Review: Verdo hails from Senigallia on Italy's Adriatic coast, where he runs Gratis Club, a venue that's welcomed the likes of Prins Thomas, Bjorn Torske and Glenn Underground in recent times. Whether 'Prins' is consciously a tribute to the former we couldn't say but we wouldn't bet against it: it's got that druggy, glacial, synthy Scandi-disco feel in spades. Elsewhere on the EP, 'Boulevardier' has a more 80s feel - think 'Fade To Grey' vs 'Axel F' - and comes accompanied by a dubbier, more percussive Pedro Bertho Remix, while the similarly-themed but slightly more Balearic-ish 'I Want It' completes the package.
Review: Italian Balearic specialist My Friend Dario has an album due on Hell Yeah! Recordings, but before that drops the label has delivered this tidy taster. 'Marittimo' is typical of the languid, subtly jazz-funk-influenced end of the Balearic spectrum (a sound beloved of many Italian producers), with lovely electric piano motifs and marimba melodies reaching skywards towards the sun over Afro-influenced percussion and a jaunty bassline. Berlin-based Canadian Eddie C delivers a more up-beat remix, adding winding TB-303 acid lines, cut-up electric piano stabs and undulating lead lines to a pots-and-pans percussion workout that's alluringly loose and energetic. Top stuff all told.
Review: With Hell Yeah out of Italy now basing themselves in Berlin and chasing that imaginary Balearic sun - this Buena Onda Balearic Beats 2021 compilation sees the label deliver a bevvy of unreleased tunes and remixes. With global content coming from the likes of Australian producer Kayroy (who appeared on the label in 2020 with his Imaginary Expeditions EP) - hooking up with Jaspar Robinson in the star-strung "Satellite - you'll find warm and percussive synth remixes from Max Essa alongside some loose joints from The Mechanical Man. Also catch Chris Coco & Micko Roche's undeniable "What Is Love" (that guitar, those pipes) next to the percussive, broken beat and vocoded sounds of "The Healing Place" by Relative. Hell Yeah - get to know.
Review: Stuck at home with nothing to do for days, starved of culture and community? Now you know how Bjorn Torske felt in the Tromso of the late 80s, writes Hell Yeah. Bjorn Torske, a legend to come out of the enigmatic Norwegian disco scene, and now Hell Yeah Recordings main selector, has been called upon to captain a flight through Hell Yeah Recordings impressive discography. With cassettes of the mixtape already sold out, this digital version - with stand alone tracks - brings together sounds of label mates like Alexander Robotnic, Max Essa, Luminodisco and the much loved Gigi Masin & Templehof collaboration. Gliding from Calm's celestial "Space Is My Place" to Crimea X's piano-driven "10PM", housier Lauer remixes or Prins Thomas Diskomiks, Torske makes himself known by threading some his own own edits (and kleggsommer dubs) to complete a fantastic voyage through the Italian label. Hell Yeah!
Review: Italy's Hell Yeah label call upon a select cast of remixers to take on the Neapolitan sounds of Walter Del Vecchio, aka Quiroga, that gives a second look at the artist's original 2019 Passages album. A Vision Of Panorama brings some cooler, breathy and tropical house vibes to "The Zoist" with some slower, subaqueous and dubbed out instrumental disco coming from My Friend Dario ("Chiaia Sunset"). Whodamanny introduces some hightailing disco funk in his reinterpretation of "Martinica Feelings" with jazz, percussion, finger lickin' guitars and drum solos pushed to full tilt in the Jazz n Palms remix.
Review: Lifting his alias from a Vitalic track released back in 2005, My Friend Dario returns once again to Italy's Hell Yeah label. The Catania-raised producer sends in a hell of a distorted guitar, soul and disco ballad that's big on tropical vibes and balearic spirit in "Montalbano" while heavier new wave and Italo-inspired sounds find their way to "In Gola". That distortion returns in "Salamon's Son" once again though this time it's coated over synths and keys alongside snapping drums machines, sultry vibraphones and sexy subbass. We wanna go to Montalbano!
Review: If you enjoy dreamy, otherworldly music tailor-made for sunsets and sunrises, there's a fair chance you already own a number of Max Essa releases. While his singles are often excellent, it's his albums that really stand out. "The Great Adventure", the Tokyo-based Brit's first LP in two years and fifth solo set in total - is typically impressive. Rich in dreamy analogue synthesizer sounds, even gentler rhythms and glistening, sun-bright guitar solos, it's the kind of album that feels like a warm, loved-up embrace from start to finish. Amongst the undeniably Balearic highlights are the Flamenco-tinged nu-disco shuffle of "The Great Adventure", the yearning ambient-meets-dub bliss of "Themes From The Hood, The Cad & The Lovely", and the picturesque beauty of "Buran Chime".
Review: While best known for the more Balearic and downtempo side of its output, Italian imprint Hell Yeah is not averse to releasing the odd dancefloor-focused EP from time to time. This missive from Australian producer and sometime Whiskey Disco regular Kayroy snugly fits that category. The headline attraction is arguably GREETINGS collaboration "Imagine", a wonderfully colourful combination of cascading electronic melodies, breezy piano stabs, nu-disco drums and a squelchy bassline straight out of the NYC freestyle playbook. Dawn Again provides the obligatory remix, successfully re-imagining the track as a breakbeat driven chunk of bass-heavy dream house warmth.The EP's other tracks, "Orbitale" and " Galapegos", are both Galaxians style chunks of revivalist electrofunk cheeriness smothered in kaleidoscopic synth sounds.
