#balearic records

[fuchinobe]

(2003, Flower Records, FLRS-031)

[thesunlounge]

Sergio Fernandez Pan / Lebison / Aznar - Si Conociera Brasil (from The World is Sound, Imaginária Records 2022)

[stradarecords]

ALEX FROM UTOPIA / DB12 008 : DUCA BIANCO (12”) HystericやKito Jempere、Khidjaといった当店でもお馴染みの面々の作品をリリースしていたイタリアのレーベルDuca Biancoから謎の新人登場！すでにDJ HarveyやRiccio(Jazz N Palms)らがDJ/パーティーを開催しているイビザ島のリゾート・ホテルPikes Hotelではヘヴィープレイされているというスパニッシュギターが最高なメランコリックなバレアリック・チューン！ #ALEXFROMUTOPIA #DucaBianco #disco #nudisco #balearic #12inch #strddisco #strd12inch #vinyl#record#stradarecords#dj#vinyljunkies#kobe#motomachi#strada#recordshop#recordstore#神戸レコード#元町レコード#レコード店#レコード#アナログ https://www.stradarecords.com/shop/item/27608/index.php (Strada Records) https://www.instagram.com/p/CqHGGOLhxYN/?igshid=NGJjMDIxMWI=

[iamlisteningto]

Lord Of The Isles’ Subtle Thoughts

[mywifeleftme]

352: Eden Burns & Christopher Tubbs // Tubbs & Burns Vol. III

Tubbs & Burns Vol. III Eden Burns & Christopher Tubbs 2024, Public Possession (Bandcamp)

Some real smooth tech house with a bit of a smeared Balearic euphoria to it from south New Zealand, released on Munich-based label Public Possession. I snagged this 12” EP because the guy at Montreal’s great La Rama kept on flipping it while I browsed with my friend Miles (this, immediately after telling Miles I don’t really buy white labels). I’m a sucker for “Where Were U in 92?” and its rounded bass tones and rolling rhythm, well-suited for turning a waiting room / traffic jam / grocery trip into a luxe-appointed Augmented Experience. On the flip, two mixes of “ON&ON” (featuring Kiwi jazzer and occasional DJ Nathan Haines on flute) take it to the dancefloor. The “Original Mix” has a bit of a New Age-y quality, with Haines’s flute flitting above a chirpy keyboard synth, while the aptly-named “Bullet Train Mix” is good gritty techno with a recurring percussion hit at the top of the beat that sounds like someone very aggressively double-clicking with an old grey desktop mouse.

The Burns / Tubbs partnership is a bit of an intergenerational affair, with Tubbs’s DJing career reaching back to the early ‘00s, while Burns’s earliest releases (as Speed Boat) seem to be from around the late ‘10s. The two work together nicely, and I’ll keep an ear open for more Public Possession wax in the future.

352/365

[derbybeardo]

now encoding: “File Under Balearic Gabba” by various artists (2023 IT release)

[trevlad-sounds]

Here's a year old mix that deserves so much more love.

Help me dust it off and give it a listen.

Pye Corner Audio-Electronic Rhythm Number Thirteen.00:00

CFCF-Pleasure Centre-03:37

Röyksopp-Thank You-09:04

Daft Punk-Something About Us (Pyramid Remix)-14:19

Romare-L.U.V-18:37

D-Pulse-Velocity Of Love (Original)-24:47

Poolside-Kinda Lovely - Bleu Toucan Remix-29:49

Reuben Vaun Smith-Sunshine Flute-32:50

An-2-Dusky Downtown-38:57

LUXXURY-Hello, Darkness-44:16

An-2-Beside Me-50:55

Justice-Ohio (Monsieur Adi Remix)-56:24

Reuben Vaun Smith-Trip On New Shores-1:00:27

Lindstrøm-Arp She Said-1:04:04

Ptaki-Warsaw-1:08:46

[8dpromo]

Ransel - Taiga (Beatservice Records)

8DPromo · Ransel - Taiga (Beatservice Records)

