Review: Two years on from his last outing on Eskimo Recordings, Vita 'Aeroplane' De Luca returns with a pair of tracks that pay tribute to the uncomplicated, life-affirming cheeriness of early piano house. "Page One Is Love", featuring a vocal sample from Chicago pioneer Jamie Principle, sounds like an attempt to fuse together as many classic house influences and references - plus vintage US garage organs - as possible. "Dancing With Each Other" inhibits similar territory, with the addition of sparkling nu-disco synths, early Daft Punk melodies and a heavy bassline. The pick of the accompanying remixes comes from Cassara, who re-casts "Page One Is Love" as an intoxicating chunk of baggy, Balearic house.
Review: Some would argue that Aeroplane's productions have not been the same since Vito De Luca and Stephen Fasano went their separate ways. While Fasano is rebuilding his career as The Magician, De Luca has been left to carry on producing and DJing as Aeroplane alone. Here he brushes aside criticism of his debut album with a debut mix set. It's actually rather good, offering a typically accessible and synth-heavy mix of groovy contemporary disco (Cosmonauts, Drop out Orchestra, Poolside), unreleased exclusives (his own, auto-tune heavy "Save Me Now") and forgotten gems (Stars On 33) that touches on curious Balearica, Italo and punk-disco. This digi version is available in its intended mixed form, but you can also buy the tracks featured individually!
Review: Having featured on Eskimo Recordings' last two compilations Russian producer Antenna now steps up for his first full release for the label with the 5 track 'From Kazan With Love'. The whole EP is something of a spacey, languid and colourful delight, with the producer flitting between slo-mo nu-disco takes on Tangerine Dream ("Sparks"), pitched-down Balearic disco bliss ("Love 66", whose Rhodes solos and rubbery groove are particularly enticing) and crunchier, Clavinet-sporting deep electrofunk ("Take Me Home"). The package also boasts two collaborations with Tasma: the grandiose, post-Italo Euro-disco swoop of "Astra" and the cinematic strings and bustling, post-punk influenced drums and bass of closer "Waiting".
Review: Bergen boys Atella (Johannes Hallanger and Magnus Lauritzen) have previously been compared to fellow city dwellers Royksopp and Erot. On this latest outing for Eskimo Recordings, it's easy to see why. While dreamy, downtempo opener "Ascension" and equally horizontal closer "Transition" are far more ambient in tone than those celebrated artists, you'll still hear cheery synthesizer motifs and a glassy-eyed sense of mid-winter positivity. The EP's two other tracks, "Alive" and "Nothing", do sound more like vintage Telle Records gems, albeit with the kind of sparkling electronic polish you'd expect from Eskimo-released nu-disco cuts. The duo's vocals (see "Nothing" for a standout example) are very Royksopp, too.
Atella - "In The Days Of The Green" (45P mix) - (7:55) 111 BPM
Review: Bergen-based twosome Atella has previously been praised for delivering music that draws inspiration from fellow Northern Norwegian artists of old, most notably Erot and Royksopp. We can certainly here some of the latter in the bubbly Scandolearic/synth-pop fusion of "Anyone Out There?", where Cal's breezy vocals wrap themselves around a throbbing, arpeggio bassline and glistening synthesizer melodies. There's a slightly more cosmic, but no less cheery, feel to the EP's other track, "In The Days of the Green (45P Mix)", which boasts extended synthesizer melodies rising above a dreamy nu-disco backing track. Quietly impressive stuff, all told.
Mechanical Sparrow (Atella Club mix) - (7:14) 111 BPM
Mechanical Sparrow (Man Power remix) - (8:32) 104 BPM
Review: Bergen, in Norway's frosty North, previously gave the world Telle Recordings, Bjorn Torske and Royksopp. The latter duo was clearly an inspiration for this new single from fellow Bergen pair Atella. In its' original and Atella Club Mix form, "Mechanical Sparrow" boasts the same dreamy, attractive blend of deep synth-pop lusciousness, fey post-indie vocals, and woozy nu-disco elements. It actually sounds a little like it could have been included on Royksopp's legendary Melody A.M full-length, which is high praise indeed. Man Power opts to give the track the full Balearic treatment on his superb remix, eventually dropping in the beats after nearly four minutes of glistening ambient build-up. It's truly a thing of great beauty.
Review: You'll know Belgium's Eskimo label better than you think. The imprint rose to fame thanks to the many productions of Italian nu-disco sensation Aeroplane, back in the late 00s, and they've never ceased to release quality electronic music from all corners of the spectrum. Newcomers Atella X Froder land this time, with the two collaborating on the slow, peaceful waves of "Closer To Life", a tune that sits somewhere on the halfway line between house and downtempo. Atella, alone, delivers another mix of the same tune, and this one is perhaps even deeper, a little smoother and probably more on the sort of balearic tip that you've been digging in those dusty L1 bins for. Just go digital with it.