Review: Sea Monster, the 2017 sophomore set from St Petersburg's Kito Jempere (real name Krill Sergeev), was something of a gentle Balearic treat. As you'd expect, this package of remixes of album highlights is a little more club-centric, though every bit as warm, glassy-eyed and loved up. Check, for example, the wonderfully tactile and gently breezy versions from Max Essa. These are rich-in gently pulsing drum machine hits, swirling chords and fluttering synthesizer melodies. Of the two, it's the more low-slung Dub, which sounds like a mid '80s Simple Minds instrumental B-side, which really resonates. Elsewhere, Finnish veteran Jimi Tenor provides a fuzzy, lo-fi version of "Puzzled" that sits somewhere between Balearic jazz and electro-lounge, and Miskotom pops a happy pill and gets all loved up with "Ampa".
Review: Italian founded, now Berlin based disco/balearic deviants Hell Yeah are back with a guy named Gallo. Story has it that when When Hell Yeah boss Marco dropped Fabrizio Mammarella's ambient Remix of "Faron" at sunset at Hostal la Torre in Ibiza last year - people started queuing up for IDs. The Italian DJ is part of Balearic Gabba Sound System and resident at horizontal party Buena Onda in Berlin and Ibiza - so you are certainly in good hands. In its original version, "Remember To Forget" is a slo-mo, psyched-out chill time cut, as is the lush new age vibe of "Ebrezza" (original mix) but the remix up next by Leeds based trio Clandestino delivers a more energised and neon-lit perspective for the dancefloor.
Review: Berlin based italians Hell Yeah return with new terrible Russian kids on the block: Uninc & Kolomensky aka Dany Kole (Clandestino,) who serve up more vodka influenced acid-house. As best described by the label themselves, they melt chunky beatdown from outer space, Kingston vibes, west-coast house sensibilities all under one roof. The funky acid cum balearica of "AiAiAi" has an almost early '90s style Madchester vibe about it on this delay drenched dub epic. Also featured is the low slung, slo-mo house of "Muffin" which also features yet more TB-303 glide, sandwiched between ragga vocals, live drums and rich vintage synth action.
Review: The Vendetta Suite is Belfast's Gary Irwin. His first solo release since 2012 features six tracks all handpicked by Hell Yeah boss Marco from vast unreleased vaults. Irwin was the in house engineer for the legendary UK producer David Holmes' Exploding Plastic Inevitable studio. Tracks from the artist such as "Hula Bop" became classic staples in Marco's sets as Balearic Gabba Soundsystem, so he recently reached out to the Newtownards man and worded him up via Soundcloud. And here we have it - a cinematic EP that draws on a myriad musical styles and showcases Irwin's peerless studio skills. There's some variety on here, that's for sure: from the cosmic balearic trip that is "Sirius", the cheeky Madchester sounding acid dub of "Shut Up Ya Dub!" or the sublime ambient journey of "Colin Wilson Said" which is the perfect soundtrack to a comedown.
Review: Like many producers these days, Riccio's discography includes a blend of rock solid re-edits and high quality original productions for the likes of Bosconi Extra Virgin and People Must Jam. This 12" marks his first appearance on the consistently impressive Hell Yeah! imprint. There's plenty to set the pulse racing throughout, from the pleasingly loose and groovy, Afrobeat-goes-house goodness of "Afro Chemy", to the fiendishly fuzzy, Daniele Baldelli style Afro-cosmic funk of "Funky Cave". Arguably best of all, though, is epic flipside "Heather", a near 10-minute fusion of dreamy chords, slow-burning Kalimba melodies, gentle electronics and languid, mid-tempo beats. In case you were wondering, it's definitely Balearic.
Review: Hell Yeah's latest trip into saucer-eyed, loved-up territory comes courtesy of Danny Was A Drag King regular Verdo. The Italian producer is in fine form on title track "Little Blue", enveloping unfussy but crunchy drum machine hits in bubbling electronics, positive melodies, dreamy chords and just a touch of reggae style shuffle. It's undeniably Balearic - I.E summery, breezy and unashamedly melodious - as is the bubbly, life-affirming cheeriness of synth-heavy bonus cut "Sazerac". Previous single "Big Fish" - a tantalizing fusion of acid house aesthetics, wild organ solos, jangling piano riffs and bustling, Latin-influenced drum machine hits - also gets an airing, alongside a vintage Italian house style remake from Phillip Lauer.
Review: Italy's Hell Yeah have been rocking it since the end of the noughties, and they have truly become one of the most reliable sources of anything dance-related, specializing their craft across hosue, techno, minimal, and even electro. Nu-disco dons Somerville & Wilson have already appeared for Hell Yeah's sub-label, Danny Was A Drag King, but this new eight-tracker sees the pair branch out into much deeper corners of the electronic game. Aqueous synths and dreamy pads make up the majority of this EP's atmosphere, and we highly recommend it to anyone who is even remotely into the field of balearica. Tunes like "Melt", with its glitch tribal percussion, or even the acid-laden "Cero Gravity" do manage to branch out into more kinetic territories, but this is without a doubt a release that focusses on the meditative side of social music. We love it, and we think you will too.
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