Review: If deep house of the variety that's best enjoyed from a sofa-based and herbally enhanced perspective is your bag, then check for this long-player by Italy's Daniele Tomassini, AKA Feel Fly, immediately! From the midtempo throb of opener 'Il Teorama Del Delirio', via the spaced-out near-ambience of the title track, the warm-up friendly pulsations of 'Dromo Celeste' and the sheer luxuriance of 'Arpini', to the more urgent, blissed-out 'Endless Truth' and 'Brzone23', it's a masterclass in mellow, late-night listening, and impeccably programmed so as to provide the perfect soundtrack to your next voyage into inner space.
Review: In tandem with Feel Fly aka Daniele Tomassini's debut album, Internasjonal present the first single from his opus titled "Il Teorema Del Delirio" and it's a lo slung, neon-lit and and absolutely reflective gem. Head honcho Prins Thomas then delivers a rework (Versione Tenace Acido) in his idiosyncratic style that features some good old fashioned 303 squelch for added dancefloor dynamics. This will be Tomassini's third release on the Norwegian imprint, the man from Perugia also records under the alias Vaisa and released on Too Romantic and Roots Underground.
Review: As Mano Le Tough's reputation continues to head skywards, the Irishman-in-Berlin makes a welcome return to Prins Thomas' Internasjonal label with another sterling three-tracker. Unlike his recent Stories EP on Buzzin Fly, In My Arms largely eschews intricately layered soundscape deep house in favour of prog disco sounds. Of course, the attention to detail and emotion-rich melodies remain, particularly on the slow building 10-minute epic "Those Lights Are Lives". "Dropping Bombs" is deliciously Norwegian in its feel (think early Magnus International), while the shuffling title track impresses with its woozy krautrock synths, scratchy vocal and mournful pianos. Great stuff... as usual.
Review: Given the fact that his first collaborative released dropped on 20:20 Vision way back in 2005, it's a surprise to find that Kosmiquest marks Gabriele 'Lele' Sacchi's full solo debut. Happily, the Milanese producer is in fine form, delivering an attractive blend of rubbery, synth-heavy bottom end, loose grooves, rough-cut disco touches and Kosmiche influences for Prins Thomas' long running International Feel label. The latter provides a typically epic and eccentric remix, adding a touch of acid and other psychedelic flourishes on a version that's notably Balearic in feel. The package's other rework comes from Philip Lauer, whose glassy-eyed, sunset deep house revision makes great use of bubbling acid bass, sweeping chords and tactile melodies.
Review: The latest missive on Prins Thomas's Internasjonal label comes from previously unheralded trio Midnight Dicers, whose members include sometime Mahogani Music and Strictly Rhythm man Obas Nenor. Their original version, which boasts a pleasingly wonky vocal from Samy Morpheus, is pleasingly trippy, with psychedelic, effects-laden guitars crowding round a low-slung, pitched-down punk-funk groove. The headline remix comes from Ivan Smagghe and regular collaborator Rupert Cross, who serve up a more heavily electronic interpretation that draws influence from Italo disco and minimal wave. Arguably even more impressive is the Prins Thomas remix, which sees the Norwegian legend take the track further into intoxicating, cosmic disco territory. The trio's throbbing and intoxicating Dub completes a superb package.
Review: Word on the street is Prins Thomas whispered sweet nothings into the collective ears of Compost regulars Phreek Plus One during a hot summers Ibizan night last year in order to ensure that "La Spirale", the Italian trio's rasping strut through el clasico disco, was destined for his Internasjonal label. It finally sees release in time for the summer season, chugging along in a manner a legion of Soundcloud producers can only dream of and is complemented by a belter of a remix from Justin Vandervolgen. Allegedly the inspiration for Midnight Star's "Midas Touch", Vandervolgen has been on a constant ascent through quality production for far too long now, and his Love Boat remix sits comfortably alongside a recent storming Soft Rocks revision in contemporary classics, roughing up the groove without losing the vintage feel.
Review: Analogue synth fetishist Andrew Meecham is back in action, delivering another EP full of wayward electronic treats under the now familiar Emperor Machine alias. Like its predecessor, release back in December 2016, 2500 Volume 2 is full of off-kilter treats that sound like the product of late night hardware jams. Check, for example, the fizzing, intergalactic electronics, bass-heavy thrust and acid-flecked drive of intense opener "U.M.O" and the John Carpenter-goes-to-Croatia synth-scape "Back to Bali". Arguably best of all, though, is the feverish late night workout "Africa V2", in which drum machine poly-rhythms are peppered with mind-bending noises and foreboding modular motifs. Wolf Muller's remix of that track, which blends Meecham's wild electronics with the German producer's own organic drums, is arguably even better.
Review: Hailing from Los Angeles and New York, it would be safe to assume that Addled, Slow Hands and Tom Croose can draw on a trunk full of musical influences. So far, their limited but impressive releases (see, in particular, the brilliant "Neves For None" on Future Classic) have painted an aural picture of a combo stuck somewhere between the West Coast wizardry of nu-Balearic adventurer Sorcerer, the San Francisco/New York disco dubbiness of the Rong Music label and the aural trippiness of Norway's Scandolearic masters (see early Lindstrom & Prins Thomas) - with more than a dash of Claremont 56/Mudd thrown in. Given their sound and success, its little surprise to see them popping up on Prins Thomas' Internasjonal label. They're a natural fit, especially when they indulge the Norwegian's notoriously silly sense of humour by calling their single "Billiards With A Midget". Even more thrillingly spaced-out than "Neves For None", it's a dubswise Balearic gem based around a delightfully lazy dub rhythm. For those with half an eye on the dancefloor, there are a couple of corking remixes to choose from. First, Prins Thomas himself gets out his drum kit, polishes down the synth marimbas and drops a Scandolearic disco chugger. Then, as if trying to outdo the Norwegian, Eric Duncan dons his Dr Dunks moniker, ups the tempo and lays down a seriously freaky space disco trip that should find fans within San Francisco's dub-disco community.