The Fool (feat feat Cherry - Pete Oak remix) - (7:05) 122 BPM
Colibri - (6:13) 120 BPM
Review: Former Mustang man Renaud Deru makes his solo debut under the Attar alias, for respected Belgian imprint Eskimo Recordings. Given that Mustang were famed for their stylish, occasionally Balearic approach to nu-disco, it's little surprise to find that "The Fool" is built around thickset new wave synths, chunky deep house grooves and a dominant vocal from chanteuse Cherry. It sits somewhere between deep house and nu-disco, with the attractive vocal suggesting big things await. Newcomer Pete Oak delivers the obligatory remix, delivering big builds and even bigger drops. Orbital-ish bonus cut "Colibri" completes a solid package.
Review: When Eskimo Recordings approached Bill Brewster with the idea of putting together a compilation exploring his epic record collection, the acclaimed journalist and DJ decided to take a widescreen approach. While the CD and vinyl versions are split into multiple, themed editions ("Post-Punk", "Balearic" and "House"), this vast, 41-track digital edition gathers everything together in one place. Predictably, it's a hugely impressive and eye-opening set, with Brewster serving up largely obscure or long-forgotten cuts that range in scope from trippy, dubbed-out post-punk disco, jaunty jazz-funk, synth-heavy boogie and heavily percussive Afro-disco grooves, to saucer-eyed European synth-pop, the dub techno of Maurizio, Swag's early UK tech-house and the East Midlands deep house bump of Charles Webster's "A Love From San Francisco" project. In other words, it's a cracker from start to finish.
Review: The original of this first saw the light back in autumn 2013, and it remains a dynamically built nu-disco track boasting early Aeroplane style piano licks and an arresting vocal from Kristina Train. It's Blamma Blamma at their most stately and stunning. Here we find it in remix form; Psychemagik provide a liquid, bulbous bass facelift, Cato re-emphasises the nude beauty with a few edit sparkles, Wolf + Lamb go deeper with a synth heavy late-night floor stomper while Kiani vs Red D close the show with a sunset-minded slice of modern euphoria. Each twist adding a whole new chapter to the Blamma Blamma story, the only problem is working out which rub to add in your next set.
Review: Blamma! Blamma! Have made a name for themselves by making long, linear disco belters, and here they arrive on the mighty Eskimo for more of their if-it-ain't-broke disco formula. "Zsa Zsa" is an eight-minute deep headnodder based on an extremely catchy sampled piano riff and a diva mantra. Eelke Klein Filter shake things up a bit, delivering a lively funky house rework that's sure to invoke dancing on tabletops wherever it's played.
Review: Blende has been on the London scene for a few years now, building up a following for his classic electro-disco productions. Now he's got a new EP on esteemed Belgian synth-pop label Eskimo, and he's clearly settled right at home. "Fake Love" is excellently produced electro-pop, not unlike a much more polite Uffie, and with some subtle Chic style chords and a big juicy chorus. Villa chop up and re-skewer the original in their remix, and the humorously titled Chordashians provide a pulsating, arpeggiated and melodic version. The Living Islands supply two versions of their Tropical Doom mix (one's a dub), which isn't that doomy but is a pretty lovely Italo-disco excursion.
Review: Originally starting back in the mid-noughties as a slightly Ed Banger-esque producer, London based Swede Blende has mellowed over time into a more discofied take on the electro sound. He's also forged a bond with the always-hip Eskimo recordings. Here he presents three new sparkly gems: the cowbells and string-laden "Paramount", the raw '80s punky-funk of "Sparkle" and the wall of synths beauty that is closer "Plush". Just lovely.
Review: There's something deliciously vibrant and multi-coloured about this single from London-based Swede Blende. "Running" is an attractive chunk of bubbling Balearic disco, painted in bold colours, soaked through with classic electrofunk synths, and boasting a deliciously soulful vocal from Hercules & Love Affair singer Gustaph. Happily, the accompanying remixes are equally as vivacious. Former breakbeat crew Kraak & Smaak deliver a wonderfully fluid, melodious deep house take - all shimmering electronics, soft-focus pads and metronomic rhythms - before Knight One turn the original into a dayglo slab of wide-eyed pop. While radio-friendly, it also sounds like the kind of tackle that would sound good blasting out of a poolside soundsystem, somewhere swelteringly hot and sunny.
Review: Blende is slowly becoming one of Eskimo's "go-to" artists. "Back To Summertime" is the cheery nu-disco/synth-pop fusionist's fourth single for the Belgian label since 2012. The track itself is something of a jaunty, synth-heavy summer shuffler, with Mattie Safer's attractive vocals rising above a bouncy, P-funk influenced backing track laden with kaleidoscopic melody lines. Arguably even better is the remix by This Soft Machine, which recasts the track as a rubbery chunk of sumptuous disco house complete with razor-sharp strings and life-affirming slap bass. To complete a rock solid package, Cavego weighs in with two reworks; a revivalist electrofunk "Extended Remix" and an "After Dinner" remix that re-wires the track as a blissful chunk of live-sounding Balearic disco.
