In true expect the unexpected style Hell Yeah Recordings proudly presents new vinyl release by one the finest house-music connoisseur around Enzo Elia (Balearic Gabba Sound System) and techno master Florian Meindl featuring talented singer Bobby Blue.
We think you can really feel the love into this little piece of modern dance music. Deep-house, tech-house, vocal-magic and dub all collide into Jealousy.
As always, sublime artwork interpretation by His Abusive Kindness aka Andrea Amaducci.
I’m excited about this mixtape, first of all it’s an absolutely great listenineg but I was waiting this mix for a long time, I chased him a lot in order to get this, it took more than 10 years…
I met Pea aka Everest Parisi in the very early 2000 in his hometown Rovereto, think a lookalike Zach Galifianakis meeting John Belushi with the contagiuous energy of Taz, he was doing PR for SummerSessions Festival and I was tour-managing with Santos.
As humble snobby music nerd which I am, at the time I was heavily into west-coast house music, I was hot just back from a Miami WMC where I experienced the legendary Doc martin’s WAX and WICkED crew parties and guess what: Pea, was the first in Italy and the only one who knew DJ Garth and Jeno, he heard them playing in Prague and got touched by their vibe, we were hooked.
Since then Pea has not only become one of my true best friends, he has always trusted and supported my deviant musical tastes and we shared a lot of music, knowledge, stories, parties, food, the awesome Balter wine… he even came to lunch with my parents and brother in Casumaro, a real rare event, it only happened with Derek Dahlarge and Valentino Kanzyani but when Pea came over it was the first time where the whole Gallerani family was drunk and clearly fucked up, unforgettable!
Pea introduced me to the world of Proibito, a world and a word we use for some different meanings but the musical one “the hard to find killer record that send everyone bananas” really fit the way we dig music.
Pea made his own local hits out a few tunes I released on the labels that I totally forgot and never thought they could sound so fresh after years they were released, causing dancelfoor hysteria wherever he plays them, making my job worth doing it and helping me to keep the faith.
Pea is also pivotal in the development of my Balearic Gabba Sound System‘s vision since day one, the T-Rex in the logo, the brainstormings, the common veneration for our spiritual guide Bjorn Torske, he made me discover the art of Federico Lanaro who has become the man who visually translates our odd musical journeys… no less the latest inspirational Balearic Baita sessions at 1500m altitude in Polsa…
Thanks to him and his bunch of great closed friends (you know who you are party people), right now there’s no other place in Italy where I feel like home like Rovereto.
Nowadays he runs a “no less than crazy fun” party called Indoor Balera and mind you, if you see his name on a flyer or event around the alps, be sure there is where the PARTY is going to be.
I salute you Everest Parisi, thanks, cheers and keep em comin’
Marco peeDoo Gallerani
Following on from the well-received Coast 2 Coast EP is this, the Keep on Wankin EP, which features classics tracks from Luminodisco and Margot as remixed by Sex Tags Mania label boss DJ Fett Burger & DJ Grillo Wiener and Fango respectively. “Finding the right remixer for the right track, it’s a dirty, nerdy job,” says horny label boss Marco, but he’s picked just the right names again here to really maximize the radicalness of the original tracks.
First up is Luminodisco’s modern classic Diavolo Di Un Disco, which has been a feature in the sets of many disco dudes since its release last year. Given the sonic freakiness and unique sense of invention about everything DJ Fettburger does, he, along with frequent collaboratorDJ Grillo Wiener, makes the perfect remix pairing.
The Scandinavian duo decides to lay in tons of organic, rough claps, jangling percussive elements and bendy basslines and the whole thing is beautifully ramshackle and loose for its nine-minute duration. All sorts of sci-fi sounds fly in and out of the mix, synths grow loud and angry before sinking back into the busy arrangement and the whole thing never settles still even for a single second.
