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12"
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HYR7 136EP
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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 album, Frozen Dancers (HYR7 123LP). Young Marco's sensationally emotive remix of "Drake" is a lush, melodically-rich affair right from the off. Gurgling bass synths bubble underneath as spritely house percussion skips up top. Celestial pads add a heavenly back-glow. Willie Burns aka William Burnett turns "Nothing on the Horizon" into a prickly, lo-fi house jam with plenty of echo, urgent vocal cries and a muggy sense of humid atmosphere.
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12"
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HYR7 134EP
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In true "expect the unexpected"-style Hell Yeah Recordings proudly presents a new vinyl release by Enzo Elia (Balearic Gabba Sound System) and Florian Meindl, featuring talented singer Bobby Blue. Deep-house, tech-house, vocal magic and dub all collide into "Jealousy."
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12"
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HYR7 129EP
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Hell Yeah Recordings presents a 4-track sampler of Music for Balearic Gabba Dreams. First up is The Kenneth Bager Experience with "Follow the Beat" (Enzo Elia Afro-Neukolln Remix), which is radiant with its vibrato synths, funky little guitar licks and well-defined, woody percussion. Next is E-The-Hot & Fede B's 2005 classic "Reason and Logic": a truly intergalactic bit of psyched-out disco rock. Next is Mr. Marvin with "Entity," a slow-building bit of funk with a deep-set groove. Remastered by Lupo for modern abuse. Finally, "Melt" by Somerville & Wilson is a delightfully loose and organic bit of percussive deep disco.
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LP
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HYR7 123LP
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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. Italians 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 evidenced by previous EPs . The new nine-track album once 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," which swells from golden ambiance into a bustling brew of organic and analog 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 or Four Tet set. Metal drums clatter a spare pattern as heavyweight bass props the whole thing up. From there the mood and rhythm of the album continues to 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-oriented fare like "The Dusk," which sounds like deconstructed Chicago house rebuilt as ethereal, synth-heavy electronica. You won't hear a familiar pattern of recognizable samples anywhere throughout this album -- it is a truly unique and beguiling mélange of many different sound sources, genre influences and human emotions and is one that confirms Tempelhof to be one of the finest duos in their realm.
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12"
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HYR 122EP
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The Balearic Gabba Edits series continues in the capable hands of Enzo Elia once more, serving up three new edits of classic house and techno from the late '80s and early '90s. These tracks might be 20 years old, but edited as sympathetically as they have been, they've never sounded better. Sueño Latino's 1989 hit "Luxuria" is, in the hands of Elia, a slow-burning journey through buried beats and glassy melodies. Next up, another Andrea Gemolotto production, Q Base's "Tango Beat," originally released in 1990.
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CD
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HYR 7117CD
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Italian post-rock and cosmic disco duo Crimea X present their second album, Another. It explores the same laidback yet spaced-out sounds as their last effort, laced with intergalactic guitar riffs, wobbly pianos and skewed synth patterns that DJ Rocca (aka Lucca Roccatagliati, producer for Daniele Baldelli, Ajello and Dimitri From Paris' 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 favor with musicos like Andrew Weatherall, Ivan Smagghe, Justin Robertson, and Tim Sweeney, while 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. "Floor Dance 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 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.
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