Record Store Day/Weekend is approaching fast, in case you are not finding our records into your “busy as ever” local store, we have decided to give a 20% discount for all the weekend on all our catalogue…
Just add hell_yeah_rsd when you check out… have fun!
- Telespazio – Remixed by Kito Jempere, Wolf Muller, Harvey Sutherland and Tempelhof
- Crimea X – Incubo Sintetico
- Zanetti Motors – Panda 750 EP
- Lumindisco – Understory (2LP)
- Telespazio – Telespazio (LP)
- Enzo Elia feat. Rokkerillo – Retracing My Steps
- Tempelhof & Gigi Masin – Hoshi (Album repress / limited CD – Japanese edition)
Ever eclectic electronic outlet Hell Yeah is back with another carefully curated release this winter, and it’s a brand new and debut LP by Telespazio, a solo project by Italian DJ and producer Fabrizio Mammarella of Slow Motion’s fame.
This is a project that has been in discussion for years, ever since label boss Marco fell in love with Fabrizio’s deep digging and far ranging mix series, Telespazio, which dates back to 2007. “I think he’s one of the best Italian DJs of the new generation,” says Marco. “I’ve been impressed since 2009 when he did a compilation mix for the label entitled Hell Yeah Disco Cabinet.”
For almost a decade now Fabrizio’s Slow Motion brand – both as a label and event – has been at the forefront of disco, future retro sounds and grooves. Fabrizio himself is also one third of Clap Rules and releases music on labels like Bear Funk, DFA, Kitsune, Tiny Sticks and across the course of eight tracks here he showcases a wide range of electronic sounds.
Opening up the expansive LP is ‘Barrier’, a go-slow bit of intergalactic funk with bleepy melodies and steppy synths, whirring cosmic sounds and colour to spare. ‘In Motion’ then plays with grubby, dishevelled kicks and claps, spangled synths and curious patterns that are all underpinned by monstrous bass.
‘Nuvolari’ is another bit of deep space delightfulness with blistered synths, circling shape ships and glowing, pixelated chords all loosely tied to a chugging disco beat.
‘Devices’ is a beatless bit of glassy ambient that conveys a real sense of motion from this world to the next and that moody sense of soundtracking continues into the second half of the album with the expansive, twinkling ‘Glideshot’, skyward synths and harmonic chords of ‘Rays’ and broken disco grooves of ‘LFO Ride’. Closer ‘Unstable’ then gets all trippy and otherworldly with dark undertones, kinetic synths and snippets of vocal.
Overall this is a truly unique and idiosyncratic journey into a freaky sound world that comes wholly from deep inside the mid of Fabrizio Mammarella.
Hell Yeah is proud to announce the release of Hoshi, another exciting full-length album project that again involves the talented Tempelhof, this time in association with legendary Italian composer, director and musician Gigi Masin.
Fellow Italians Luciano Ermondi and Paolo Mazzacani are known for their hugely musical electronica and late last year released Frozen Dancers, their most recent album on Hell Yeah. It was a master class in spacious and emotive sound that was a joy to get lost in.
For this next album, the pair team up with legendary producer Gigi Masin, who played a key role in his country’s music scene from the 1970s onwards on radio, on television and in theatre with his directorial work. Always a fine source of inspiration for newer generations, the likes of Bjork and To Rococo Rot have been known to sample Masin’s sumptuous sounds before now.
Together, then, Masin and Tempelhof make perfect sense as a musical partnership as this album proves across the course of its 10 elegant tracks.
The album is an exploration of peaceful ambient, of organic musical textures and brain soothing soundscapes that are as classically informed as they are contemporarily creative. Some pieces are floating and beat-less and suspend you right at their centre, whilst others are driven by light dustings of percussion from far off in the distance.
Words like water, heaven and peaceful spring to mind when listening to this album – its truly evocative and spacious, elegant and vast in its design. Like the synth delights of Vangelis, this album spreads out in all directions – sometimes synths are joined by sombre twinkling pianos, at other times more real life found sounds or occasionally the sound of distant, drifting voices.
Despite the serenity of this album, it’s also a piece or work that really takes you somewhere: as such it’s too moving and emotive to be truly ambient as it retains your attention from start to finish. Come the end you feel like you’ve been meditating in your own world, free from the distractions of life… it’s that peerless craftsmanship from Tempelhof and Gigi Masin that make this album such a breath taking triumph.