Next up is Liuff Settanta, a track that has become one of Sven Vath’s secret weapons in recent times and in original form came from the soon to be much celebrated electronic duo Margot.
Their track gets remixed by Fango, who has so far provided a couple of killer EPs for Degustibus Music and has marked himself out as a fine talent. His version of the track is a raw drum work out that brings plenty of energy to the dancefloor as it builds and builds into an ever-larger techno stomper.
Two more killer remixes from Hell Yeah that breath new life into the already excellent originals.
Balearic Gabba Sound System is back in full effect to close 2013 with a megamix by Neukolln’ coolest beats provider and Hell Yeah’s house music specialist, Enzo Elia…
If you loved his latest Balearic Gabba edits, you know this is the jam!
Includes 3 new exclusive unreleased edits too… now go hunting!
By the way, 2014 looks very hot for BG Sound System, the release of Music for Balearic Gabba Dreams on Kenneth Bager’ Music For Dreams is out in February, CD and vinyl sampler.
On top a couple of new 12″s, a japanese tour and a new radio show… The best is yet to come
Four years after their debut full length on Distraction records, close Hell Yeah family members Tempelhof are back on the label with a brand new album, Frozen Dancers.
Italian’s Luciano Ermondi and Paolo Mazzacani are known for their hugely musical electronica; stuff that is rich with plenty of instruments and alive with shoe-gaze texture as evidence by previous EPs on this label like City Airport earlier in 2013 and You K back in 2012.
The new nine-track album one again proves the duo to be in a league of their own when it comes to crafting spacious and emotive sound spaces.
Things start with the trilling synths and intricate electronics of Drake (and the amazing video by Sorry Boy), which swells from golden ambiance into a bustling brew of organic and analogue texture.
From there things get dark and sad, with the heavy minor chords of ‘Monday is Black’. ‘Change’ then sees the duo play with broken beat patterns and urban moods of the sort you might find in a Burial of Four Tet set. Metal drums clatter a spare pattern as heavyweight bass props the whole thing up and its involving stuff from start to finish.
Form there the mood and rhythm of the album continuesto ebb and flow in a way that makes it essential to be listened to in one full sitting. There are anxious and fractious vocals on ‘She Can’t Forgive ‘ that get paired off with torturous synth lines and unsettled arpeggiated melodies. It’s truly heart wrenching stuff but there is also more club-orientated fare like ‘The Dusk’, which sounds like deconstructed Chicago house rebuilt as ethereal, synth heavy electronica. Closer ‘Running Dog’ is another almost churchy and hymnal bit of ambiance littered with skittish percussion and skipping drums that soothes and moves you in equal measure.
You wont hear a familiar pattern of recognisable sample anywhere throughout this album, it is a truly unique and beguiling melange of many different sound sources, genre influences and human emotions and is one that confirms Tempelhof to be one of the finest duo’s in their realm.
Still riding high on the success of their second artist album, Another, Crimea X offer up two more singles from it in the form of A Present and Haunted Love. Ensuring the package is even more essential are remixes from Lauer and non-stop Dutchman Legowelt, and of course it’s worth mentioning again that the originals were both co-produced and mixed by Norwegian legend Bjorn Torske.
Haunted Love is awash with seas of liquid synths and floaty-light vocals. It’s a brightly coloured track that chugs un-evenly on vast kick drums and echoes to the sound of distant glassy melodies. It’s rousing and uplifting thanks to the piano stabs and subtle cosmic energy that pervades throughout.
The remix comes from Running Back and Beats In Space associate Philip Lauer (who also works as Arto Mwambe with Christian Beisswenger and Tuff City Kids with Gerd Janson) and is a deeper, moodier affair. A mysterious kick drum lead groove sets the tone as the original’s pianos get vamped up into a more 80s leaning motif. It’s hugely engaging despite being relatively slo-mo and is the sort of end-of the night anthem that really sticks in you brain.
