Review: Stockholm's Ivan Berggren AKA Paresse, who cites his influences as "dub, Balearic house, Italo disco and electronica", teams up with Uruguay's genre-hopping Lila Tirando A Violeta on this new cut for Eskimo Recordings. In its Original form, 'Anima' is a sleazy, pulsating midtempo groover that comes on like the missing link between Balearica and Belgian new beat, with a nice acid-y squelch to the b-line and a growling, spoken one-line vocal. Lila Tirando A Violeta's remix strips it down and weirds it out for those small-hours moments on floors that like things a little more experimental.
Review: Almost six years have passed since Paresse's first two outings on Eskimo Recordings, making the amusingly titled 'Meat Robots' well overdue. The Stockholm producer is in prime form too, offering up an atmospheric, moody and otherworldly take on nu-disco full of sustained chords, bubbly electronics, Kraftwerk-esque vocals and not so subtle nods to both the legendary German electropop pioneers and 21st century Italo-disco. There are two fine remixes to enjoy: a glassy, reverb-laden revision by Curses that doffs a cap to Bobby Orlando and the Pet Shop Boys circa 1986, and a locked-in, nu-disco-goes-house re-wire courtesy of Radial Gaze.
Review: Eskimo's long-running series of colour-coded compilations continues via "The White Collection", the label's first multi-artist extravaganza for two years. Featuring an attractive, ear-pleasing collection of cuts that are guaranteed to put a smile on your face, the compilation jogs between colourful nu-disco, hazy house, sun-drenched Balearic beats, late night Italo-disco chuggers and the kind of happy-go-lucky 21st century synth-pop that Eskimo does so well. Highlights include, but are no way limited to, the melodious bubbliness of Michoacan's "I Can See", the cowbell-laden Scandolearic space disco throb of Cavego's "Alfred (Og Venene Hans)", the low-slung new wave sleaziness of Eliezer and Rina's |San Sebastian", and the fluttering, hypnotic Balearic bliss of Middle Sky Booming's drowsy "Dreamy Route".
Review: Eskimo Recordings' colour-coded compilation series has been running for a while now, serving up previously unheard cuts from the Belgian label's ever-growing family of artists. Typically, there's much to admire on The Purple Collection, the seventh annual instalment in the ongoing series. Highlights include the deliciously cosmic, slo-mo pulse of Atella's "Ascension", the horizontal Balearic disco shuffle of Antenna's "Sparks", the pitched-down, early Chicago house-meets-synth-pop flex of Dan Soloand Future Feelings' "What Else Can I Do" and the Aeroplane style nu-disco positivity of Cavego's "Var I Eyer". Elsewhere, you'll find more up-tempo, nu-disco-fired dancefloor excursions from Simple Symmetry, BOKA and Horixon, while a hugely enjoyable non-stop DJ mix of the selected tracks completes a fine package.
Review: Over recent years, former Correspondant producer Paresse has delivered a series of druggy, head-in-the-clouds EPs for Craig Bratley's impeccable Magic Feet imprint. The Sloth Machine EP is his first outing on Belgium's Eskimo Recordings and is arguably a little more Balearic-minded than some of his previous releases. Certainly, there's a sunrise-friendly freshness to melodious and breezy closer "Quiet Light" - think cascading synthesizer lines, drowsy, delay-laden guitars and unfussy beats - while 108 BPM opener "Sloth Machine" is as crystalline and shimmering as they come. We're also enjoying the locked-in shuffle of "Being Vain", where waves of late night synthesizer seemingly crash over a hypnotic groove, while "Temple" is a quietly psychedelic, left-of-centre chunk of cosmic disco goodness.
Review: It's been two years since occasional Corresondant [sic] contributor Paresse made his bow on Magic Feet Recordings. Back then, he was allowed two tracks on a split 12"; here, label boss Craig Bratley has given him a whole EP on which to showcase his wares. He duly delivers, giddily charging between the throbbing, late night house psychedelia of "Let Me Out of This Studio" and the fuzzy, intoxicating electronic chug of "Hypno Hips". Paresse switches to gentle Balearic disco mode for the dreamy and glistening brilliance of "The Flaneur", where eyes-closed guitar motifs glint in the afternoon sunshine, before showcasing his grasp of mood and melody on the melancholic synth-pop bliss of the heart-aching "Zen Fishing".
Review: For the first Magic Feet single of 2015, label boss Craig Bratley has decided to showcase the work of two relatively little-known producers; Correspondant contributor Paresse, and Clouded Vision associate Markus Gibb. The former kicks things off with "Nada", a stylish Italo chugger that makes great use of reverb, delay, foreboding electronics and sparkling synthesizers. The Swedish producer also offers up "Little Wanderer", a surprisingly grandiose chunk of fluttering Balearic disco. Gibb flips the script a little on "Prey", a slightly dark, post-punk influenced chugger blessed with fuzzy, atmospheric guitars, before rounding things off with the moody, mid-tempo rave revivalism-meets-new wave throb of "Whistler" (which, incidentally, does feature whistling).
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