“Just had the good fortune to hear this. It’s a masterpiece” Moonboots
Dimitri from Paris is a true electronic music legend – he pioneered his own French house sound at the start of his career, has mixed seminal compilations including the cult “Deluxe House of Funk” and the infamous “A Night At The Playboy Mansion” and has remixed everyone from The Rapture to Storm Queen in recent times. His partner in crime here, DJ Rocca – who is part of Ajello and the excellent Crimea X – is one of the key figures in the new Italian house scene. He has released lots of productions and remixes for Classic, Rekids and International Feel and once again comes up with the goods here.
In original form the single is a foot stomping bit of disco with organic drums, breathy vocals and plenty of laser like guitar lines shooting through the arrangement. Bright golden chords add a luxurious quality to the Italo referencing pianos and the twinkly, starry breakdown allows a moment to catch your breath before is off to authentic disco town once again.
Soulful and sugary at the same time, if eventually makes way to the Tom Moulton mix: Moulton is credited with inventing this style of club ready remix and here steals the show with the camp strings, unbridled joy and celebratory disco vibes of his seriously classy take on the original.
First on the flip is Luminodisco, a regular on the Hell Yeah label who blends everything from afro to funk to disco into his productions. His remix is a little more cosmic with frazzled synths, Studio 80 style disco colour and perfectly ramshackle percussion.
Next up is JKriv, the DJ, producer and multi-instrumentalist head of Deep&Disco Recordings and touring DJ for disco outfit Escort. His version builds in layers, exploding into a pixelated blast of arpeggiated synth lines, tumbling congas and smoky vocal riffs.
Buy the EP digitally and you will also be treated to the G&D interpretation, which is a more low slung and deeper version than any other. Here the drums trudge along with loopy chords and a grinding bassline that really makes you move your ass.
Modern day disco rarely sounds as authentically uplifting and creatively exiting as this: it’s alive with very real human soul both in original form and when reimagined by a carefully chosen selection of experts in their field.
For Marco Gallerani, the Danish label Music For Dreams has always been an inspiration.Over the years the imprint has proved itself to be a sonic kaleidoscope of musical tones and colours, and for that reason there is much kinship between it and Hell Yeah, the label Marco is running and A&Red since the middle of the last decade. So there are similarities between the genreless approach of Music For Dreams and that of Marco’s production collective, The Balearic Gabba Sound System, which means that this compilation seems to be like a natural coming together for all concerned.
The Balearic Gabba Sound System is a non-sense dream team founded by Marco Gallerani and made up of Enzo Elia, Everest Parisi, E-the-Hot, Bjorn Torske, Gallo and some other geezers with a shared love of sonically weird, bona fde feel-good recordings and a very surreal twist. The best way to explain this collective’s approach is to cite their daytime hero, Jon Sa Trinxa.
“My DJ style is Balearic, which is like trying to define the indefinable…“ he once said. Confused? Well, thankfully, the iconic selector continued. “Many DJs are defned by playing a particular genre, but Balearic music is a kaleidoscope of genres. Balearic DJs play all styles.”
As such The Balearic Gabba Sound System represents the second generation of these so-called Balearic DJs; people who grew up on 90′s raves and survived the digital revolution. Enzo Elia (Hell Yeah house specialist and key member of “El Freakadell”) is one of those enthusiast DJs. His famed and much loved Balearic Gabba Edits dig deeply into the crackling, early 90′s Italian house scene and re-edits them for modern purposes, always with a sympathetic touch.
There are not too many “spaghetti” episodes along the way, but obscure hands-in-the-air- Riviera moments, tribal retro-winners, wannabe Idjut Boys b-sides and party-sampling manias a go-go do often feature: It’s clear that the collective is about introducing you to a fresh musical sound you’ve been looking hard for, but weren’t even sure existed. Until now.
As such, a glance down the tracklist will reveal many treats, from Andrew Weatherall’s remix of legends Daniele Baldelli & DJ Rocca to Prins Thomas’ Disko Mix of Rusty’s classic ‘Everything’s Gonna Change’ via originals from Templehof and Peter Katafalk. This is music for music lovers,for sonic freaks and Balearic bad boys. It is music not confned by time, space or genre, but music that makes you feel something you really didn’t know you could feel.