The other original is A Present, an ever-building and tumultuous brew of insistent drums and zithering synth lines. With vulnerable vocals floating up top and sweet, glistening analogue lines it’s a truly heartfelt indie-disco jam.
One of the most prolific producers around is Legowelt, an associate of Clone, Crème Organisation and Rush Hour that is also a celebrated hardware nut. His remix of A Present transform it into a foresty bit of deep house complete with impish synth lines, magical and mysterious melodies and a devastatingly snaking bassline.
Complete with two such fantastic remixes, these Crimea X singles are sure to prove as popular as previous efforts like Yev / Essential and recent Prins Thomas Diskomiks selection.
Soul Clap “Lauer Remix bringing that 80′s dance funk. booyaaa”
Will Saul “Love the Legowelt Remix and a strong EP all around”
Axel Boman “Love both the originals and remixes. Very good release!”
Lexx “Love Haunted Love and the remix, perfect for the early morning”
Kiko Navarro “Very nice originals which remind me the great era of electronic pop”
Tensnake “Wow, my favourite producers remix one of my fave album’s tracks, great”
Tim Paris “Lauer Remix is one of the most amazing things I have heard recently, 1000% support”
Ivan Smagghe “Proper balearic ?”
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As ever with the Hell Yeah crew, there is an interesting back-story to the label’s next release, the ambitiously titled Coast to Coast EP. Firstly, the title refers to the fact that Justin VanDerVolgen hails from the east and Doc Martin the west coast of America, but that’s not all…
The label boss first heard Alexander Robotnick’s ‘Undicidisco’ track in a set by Golf Channel associate Justin Vandervolgen. He went to ask what it was and turns out the track had only been released digitally. Keen to give it the full release it deserved on wax, he fully licensed it and got a remix from the man who first played it, as presented here. The track itself is seven minutes of playfully droning bass synths and boom-bap percussion. It’s alive with darting synth tweaks and twitches and races through outer space at an inviting pace, radiating good time vibes from start to finish.
It’s a similar story with the b1 – Hell Yeah’s Marco heard one of his (and dance music in general) heroes, Doc Martin, playing Florian Meindl‘s Hit Flashmob and immediately wanted to give it a full release, but not before asking Doc for a remix. That remix is released here and is a heavyweight, shuffling bit of house funk with a tight, knotted and tumbling bass refrain propping up soaring diva vocals and grainy, infectious claps. It’s a wavy and hugely inviting groove that has plenty of lip-curling attitude to it.
A fine release with a great backstory that comes complete with great vinyl artwork designed by Andrea Amaducci.
You might be family with Margot, the duo of Giaga Robot and Pepe behind Hell Yeah’s new EP: their single ‘Liuff Settanta’ became something of an underground quirky hit, getting picked up by Sven Vath for his Sound of the 13th Season compilation, whilst James Holden is a keen fan, not only playing much of Margot’s music, but so too are they a key part of the Border Community family.
The pair are live specialists too, and have played all over Europe recently as well as turning in a brace of remixes for Daniel Snaith’s might Daphni moniker. True to form, they continue to confound expectation on this latest 12”, serving up three epically rich tracks that combine analogue workouts with dub techno rhythms and coming backed with a Prins Thomas remix.
First track Fank1 bubbles and boils on a huge, almost edgeless kick drum as a grubby guitar riff curls its way through the middle of the track. From there an eco system of fried synths decorate the backdrop as the soft, pillow-y bed of dub continues to ebb and flow below.
Alt is hooked around an uneasy pattern of chords. It’s backed by tasteful, sporadic African chants and drums so lively they could only have been played live. It’s a slow burner, but eventually consumes your being in a way that anyone from Âme to Ricardo Villalobos might champion.
The remix comes from Norwegian disco heavyweight Prins Thomas. At ten minutes long it’s the very definition of an epic journey. Jangling synth lines dance around the loose drums, distant swirls of cosmic air add a huge sense of scale and all the while you’re just left listening in wonderment to the unfolding tale around you.
