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BORDELLO A PARIGI

Few producers can capture atmospheres and moods like Heinrich Dressel. The Minimal Rome boss left jaws on the floor with his first appearance on Bordello A Parigi, "The House of the Rising Synth", demonstrating the breadth of this Italian musician’s sound. Now Dressel returns, this time with a full eight tracks for "Lost in the Woodland". In this analogue forest anything is possible. From the whimsical resonance of the title piece, a sonic pathway through a verdant soundscape is laid. Gentle melodies caress and embrace before the road bends into shadows filled with dramatic twists and unseen dangers. Romantic moments are juxtaposed by triumphal chords and daring drums signalling immediate panic or outright victory. This is a woodland of divergent emotions, one where sounds give way to feelings and where Heinrich Dressel is the piper leading his followers through what can only be described as an unforgettable journey.

STAFF COMMENTS

Barry says: Much like ambient dub pioneer Biosphere, Dressel excels at crafting an atmosphere which is both alarming and alluring. Through the snappy synth envelopes and progressive twists and turns, 'Lost In The Woodland' moulds a visceral world of light and dark, the central and contrasting twisting around each other and presenting themselves in bursts of static joy and shadowy glimmers of malaise. A stunning work of narrative beauty.

Slovenia's Ichisan always comes correct, not least on his 2017 LP "Aperitiv", which was so stupendously good that Bordello A Parigi have opted for a revisit. Four choice cuts have been selected and reworked with a specific instrument focus. The harpsicord version of “Hotel” keeps the intoxicating melody of the original but allows beats to relax as notes shine with an incandescent brilliance. Drums put their feet up for the Rhodes version of “Modri Tunel.” Deep stings and lounging lines mingle in this work of smoke swirling seduction. “Kozmetika (Trumpet Version)” dances to a different tune. Rich bass is again central but this time brash and bold brass intertwine with funk filled bars. The last waltz arrives with the piano version of “Terminal E.” Alluring notes ascend, rising and falling against heartwrenching guitar strings for a finale to end this ballroom inspired beauty. 

Slovenia's Ichisan always comes correct, not least on his 2017 LP "Aperitiv", which was so stupendously good that Bordello A Parigi have opted for a revisit. Four choice cuts have been selected and reworked with a specific instrument focus. The harpsicord version of “Hotel” keeps the intoxicating melody of the original but allows beats to relax as notes shine with an incandescent brilliance. Drums put their feet up for the Rhodes version of “Modri Tunel.” Deep stings and lounging lines mingle in this work of smoke swirling seduction. “Kozmetika (Trumpet Version)” dances to a different tune. Rich bass is again central but this time brash and bold brass intertwine with funk filled bars. The last waltz arrives with the piano version of “Terminal E.” Alluring notes ascend, rising and falling against heartwrenching guitar strings for a finale to end this ballroom inspired beauty.

For years Nathan Church has been cutting up floors in his native Bilbao. Recently the Basque man’s attention has turned from the Dj booth to the studio. Under his WLDV (We Love Dolce Vita) this Iberian electronic inspiration has cast long shadows and brightened rooms with his blend of horror score intensity and disco exuberance. WLDV arrives at the Bordello with a four tracker of serious intent. Sepulchral and sinister synthlines characterise A Dying Feast, nowhere more than in the haunting samples and clean drums of “A Bucket of Blood”. Cold chords gleam with icy menace while crisp claps punctuate the entrancing funk of “Danza Macabra”. Ecclesia toys with set parameters, exploring what lurks in the twilight between terror and titillation. This flirtation with the divine and the profane is plain to hear in the uneasy elegance and uplifting elation of “Far, Far Away”, a work of steady kicks, unsettling extracts and soaring strings. This “feast” ends on a delectable note. Keys dance and spiral in the intoxicating “Laying Down On Cosmic Dust”, an enthralling end to and enthralling EP.

STAFF COMMENTS

Patrick says: Synth heavy, darker than a goths eye liner and funkier than Barry's stink hat, this four tracker of synth heavy Italo and cosmic house should kill it in the club.

Bordello A Parigi treat us to some hand-stamped limited isht here as G-Machine come through with double disco trouble. Already in the hands of the global Italo elite, this sequinned two piece packs punchy percussion, funked up synthery and the kind of frothy melodies that can have me tops off in a heartbeat. On the A-side the titular "Disco Nightmare" pilots the spaceship through seesawing bass sequences, triumphant melodies and a whole load of laser fire before heading through an Einstein-Rosen bridge for a spot of wormhole funk. Muscular, crepuscular and just a little eerie, this turn of pace should work perfectly on Manctaloween. Over on the flip "Flying Over The Island" offers a little something for the tropical jocks out there, serving smooth synth funk and limber bass over a killer rhythmic lilt. Blessed with the kind of sweltering sound design we loved that Domenique Dumont record for, this is surely top of your tropical pops?



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