The iconic line drawing artwork comes from a close friend of Hell Yeah, namely Italian artist Federico Lanaro, a graduate of the Fine Arts Academy in Bologna. His work has been exhibited all across Europe at places like Fabbrica del Vapore (Milano), Mutuo Centro de Arte (Barcelona), Galerija BlackBox (Sarajevo) amongst others. As you can see on the cover of this compilation, his work is characterized by a pictorial turn, distinguished by flat surfaces that are imbued with chromatic and formal clarity and beft the fact he works for the gallery Studio Raffaelli in Trento, Italy.
Pulling this compilation together has been as fun as we hope it is to listen to, so without delay we invite you to tune in, kick back and cop out; to dream your wildest dreams and let the sounds consume your being, because this is the indefinable sound of The Balearic Gabba Soundsystem…
Hell Yeah’s tradition of serving up great remix EPs continues here with a new two-track effort featuring Willie Burns and Young Marco.
The original material is taken from super hot Italian electronic duo Tempelhof and their stunning latest album, Frozen Dancers, which released on Hell Yeah back in late 2013 and garnered plenty of praise from press and punters alike.
First up is Amsterdam’s Young Marco, who has made a name for himself with his subtly layered, slowly unfolding tracks on labels like Rush Hour and ESP Institute (where he will be releasing a full length soon and maintains an essential role in the label). True to form this sensationally emotive remix of ‘Drake’ is a lush, melodically rich affair right from the off. Gurgling bass synths bubble underneath as spritely house percussions skips up top. Celestial pads add a heavenly back glow and the whole thing is perfectly epic.
Next up is Willie Burns, aka William Burnett, the New York based W.T Records label boss and someone who has already released on Unknown to the Unknown, LIES and The Trilogy Tapes in 2014 alone. He tackles ‘Nothing On The Horizon’ and turns it into a prickly, lo-fi house jam with plenty of echo, urgent vocal cries and a muggy sense of humid atmosphere. It builds to an ever more intense peak and really begins to bang in the second half.
Both tracks here have been perfectly repurposed for knowing dancefloors and prove Hell Yeah know exactly where to go for the best results.
The Balearic Gabba Soundsystem is back, back with a new EP that features three more leftfield remixes from curious electronic specialist Enzo Elia that have all been licensed officially by Irma Records.
The source material for his three unhinged reworks is a track by 90s Italian house project Soft House Company and two from cult Italian DJ and producer Don Carlos.
Soft House Company released only two EPs, both in 1990, but made a big impact with them: pretty much everyone has heard What You Need and that’s the track that gets remixed here. Mr Elia turns it into a slightly more bouncy and disco leaning cut with raw silvery drums, huge vamping piano chords and those classic vocal cries and already Eddie C and Gerd Janson have been playing it. At the breakdown there is the sound of waves breaking on a beach before pianos go wild: It’s a freewheeling and sure fire party starting track that still does the trick nearly quarter of a century after original release.
Don Carlos was behind such seminal club tracks as 1991’s Alone and produced five studio albums in the nineties and naughties. He fuses Afro rhythms with deep house vibes and has DJed all over the world since the 70s. The first of his to get re-worked is Ouverture, which starts with tropical bird cries, whistles and loon calls. It’s the sound of a humid jungle that gets slowly consumed by lush pads, delicate piano melodies and stirring string sounds. With a truly magical atmosphere and uplifting joyousness permeating the whole thing, it cannot fail to make you feel on top of the world.
Finally, Enzo Elia tackles Chicago (a track that’s already been supported by Soft Rocks among the others) and does so with swathes of mesmeric effects. Organic hand congas, breathy vocal snippets and a bristling nebula of synths, pads and strings all dance around each other in reservedly euphoric symphony.
This might just be one of the most beautifully and bizarrely Balearic releases yet from the ever unhinged Balearic Gabba Soundsystem.
Kenneth Bager ” I love Ouverture – 100 % me – sir Enzo is a killer when it comes to re inventing old material!”
Jason Boardman (Aficionado) ” Wow this has just taken me back to Friday nights with Mike Pickering and Russ at the Hacienda.
Nice to hear a deferential and quality rework of Softhouse Co a really classy floor killer, brilliant. Don Carlos hardcore militant balearic italo extended and taken to new realms a really great step forwards and back for Balearic Gabba. Briliant!”
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’
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.
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 Xoffer 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.
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.
“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