Contemporary disco label based out of the bricks-and-mortar record store of the same name in Amsterdam. Set up by Otto Kraanen (AKA Napoli Disco Club) in 2011, the label's output has spanned a range of styles but veers heavily towards the Italo end of the spectrum, with occasional forays into related styles such as electro, EBM and synthwave. Some of the best-known artists to have released music on Bordello A Parigi include The Hacker, Hard Ton, Tulioxi and Daniel Kyo.
Review: The fact that the first track here is entitled 'Italians & Spacemen' should give you a pretty good idea what to expect from the rest of the EP: we're esconced firmly in Italo territory here, with Moroder-like basslines, Carpenter-esque sci-fi synths and analogue drum machine beats very much in evidence throughout. Look to Hyboid and Discobeton if it's faithful pastiche of the original early 80s Italo sound you're after, Daniel Monaco & Futuristant for a more late 80s-ish update or Captain Mustache if you want to be dragged into the present with hints of techno, footwork and electro.
Review: A well recognised producer of sorts surfing Intergalactic FM's astral plane of Italo-inspired electro - Martin Matiske makes his debut on Bordello A Parigi! With a sound spawned through International Deejay Gigolo Records in the early 2000s, followed by his Robotic Music LP on Luke Eargoggles Still life in 2012 - more recently we've seen the producer hit a hot streak with an EP on Moustache Records that was soon followed by a debut on Central Processing Unit as Blackploid. On Bordello A Parigi, nevertheless, Matiske keeps it real, primitive and disco electronic. WIth heroic motifs threaded throughout the EP via its chords and melodic progressions, a healthy dose of phasers and arpeggios maintain the futuristic retroactivity of the EP where Italo fans should head to "Computer Dance" and "Digital Emotion" while for electro heads it's "Information Product" and "Transmission".
Review: If you're in the mood for a mixture of sparkling synth-scapes, revivalist Italo-disco chuggers, cowbell-powered electro-disco groovers, toughened-up Euro-pop dancers and sparkling, 1980s movie soundtrack sounds, we'd heartily recommend this long-awaited debut album from Austrian trio Leitstrahl. Their trademark sound is naturally retro-futurist by its very nature, but you'll struggle to find any of the cheesy elements often associated with 1980s synthesizer music, just a string of polished and ear-catching highlights including 'Europa Supersaw' (featuring vocals from Bronski Beat's Jon Jon Foster), the Bobby Orlando-esque 'Albatross', and the chunky electrofunk giddiness of 'Long Lines'. In a word: terrific!
Review: A pleasingly varied four-tracker from Dutch label Bordello A Parigi. Ireland's Lerosa gets the ball rolling with the synth disco of 'It's Hard', before we take a left turn into bass/electro/footwork territory with Eliott Litrowski's 909-tastic 'The Little Optimist'. It's then back to the 80s Eurodisco with Vivyan's 'That Time I Dated', which comes on like a long-lost Lipps Inc out-take, before the EP's completed by Sergo Mesa AKA Iamnotarobot's 'El Vuelo', a slice of shimmering, sultry Nang-style nu-disco that's sure to "captcha" your heart. See what we did there? A solid bet for those who like their disco on the leftfield side.
Review: For nigh on 10 years now Otto Kraanen's Bordello A Parigi label (and record shop) out of Amsterdam has cultivated itself into a go-to locale for some of the best in Italo, disco, synth and cosmically industrial wares from yesteryear and the contemporary retro-activists of today - people like Fred Ventura, Skatebard, Manhooker and Credit 00. The first EP for the label in 2020, following a debut album from The Steaming Jeans, is a various artist EP taking up a disco-inspired noir approach to Italo, electro and instrumental pop. Headlined by The Hacker with "Passion", expect slo-mo beats and subtle phase-action alongside the pumping arpeggios and harmonics in Armonics' "Universal Oneness", to the post punk synth of "Voironia" and the nostalgic tropes in Discobeton's "Leave Me Superficial".