Ransel makes a stunning return to Beatservice Records, evoking exotic atmospherics via the heads-down rhythms of "Taiga." It's the latest sonic treat under the relatively fresh Ransel moniker by venerated artist Øivind A Sjøvoll. Perhaps best known for his work recorded under the Kohib alter-ego, Sjøvoll has made a habit of surprising with his impossible-to-predict musical output, expertly drifting through stylistic barriers with each carefully constructed release. True to form and in keeping with the Ransel catalog to date, "Taiga" is immaculately produced and primed to enliven esoteric floors. "Tiaga" utilizes a deceptively slow tempo, throbbing rhythms, an undulating synth bass drive, and exotic melodies across a stripped panorama, with Eastern motifs bursting into focus as harmonic guitar rhythms meander in the distance. Nocturnally charged and brimming with mystery, the magnetic groove captivates throughout as the arrangement bubbles and builds. This compelling Ransel release is another powerfully evocative work from Sjøvoll, an intriguing addition to the evolving Beatservice roster.

Bill Shephard (Push Music) – “Balearic bombshell.” Steve ‘Griffo’ Griffiths (The Flow Mechanik) – “Sublime! Chilled to the gills.” Black Mighty Wax (Irma Records) – “intriguing mood here.” Spaceotter (Camp Conception) – “Great sneaky groover. Hits just in the right way.” Brad Eller (Glass Slipper) – “Nice and cinematic.” Jon Fugler (XLNT radio show) – “Sublime … right up my street and lovely for those more discerning terraces as summer approaches.”

Available Now From: Beatport, Bandcamp, Apple Music, And Spotify.

[c-40]

A-T-2 261 Jacques Fred Petrus and Mauro Malavasi

Studio partnership probably best known for Change. Jacques Fred Petrus was born in Guadeloupe in the French West Indies, he moved to Milan, Italy in the early 1970s where he met musician Mauro Malavasi. In 1979 after a string of euro-disco hits under different names they opened a US office in New York. Recording and mixing records between Italy and America with an arrangement of American and Italian musicians defined their sound (as well as the heavy inspiration they got from Chic.) Change was their first and most successful project after expanding their business to the US. By 1982 Change were on their third album, it's a good effort but doesn't match the first two albums, which are considered classics... if you buy a Change Greatest Hits album most if not all the tracks on it will come from those first two albums. In 1981 they launched their second project the Brooklyn, Bronx, & Queens Band who had a hit with On The Beat. B.B.&Q release a second album in 1982

New for 1982 was High Fashion, their album Feelin' Lucky is much better than that years Change and B.B.&Q albums. It features Meli'sa Morgan who would go on to have a successful solo career. Kashif is the keyboard player on the album along with Italian session musician Davide Romani. Mauro Malavasi was the principle songwriter but he worked in partnership with a lot of other songwriters. Alfonso Thornton had worked with Chic and Luther Vandross, he joined Petrus and Malavasi for their Change project (along with Luther Vandross.) Thornton, Romani, and Malavasi write this song

High Fashion Feeling Lucky Lately

The Richie Family were on their eighth studio album, it was given to hot producer Jacques Fred Petrus and co-produced by Fonzi Thornton

The Richie Family - I'll Do My Best

Zinc was another studio project with Italian keyboard player Davide Romani taking a key role in creating the album, that's why Amazon doesn't sound like a regular Jacques Fred Petrus record. Meli'sa Morgan is back again, as is Alfonso Thornton. Here's that instrumental Amazon which became a balearic favourite

Zinc - Amazon

[mixamorphosis]

Blog post and linked up tracklist [HERE]

Tracklist

01. Ron Rinaldi - Mexican Summer (Spacetalk) 02. Jam Band '80 - Jammin' (With The Jam Band) (Rush Hour Music) 03. Sunset Gun - Be Thankful For What You Got (Thanks But No Thanks Edit) (Balearic Blah Blah) 04. Carrie Cleveland - Love Will Set You Free (Kalita) 05. Nana Love - Love Feeling (Dance Mix) (BBE) 06. Rob - Make It Fast, Make It Slow (Soundway) 07. Baby Huey - California Dreamin' (Curtom) 08. Experience Unlimited - Functus (Black Fire) 09. Marvin Gaye - Right On (Tamla) 10. Jeff Floyd - Don't Leave Me (City Of Dreams) 11. Jaye P. Morgan - Let's Get Together (How Do You Are?) 12. Reuben Wilson & The Cost Of Living - Together (Cadet) 13. Frederic Castel - Open Up (Leng) 14. Billy Paul - It's Critical (12" Version) (Philadelphia International Records) 15. Oby Onyioha - Enjoy Your Life (Soundway Records) 16. John Ozila - Funky Boogie (Spaziale) 17. Bokoor Band - Onukpa Shawarpo (Strut) 18. Roy Ayers - Africa, Centre Of The World (pitched up) (Polydor) 19. BB Seaton - Dancing In The Moonlight (Studio One)

