Review: Buoyed by the success of their recent creepy tech-house cover of Pink Floyd's "Set The Controls For The Heart Of The Sun", Bedouin pitch up on All Day I Dream with an altogether more picturesque collection of tracks. "Sight" explores similar sonic territory to that now infamous Floyd rework - think hypnotic beats, gently pulsing chords and quietly exotic instrumental flourishes - it's the looser, more obviously positive that stand out. Choose between the chiming melodies, rolling piano riffs and shuffling beats of "Straight to the Heart", and the subtle variations of the more fluttering "The Way Home".
Review: Bedouin are the Brooklyn based nomads Rami Abousabe and Tamer Malki. Bringing their unique spell of melodies and rhythms to Damian Lazarus' imprint, they deliver a cover version of the famous Pink Floyd classic "Set The Controls For The Heart Of The Sun". With diverse influences owing to their Middle Eastern heritage, Western upbringing and world travels; here Bedouin deliver some of their best productions to date. They even had the chance to play the track to Pink Floyd drummer Nick Mason in person, and he's said to have really appreciated it. Second offering fittingly titled "Guacamole" is an original track conceived in Mexico and made for the dancefloor. Israeli tech house hero Guy Gerber also steps in; the Rumors boss delivering a deeply mystical dance floor remix.
Review: Brooklyn-based "nomads" Bedouin have a penchant for combining a myriad of intriguing global influences, with their previous Crosstown Rebels appearance - 2017's cover of Pink Floyd's "Set The Controls For The Heart Of The Sun" - giddily fusing tech-house grooves, spooky orchestration and Middle Eastern instrumentation. "Wastelands", the track that opens the duo's latest missive, treads a similar path, layering bubbly electronics, soft-touch male vocals and simmering orchestration atop a hypnotic, organic-sounding tech-house beat. "Flamma" is a little faster and more energetic, with Arabic and Israeli instrumentation winding its way in and out of cosmic chords, jangling acoustic guitars and another locked-in, late night beat. It feels a little foreboding and creepy, as if the duo was going through a bout of psychedelic paranoia during the recording.
Review: Reflective of the atmosphere that prevails at party organisers All Day I Dream's daytime events, this collection eschews mushy ambience and plodding deep house in favour of a more sophisticated, adventurous selection. Powel's "Hor" is all abstract percussion and soothing melodies, while Lauren Ritter's "Glass Hours" is a sublime deep techno groove, brittle, beautiful and reminiscent of artists like As One. Meanwhile, Bedouin's "Flight of Birds" sees the compilation veer into mystical territories with wonderfully evocative fiddle playing unraveling over a pulsing groove and bongo drums. On Summer Compilation, All Day I Dream show that down-tempo dance music need not be synonymous with birdsong and dull sax solos.