There are so many layers to Margot’s music, yet it never sounds cluttered or over complicated, it simply soothes and amazes in equal measure. On this evidence, Margot are heading on to big things in the not too distant future.
I met “The Double K” trough my mate Dan Cornish, he co-runs a fantastic and inspirational blog called http://dilate.choonz.com
Sometime ago I asked him to put together a selection for Balearic Gabba Sound System, he delivered something really special and I’m happy to share it with all of you, but let KEV introduce the mix:
I have finally got round to doing your podcast… it’s technically pretty awful, a few jarring transitions, I was planning to re-record it and try to make a better job of it but haven’t had time, got to collect the kids from school now!
It at least fits the bill of “something we can listen daytime… 1 hour…”!
Tracklist follows, people are mad for them these days I know, they want it handed to them on a plate – I remember when it might take you ten years to track down a tune you heard in a mix…
If you use it then please make it clear that I don’t claim to be a DJ or to be able to mix – I’m just a guy with some records!
OK here goes, complete with record labels for the trainspotters!
React 2 Rhythm – Intoxication [Guerilla]
Atypic – Otaku [Rising High]
Ultramarine – Saratoga [Rough Trade]
Joe Smooth – Reign [DJ International]
Renegade Soundwave – Deadly (Dub) [Mute]
Black Uhuru – Youth [Taxi]
Liquid – Liquid Is Liquid (Remix) [XL]
DJ Buz – Slave [No U-Turn]
David Morley – Angels [DS93]
Space – Uranus [KLF Communications]
Barbarella – Barbarella (Irresistible Force Mix) [Rising High]
Sunshine Productions – Above The Clouds [Just Another Label]
Foul Play – Open Your Mind (Foul Play Remix) [Moving Shadow]
Rockers To Rockers – What A Life [Different Drummer]
Following on from the floor filling delights of his last effort, Ragazzini / Diavolo Di Un Disco (played by almost everyone from Dimtri From Paris to Todd Terje, from Prins Thomas to Justin Vandervolgen), the Italian born Federico Costantini might well have decided to replicate the same formula for his next EP on Hell Yeah. But no, the man has more about him than that, and instead turns in three wildly different cuts that touch on a wide array of influences from broken disco to soul, post rock to African rhythms.
As a resident at Rome party Exe-Cute, Luminodisco knows how to work a dancefloor in style and does so again with the tracks here. Burundiness for example, which grows from the delicate rattles of cow bells and muffle of distant voices into a predatory disco crawl, laden down with xylophone sounds, squelchy claps and melancholic piano chords – it sounds alive, organic and like a field recording of some African savannah come sun down.
Hello My Friend again displays Luminodisco’s knack for getting you to dance despite his spare, slow arrangements. Here the kick grows in stature as blobs of synth, strained chords and a rueful menace all percolate around icy instrumental tinkles.
The Roman doesn’t release often, but, as evidenced here, when he does he really hits the mark: as such Hell Yeah Recordings are on the verge of getting a full album out of the man, so watch this space.
Art by Andrea Amaducci
“C’è un fruscio nella cassa sinistra” (there’s a rustle in the left speaker) is an Hell Yeah art showcase.
Some of the label most significative artwork moments exposed for one week from April 24th at Bologna hot spot ONO ARTE
On April 24th is aperitivo time with TEMPELHOF Live
and music selection by Crimea X and Balearic Gabba Sound System
This is the interview Bjørn Torske did for super-cool italian blog Sentireascoltare (Marco Braggion)
Ciao Bjorn, how are you?
I am feeling comfortable, but a little hungry.
How did you met Jukka and DJ Rocca for the Crimea X project?
I believe I first met Jukka and Rocca at an outdoor gig in Rovereto, I have lost count of what year it was but it was in the summer, and Fabrizio Mammarella was also playing, in addition to myself who did a “live” set with laptop.