Download available via [Hearthis]

[fuchinobe]

(1985, Golden Sound, GMX 102)

[stradarecords]

SOUL CLAP / SUE​NO HEBREO (LAUER REMIX) : SKYLAX (12") ユニット名と同名のレーベルも好調のUSはボストンのデュオSoul ClapがHardrock Strikerが主宰する人気レーベルSkylaxから登場！「Sueno Latino」的なイビザ～バレアリックなエッセンスを盛り込んだディープ・ハウスで上モノのみ、ビート主体のミックスに加え、Launer(Running Back/Permanent Vacation)によるアップリフティングなピアノ・ハウス調のリミックスも収録！ #SoulClap #Skylaxrecords #deephouse #house #pianohouse #balearic #12inch #strddeephouse #strd12inch #vinyl#record#stradarecords#dj#vinyljunkies#kobe#motomachi#strada#recordshop#recordstore#神戸レコード#元町レコード#レコード店#レコード#アナログ https://www.stradarecords.com/shop/item/28193/index.php (at Strada Records) https://www.instagram.com/p/CpjbMoEPlsj/?igshid=NGJjMDIxMWI=

[hldailyupdate]

The former One Direction singer has acknowledged that his solo career is “an ever-evolving process”, but he appears to be heading in the right direction.

When Louis Tomlinson first embarked on his post-One Direction solo career he seemed happy to mine dance-pop crossovers, working on club-friendly singles with Steve Aoki and Bebe Rexha. Then, in 2020, his debut solo album ‘Walls’ arrived and presented something of a U-turn – guitar-driven anthems heavily indebted to the Gallagher brothers. That record might have been closer to the music Tomlinson wanted to make, but, at the time, he was still letting himself get caught up in overthinking spirals about authenticity and the need to cement his own artistic niche ASAP.

‘Faith In The Future’, his second solo album, marks a loosening up and letting go of that attitude; its creator instead “following my heart musically and seeing where it gets me”, as he told NME earlier this year. Like ‘Walls’, he wears his love for indie on his sleeve here, but allows himself the space to experiment, no longer trying to emulate his heroes.

This new record is at its best when he does just that. ‘All This Time’ is a slow-burning shimmer – like a sunset fizzling out on a Balearic horizon – with all soft-focus synths and low, hushed vocals, akin to Phoenix’s Thomas Mars singing over one of LCD Soundsystem’s grander pieces. ‘Out Of My System’ flips a switch and replaces those sparkles with shadows, laying out an Arctic Monkeys-influenced prowler that swaggers towards catharsis. “Gotta get it out of my system / Gotta get it off of my chest,” Tomlinson declares. “I lived a lot of my life already / But I gotta get through the rest.” ‘She Is Beauty, We Are World Class’, meanwhile, marries Pet Shop Boys with Ibiza euphoria with electric results.

Tomlinson also makes some bids for future indie disco anthems, not least on the bruised ‘Face The Music’ and ‘Silver Tongues’. The latter opens with a deceptive piano melody that sounds like we’re destined for a maudlin ballad, but quickly evaporates into a bouncy burst of energy that pays tribute to carefree nights with your favourite people. Slow swayers are still represented here, too: Tomlinson is now an expert at those epic, emotional moments, but on this album, they don’t spark the same excitement as his more inventive endeavours.

If ‘Walls’ found Tomlinson still figuring out what this part of his artistic journey should be, ‘Faith In The Future’ feels much more assured. It doesn’t reinvent the wheel of modern guitar music, but is a solid step forward as the musician continues what he’s acknowledged will be “an ever-evolving process”. Album two shows, though, that he’s very much heading the right way.

