Review: Bella Boo's debut album, 2019's Studio Barnhus-released Once Upon a Passion, was a gloriously off-kilter affair that neatly distilled her numerous dancefloor influences into one inspired package. Happily, we can confirm that this follow-up on Running Back is every bit as interesting and expansive, with the Stockholm-based producer darting between melodious electronica, hazy, sample-rich deep house, tantalising snippets of experimental deep D&B (see 'In Love'), melodious broken beat ('Together We Will Be Fine'), 8-bit dream-scapes (the hard-to-pigeonhole 'Free'), chunky two-step ('Don't Stop') and immersive, glassy-eyed ambient ('NT4 (Outro)'). In other words, it delivers further confirmation that Boo is one of the most exciting artists around right now.
Review: Next up from the Studio Barnhus Sweden crew we see them welcome back the wonderful Bella Boo, this time reworking a number of previous releases into vibrant remix creations, kicking off with the trippy melodic swirls and punchy bass slaps that emit from Off The Meds' rethink of 'She's Back. Next, Karima F gives 'Can't Leave You' a potent tribal rethink, Shy One delivers a spacey roller revamp of 'Tuesday' and Kornel Kovacs sends 'Stars' to the breakbeat manipulation machine for a sombre lick of paint. Finally, Matthew Styles provides us with a stripped back 4x4 overhaul of 'Sin Sin' rounding off a fantastic selection of fabulous recreations.
Review: Since signing with Studio Barnhus in 2018, Bella Boo (real name Gabriella Borbely) has released a couple of quirky, off-kilter EPs in the Swedish label's trademark hard-to-pigeonhole style. Here the Los Angeles based delivers her debut album, an expansive nine-track affair that shifts shape at regular intervals. After beginning with the lightly Afro-tinged vocal deep house pulse of "Can't Leave You Like This", she breaks up the beats on rolling workout "She's Back", offers up some downtempo nu-jazz on "Tuesday", squelches her way through contemporary deep hip-house number "Hotel Europa", goes on an ambient diversion via "Stars", and doffs a cap to Floating Points' early works on the jazzy but acid-fired wonder that is Axel Boman hook-up "Do The Right Thing".
Review: Sweden's Gabriella Borbely, AKA Bella Boo, trails her soon-come debut album 'Once Upon A Passion' with this two-track release. The handful of EPs she's put out to date have consisted mostly of wonky, midtempo deep house, but this one finds her exploring more leftfield, downtempo territory: some gently tapping wood block percussion aside, 'Tuesday' is a near-ambient piece made up of piano chords, fragments of at least three different vocal parts (one male, two female) and a mournful sax line, while 'Can't Leave You Like This' is a slow-building Balearic cut that's tailor-made for warm-up sets.
Review: A three-tracker here from Stockholm's Gabriella Borb?ly, coming on her own Studio Barnhus label. A refreshingly wide-ranging offering it is, too: all three tracks can safely be classed as 'deep house', but each takes quite a different approach. Kicking things off is 'The Hours', which marries deep, tribal beats to luxuriant piano chords, mournful sax and sweeping strings in a melancholy, midtempo kinda way. Sporting heavily effected male/female vox and strange, toy keyboard-like sounds, 'Alom' operates in blissed-out slo-mo territory, while if uptempo, floor-friendly jazz-house is more your bag then 'Barak' should suit your needs nicely, Daddio!
Review: Young Swedish producer Bella Boo earned lavish praise for her 2017 debut EP on Third Try Records, so hopes are high for this follow-up on Axel Boman, Kornel Kovacs and Petter Nordvist's admirable Studio Barnhus label. Predictably, it's something of a treat, with Bella Boo eschewing house music conventions in favour of a trademark style that puts imaginative eccentricities front and centre. Check, for example, the razor sharp, acid-style motifs, delay-laden bells and skewed drum machine work of "Is It Rude To Wear My Shades", the ultra-deep headiness of EP standout "Magnolia" and the picturesque early morning shuffle of "Homesick, Where's Home". She also displays a keen grasp of eyes-closed left-field pop on fluid opener "LA Confidential". Impressive stuff, all told.
Review: As the title suggests, this surprise compilation of exclusive material from Gerd Janson's Running Back label was put together in response to the killing of George Floyd, and in order to raise funds for the National Association for the NAACP's Legal Defence Fund. Given his connections, it's perhaps unsurprising that Janson has managed to tease out terrific tracks from the likes of KiNK (the sparkling, synth-laden goodness of 'Machine Funk'), Genius of Time (a fine dub of the dusty, ultra-deep late night hypnotism of 'Network Labyrinth'), Roman Flugel (the snappy analogue heaviness of 'Feel The Heat (String Mix)' and Tiger & Woods (rainbow-coloured deep Italo-disco jam 'Lonely Toad').
Review: More dusty yet sun-drenched happy house from Stockholm's Studio Barnhus, presenting their first ever label compilation. Volym 1 is curated by label bosses Axel Boman, Kornel Kovacs and Petter Nordkvist - who serve up some deep and joyous cuts from some label staples and newcomers alike. Or, in the words of the label: a mix of "Stockholm newcomers and superstar friends." Highlights on this fine collection of pop-inflected hybrids not limited to: wunderkind Baba Stiltz's lo-slung weirdo-pop displayed on "L.O.V.E.", co-chief Kovacs' emotive journey into the deep "On Roofs", Hamburg veteran DJ Koze with his inimitable style displayed yet again on "Hawaiian Souldier" and Catalan hero John Talabot doing what he does oh so well on the balearic house epic "The Change".