Marco Gallerani was, as usual, the guy who brought me in touch with them.
Then I was asked to do a remix of their track “Varvara”, which was a very good experience, and they later did an excellent remix of a track from my own “Kokning” album.
Finally Marco drops the bomb on me and asks if I’d want to come in the studio with Crimea X to produce a full album with them! What can I say? I had never really “produced” another artist before, so I was a bit curious about how this would turn out in the end. But it did go really well, I believe.
It was a blast working with them, in a studio out in the country side, yet it was also enormously hot
that summer, phew!
In the release press notes it’s written that they brought to you different
machines every day. Is it true? Which analog machine do you prefer most?
The studio was well equipped with mostly analog bits and pieces, instruments and such.
Of course Crimea X do have a considerable park of analog equipment, so we decided if I wanted to use anything of the stuff in the studio, they would bring it in. Like in the track called “Essential” we decided to add the TR-808 so Rocca brought that with him the next morning, then suddenly we needed the Korg MS-20 and he would go pick it up during the
lunch break (no, after the lunch break).
Of the more curious stuff, we used a frame of gamelan drums which we found in a back room in the studio. It was like being in a playground.
DJ Rocca and Jukka are italians. Do you feel your sound is connected
in some ways to the cosmic sound of Daniele Baldelli?
My interpretation of the cosmic sound is, in addition to that it is often space related, is that it is a “style” of music that consists of a great spectre of styles, in the way that you can find something interesting in any part of the musical cosmos.
As a direct and conscious influence from Baldelli, it has come through the last ten or fifteen years, by hearing his productions and of course a lot of his mix tapes. I have yet to hear him in a club! Of course, Baldellis influence probably goes back to the start of my dj career, but without me knowing of him as a dj. A good example is the Belgian New Beat scene, with the pitching 45 to 33 making the records slower and more funky. I’m not sure about it but I’m tempted to think this idea first came from Baldelli, and then influenced the Belgian thing.
I also read on the press notes that you were listening to a lot of music
during the recording process. Is it true? Can you tell us some artists
I can’t actually remember listening to other music while being in the studio, but as I was in this area for about 8 days and had some dj gigs inbetween, I certainly got a lot of influence from the gigs, as well as driving around with Gallerani and his car stereo.
Do you think there’s a return to analog sound and/or progressive
disco sounds? I was thinking on the last album by Andrew Weatherall
(the Asphodells project). Did you listen to that? Do you feel you are
connected to that style?
I have not listened to this particular Weatherall project, but his productions and remixes
through the years have influenced me a lot, from Two lone swordsmen to the Echo Dek release with Primal Scream.
As for analog sound I think it will always be a key factor in my productions.
The digital revolution has for me brought a new challenge into the game – to avoid a uniform sound picture which so often is the result of a wholly digital production.
What are your next projects?
My work at the moment is in the field of remixes, so my own productions are put
on hold for a while. Of course, I always get new ideas and try to follow them up
so there is enough to choose from. I will in the near future concentrate mainly
on 12″ releases, and then see if there comes along material more suitable for
Is there any chance to see you in Italy in the next future?
I am of course hoping to get some assignments as I love playing and being
in your country!
Italian post rock and cosmic disco duo Crimea X have finished their second album, Another. It comes 2 years after their last effort, Prospective, and explores the same laidback yet spaced out sounds laced with intergalactic guitar riffs, wobbly pianos and skewed synth patterns that DJ Rocca (aka Luca Roccatagliati, producer for Daniele Baldelli, Ajello and Dimitri From Paris’s partner in the Erodiscotique project) and Jukka Reverberi (Giardini di Mirò) have championed since first getting together. In that time, the pair have become hugely admired cult figures in their respective worlds, pioneering sounds and garnering adoring support wherever they go.