4/5

(10 November 2022)

[mywifeleftme]

168: John Talabot // ƒIN

ƒIN John Talabot 2012, Permanent Vacation

My knowledge of contemporary electronic music was basically flash frozen in carbonite somewhere between the years 2010 and 2013, so when I try to talk about what’s going on now I know my face ends up stuck in a stupid expression and that the tortoise shell glasses and white-trimmed American apparel zip hoodie that suddenly cover my rigid body are cosmically stylistically invalid. Fortunately, John Talabot’s ƒIN dropped right in the middle of my flirtation with the genre(s), so I feel okay riffing on it. I was instantly pretty smitten with ƒIN—which is to say it’s in the small canon of electronic releases I’ve spent enough time with to love, and that therefore I continue to slip tracks from it into my wacker-by-the-year playlists on the rare occasions I get the aux at a dance party, and to say further that my doing so probably does Talabot few favours. His smooth, Balearic sound isn’t a world away from the gormless trance music that dominated Ibiza at the time, and the vocal tracks have some indie dance inflections that aren’t super fashionable these days. Still, ƒIN floats out there to me in the World of Forms as a timeless example of dancefloor bliss, and still feels like cool black water running in the gullies of my brain.

From the drop, ƒIN invites you into a nocturnal world strobed by green light, ‘80s-esque house synths grooving over samples of frogs and crickets and bird calls. Even when an anachronistic touch is introduced, like the cracking 808 kicks that power “Oro y sangre,” the fundamentally organic quality of Talabot’s sound gradually consumes it, like a marsh reclaiming an abandoned structure. Still, no matter how deep into the mangroves he goes, Talabot has the instincts of a big room dance musician. “When the Past Was Present” sounds like Swamp Thing dropping M and cruising Miami Beach, while Tal’s two collaborations with producer/vocalist Pional are definitely intended for feeling someone’s face while gently peaking. What’s kept him from becoming like, Tiësto or something, is that while he wants to move your body on the floor he also wants to take your mind somewhere more spiritual. That’s an ambition that doesn’t lend itself to big emotional swings—but it does make for an album nearly as good in the chair as in the club.

168/365

[derbybeardo]

new arrival… “File Under Balearic Gabba” by various artists (2024 IT release)

[randomvarious]

Today's compilation:

FFRR Classics Volume 3 1998 House / Ambient Techno / Groundbeat / Downtempo

Here's a terrific 12-inch that fondly looks back on the eclectic role that the UK's FFRR label played in the development and spread of electronic and dance music at the turn of the 1990s. As a division of London Records, FFRR's head of A&R was the legendary Pete Tong, who is known to have spent a whole lot of time in the party capital of the world, Ibiza. So, although it's not explicitly stated anywhere on this record itself, it seems that what you really see in these four songs is just how deeply impactful the Spanish island's sound was on the UK underground, and also how transplants and extended vacationers from the UK helped to further shape that same Ibizan sound too, which happened to yield a uniquely warm and hazy vibe that was blissfully hedonistic 😌.

And the starring track of this little release, an ambient techno jam from UK duo Orbital called "Belfast," serves as a quintessentially beautiful example of that late 80s-early 90s sound, with a pairing of operatic female vocals and a wondrously deep and aquatic beat 🥰.

But Ibiza also wasn't all parties all the time for all people either. Revelers definitely needed some R&R during the day in order to recuperate from their nights of hard partying too. So, if you wanted something to unwind to while being away from the club, you could stare at some waves while sinking yourself into a nice downtempo tune like Less Stress' hand-drum and dub-infused "Don't Dream It's Over."

And Diana Brown & Barrie K Sharpe, who helmed a brief fusion genre in London that  mixed acid jazz with a rare groove sound called groundbeat, supply a song that could've fit in on an Ibizan dancefloor too, with a funky cut called "The Masterplan."

Now, of course, Ibiza is currently a wholly different beast than it was thirty-plus years ago, and with that's come a change in its overall sound too. But if you wanna hear some of the really cool, Balearic vibe that was being spread to and from that island during some of its halcyon days, this varied 12-inch here from FFRR has some damn good nuggets on it 😋.

Highlights:

Orbital - "Belfast" Diana Brown & Barrie K. Sharpe - "The Masterplan (Ext Version)" Less Stress - "Don't Dream It's Over"