Flagio M - "I Want Your Love" (Salta & Roma remix) - (7:09) 115 BPM
TX Connect - "Danza Futura" - (5:45) 126 BPM
Dan L - "Una Melodia Triste" (Salta & Roma remix) - (9:07) 110 BPM
Review: Grab a cold beer, whip off your shoes and head down to the shore: Bordello a Parigi's brilliant "Riviera Disco" series is turning ten with an expansive collection of cuts guaranteed to get you dancing on the shore shirtless. There's naturally a retro-futurist feel throughout, with all 11 tracks making use of the chugging arpeggio style basslines and colourful, mid-'80s synthesizer melodies of Italo-disco. Highlights come thick and fast, from the jaunty melodies and Bobby 'O' Orlando grooves of Daniel Monaco & Don Voyage's "Tropical Disaster" to the bold, spacey melodies and effortlessly joyous vibe of Bijou's "Hotsy Totsy (Instrumental Mix)". Also worth checking is the tongue-in-cheek vocal brilliance of Salta and Roma's 1984 style tweak of Flagio M's "I Want Your Love".
Review: Frankfurt based retrovert Stefan Haag aka Chinaski is usually more affiliated with the Live At Robert Johnson camp, but finds an equally fitting home here on Bordello a Parigi with his post-Italo exploits. All in all it's a very neon-lit affair on the Unschuld Der Sinne EP, the title track is ever evident of this with its glimmering, laser-ish synths and powerful "Axel F" style arpeggios. However "Surfin' Death" him pursue some more EBM style aesthetics that are currently in vogue. There's more of this style explored on the muscular neon-lit body music of "Ab In Die Ewigkeit which is reminiscent of Belgian legends Front 242.
Review: Slovenian space cadet Ichisan returns to the scene of the cosmic crime as he revisits select cuts from last year's superlative debut album Aperitiv. All equally velvet, "Hotel Jama" feels even more welcoming with its glistening strings, "Modri Tunel" is all about the deep dubby dynamics while "Kozmetika" while have you hot shoe shuffling quicker than you can say vibraphone. Finally "Terminal E" will fly you first class to wherever your head needs to be. Stunning, as always.
Review: Given the impressive number of labels he's released on over the last decade (Safer At Night, Throne of Blood, Let's Play House and OFF Recordings amongst them), we were rather surprised to find that this is Curses' first outing on Bordello a Parigi. There are two original cuts to choose from: "Pedal To The Metal & Don't Look Bad", a wonky Italo-disco jam full of fuzzy rock guitar riffs and spacey eight-bit synthesizer melodies, and the EBM-influenced throb of industrial strength workout "Knife In Teeth". Both cuts are given the remix treatment, with Tarr providing a more muscular, peak-time Italo revision of "Pedal To The Metal & Don't Look Back" before Birds of Paradise re-imagine "Knife In Teeth" as a drowsy and unusual chunk of industrial/IDM fusion.
Review: Some seven years after releasing his first single, Volta Cab has finally got round to making a debut album. The fact that it's appearing on Holland's lauded Bordello a Parigi label offers a clue not only to its' contents, but also its' obvious quality. In keeping with the Russian producer's recent releases, Rise Again is a stylish, left-of-centre affair, rich in vintage synthesizer and drum machine sounds. In the process, he touches on moody leftfield synth-pop, Balearic nu-disco, eccentric electro, mind-altering Italo-disco, John Carpenter style horror soundtracks, muscular electro-disco and even dreamy, sunrise-friendly deep house. Distinctive and hugely entertaining, it's easily Volta Cab's most assured release to date.
Review: Bordello A Parigi has just returned from a fruitful expedition to Russia and presents Super Sax Sounds: a rich and varied expression from St Petersburg synthesizer playboy Kito Jempere. Now here is an artist that has explored a spread of sounds during his career. The first two tracks are the product of one diverse machine: the Yamaha QY-70. Beginning with the late night neon-lit disco of "Bueller's Dance" which indeed does sound like it was lifted from a John Hughes soundtrack, as does the evocative and bittersweet score of "Space Commercial" with its tapestry of rich synth textures. We particularly enjoyed closing track "Tomohawk", a mysterious journey through the exotic with its middle eastern aesthetic conjured form analogue machines.