First singles from the album such as ‘Yev’ have already been doing the rounds, finding favour with musicos like Andrew Weatherall, Ivan Smagghe, Justin Robertson and Tim Sweeney, whilst the album itself was produced by Norwegian legend Bjorn Torske who spent 10 days in the studio with the duo before returning home to mix it in Bergen. Best known for previously touring with Biosphere, releasing house and techno for a range of legendary labels and, as a disco producer, inspiring the likes of current darlings Todd Terje, Prins Thomas and Lindstrøm with his past albums, this is the first time he has produced an album with another band in this way.
Across nine tracks (and one hidden) the duo explores a whole world of intergalactic sounds with their analogue machines. ‘FloorDance Track’ for example, is a chugging, Italo licked affair that builds in waves of lush sound taking cues from far outside the usual electronic realms. ‘Dream is Gone’ pairs all sorts of alien sounds with the delicate vocal tones of Reverberi and ‘Portable Water’ is a slowed and purposeful sad song that’s stuffed with doe-eyed emotions and awash with instrumental artistry.
Elsewhere, Rocca’s flowery flute lines lace up tracks like ‘Summer Rain’ and bring an air of downbeat introspection to proceedings. There are plenty of shiny, glossy, arpeggiated efforts like ‘A Present’ nestled along the way, too, where vocals act as much like an extra instrument and texture as anything else. Meanwhile, it’s tracks like a ‘Haunted Love’ that will likely become big hits with their acute end of the night vibes, ditty pianos, rousing synths and dreamy, soaring vocals.
It’s the sonic richness and depth of layers that makes this album such an arresting listen: nothing sounds familiar but at the same time it never grows too alien or abstract not to love. In fact, Prins Thomas likes the album so much he is remixing three tracks from it to release on his own label Internasjonal.
To support the launch of the album, both members of Crimea X will be touring live once more, incorporating electronics, bass, flutes, vocals and more into the show as they take you on a similarly majestic journey to the one contained within ‘Another’. As always Andrea Amaducci at the arty controls.
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The much loved Balearic Gabba project series returns with yet more classically inclined, beautifully Italo-licked sounds that recall the halcyon days of the Balearic scene almost two decades ago as remixed by disco pin-up Prins Thomas.
The man himself was keen to get involved in Balearic Gabba Soundsystem activities and started off with an unofficial edit of the Rusty track here, and eventually it became a proper remix, In light of that, Hell Yeah Rec decided to get two new and exclusive Prins Thomas tracks out of the remix to complete the package, and as you’ll hear he completely changed and replayed everything, added some acid and more besides…
The track he tackles is a timeless classic that characterised many of Sasha’s sets back in the 90s when he was hailed as the Son of God. Namely Rusty’s – Everything’s Gonna Change, in the hands of Thomas the original’s ravey horns and wild chord stabs get stripped away and the mood is made more sultry and sexy. Lush lines and melodies all get bundled together beneath the anthemic, crystal clear vocals that soar above.
Monte Baldo is another sympathetic re-rub with ambient liquidity at its core. All awash with rich synth puddles it sweeps you up and soars to the stars as mild acid gurgle lurk in the spaces left behind. Heady yet dancey, it’s a more energetic counter for the even more blissed out and celestial ambient swoons of EP closer Gran Paradiso.
Art by FLAN
Gerd Janson – Killer Record
Tensnake – Good to see, that oour Prins is so busy, loving his album a lot, and this EP is massive too…
Chris Duckenfield – Pure PT goodness afoot!
Extra Support by Axel Boman, Tim Sweneey, Discodromo, Felix Dickinson, Adam Freeland, Massimiliano Pagliara, Fabrizio Mammarella, DJ Hendrix, A Love From Outer Space, DJ Rocca, Coyote, Douglas Lee, Red Rack’em…
here’s a “non-sense makes sense” selection for the summer that I put together with the invaluable help by Puz (Bedroom Boys) —> features a few BG classics, recent discoveries, re-edited oldies, some personal new heroes, some works of great friends, some acid and a lot of love. peeddoo