Balearic temperatures. Steeped in a watery atmosphere and gentle organic percussion, it focuses in on a trance-inducing arpeggio that lulls you in to the swaying Badarou-style synth swirls that intercept it.

Having recently completed a live tour across Europe, Scott Gilmore returns to International Feel with Another Day. Following on from his "mini-masterpiece" last year, the LA musician confidently delivers four new records. The uplifting Electric Gestures is the first of the four dreamy soundscapes. Setting the tone, it drifts through with tight yet subtle percussion. A melancholic twist ensues with the melodic string number Things Forgotten. Next up, Lately follows suit blending emotive keys with thoughtful strings, which lead onto the hopeful and hypnotic chords of Another Day. "Before recording the songs for 'Another Day' I had never worked on music with the knowledge that it would be released. Both 'Volume 01' and 'Subtle Vertigo' were made in a state of aloneness, and there is a comfort in that state of mind because it is easier to work freely without any inhibitions.Making music that I knew would be heard by others was a process of putting that out of my mind, and a process of remembering that the most important part of creating music is to explore." - Scott Gilmore Sitting comfortably in Mark Barrott's International Feel, Gilmore studied the guitar for eighteen years and his compositions demonstrate a real master at work. Combining elements of 70's underground psychedelia, kosmische, and library music his music "has the distinct air of something you might find in a dusty corner of someone's garage" (Pitchfork).