Do You Remember? (instrumental mix) - (6:29) 119 BPM
Review: Since first joining the label in 2012, Blende has been one of Eskimo's standout artists, releasing a string of attractive Balearic disco workouts. Predictably, the London-based Swede has done it again with "Do You Remember", a shimmering, sunshine-friendly Italo disco-goes-Balearic pop workout complete with strong lead vocals from collaborator Mickael Karkousse. Skip the radio edit and head straight for the Extended Mix, a far more satisfying and life-affirming beast that uses positive chord progressions and druggy arpeggio lines to build energy before Karkousse's killer vocal drops in midway through. It's accompanied by a tasty instrumental mix that is, if anything, even more glassy-eyed and grandiose than its predecessor.
Review: The Belgian purveyors of esteemed discoteria known as Eskimo revisit Bottin's fine contribution to their recent output - calling in some excellent producers to add their own slant to "Discocracy" and "August". Creme Organisation's Bangkok Impakt commences proceedings with the playful Italo techno reflex of "August" which melds the original's soaring elements with some devilish analogue arpeggios, whilst Relish Recordings' resident unpronounceable Finns Hannulelauri give "Discocracy" a gentle electro rerub. Gomma boss Munk tackles the same track, adding a live yacht rock sensation which slowly transforms into a mid tempo analogue freakout - a most pleasing remix. Bottin himself offers a Coup D'etat rerub of "Discocracy" that is all about those expansive drum pounds! This shiny digital release also comes with a second Bangkok Impact remix of "August" that didn't grace the vinyl version.
I Love You (A Copycat & Martin Brodin remix) - (7:12) 108 BPM
I Love You (Pharao Black Magic remix) - (6:19) 122 BPM
I Love You (Peter Visti remix) - (7:45) 115 BPM
Review: Belgium's Eskimo have always been a reliable source for '80s-tinged electro-house, nu-disco and retro house. Here they present a newie by Danish producer Brynjolfur and, if synthy Europop's your bag, you'll love it. "I Love You" is all about the glacial synth washes, mid '80s electro-boogie bassline (think The Rah Band) and a general romantic disco air. Remix-wise we get more organic disco courtesy of A Copycat and Martin Brodin, a more brisk dancefloor version from Pharao Black Magic and some classic '80s pop vibes from Peter Visti.
Review: Previously, Mullet faves Casio Social Club have largely delivered sprightly, tongue-in-cheek revisions of '80s electrofunk and synth disco. Here, they pop up on Eskimo with arguably their strongest release to date - a bass-heavy blend of Italo, deep house and tactile Balearic pop that simply twinkles with dancefloor intent. It also features some wonderful piano stabs, too, making it more E'd-up than your average Shoom punter circa 1989. Djuma Soundsystem & Kolombo's "Cherimoya", meanwhile, slows the pace for a similarly touchy-feely blend of sparse nu-disco and eyes-wide-shut electronic soul. Arguably Eskimo's best for some time, and definitely worth investigating.
Review: With temperatures rising and the sun beginning to shine, Eskimo Recordings delivers a glistening chunk of Scandolearic disco goodness from up-and-coming Norwegian producer Cavego. "Var I Oyer", nominally a tribute to the artist's home city, was first featured on Eskimo's recent Purple Collection compilation. That original version - warm, sunny and sublime, with colourful synthesizer parts and freestyle vocals relaxing over beachside Balearic disco grooves - kicks off the EP and is also included in an even-more-gorgeous, DJ-friendly Extended Mix format. The EP also boasts short and longer "Club Mixes". These are Italo-disco influenced nu-disco bubblers laden with life-affirming synthesizer motifs; while very good, they're still not as luscious as the original mixes.
Review: Having played a key role in popularizing the productions of Scandolearic heavyweights Lindstrom and Prins Thomas early in their careers, Eskimo Recordings continues to champion young Norwegian producers. The latest is Cavego, who celebrates the imminent release of his fine debut album with a suitably solid new single. "Vertical Vind" is available in two flavour combinations. There's the sublime album mix (track two), which sees him build the tension via waves of attractive synthesizer lines before introducing woozy vocal harmonies, even more melodies and a chugging space-disco groove of the kind regularly featured on Prins Thomas's "Full Pupp" label, and the shorter "Kort Versjon". This dispenses with the stretched-out intro completely, instead getting straight to the point and the Bergen-based producer's rush-inducing synths.
Review: Norwegian nu-disco producer Cavego, AKA Even Hymer Gillebo, has previously appeared on labels like Youth Control and Get Dancy, and here makes his debut on Belgium's mighty Eskimo imprint with an EP named after the valley where his family have a summer cabin. After the 1:44 intro that is 'Velkomst', he serves up five cuts inspired as much by Italo disco as by the Scandi sounds for which his fellow countrymen have made Norway famous, ranging from the sumptuous synth-pop of 'Hajfell' and the very 80s-sounding 'Farvel' to the irrepressibly sunny 'Var I Ayer' and the tripped-out, chuggy 'Kjeiken'
Review: Eskimo Recordings revisit one of their smash hits from last decade and bring in new blood Claptone to drop a pair of remixes like it ain't no thing. This is camp, disco-strutting business of the most unashamed order, with chic guitar licks and crisp layers of percussion unfurling around the central vocal turn, while the core drums keep the track relevant for a club set. The dub version keeps faithful to the first remix, substituting some of the raw vocals for vocoder moments, but otherwise letting the groove do the talking in all its slick, funking glory.