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#balearic beat
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kenmarten · 2 months
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Set crossfade to 12s in settings before playing this
After leaving my studio one recent evening, I stopped by a nearby Lidl on the way home. I felt something electric in the night air, compelling me to return to the studio to pick up a tripod and explore the industrial estate on the far side of the railway tracks.
Usually deserted after businesses close, I expected to have the area to myself, but a few distant cars cruised in the mist/drizzle and a group of men clutching bottles passed furtively, talking about religion.
I listened keenly for the sound of muffled beats, hoping to discover an elicit warehouse rave, but there was little but the distant sigh of traffic on the nearby bypass.
So the accompanying soundtrack to these photographs is a stumble through Korean shoegaze, dream pop, post-punk and electronica before getting lost in a Balearic house party.
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Tracklist:
I know you like it • Tokyo 018 • Time traveling • This moment • Timeless • Take yours • Night drive 2.0 • Simoon • Lins • Bass man
Spotify ♪ Bandcamp ♪ YouTube
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norepetitivebeats · 1 year
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Florence - A Touch Of Heaven (1991)
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thesunlounge · 2 years
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Atelje - Everslick (from Meditation, Vinyl Export 2014)
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randomvarious · 2 years
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A Man Called Adam - “Barefoot in the Head” (1990)
Anyone wanna go down a Saturday night music video rabbit hole with me? 
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c-40 · 1 year
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A-T-3 025 Kissing The Pink - Big Man Restless
Kissing The Pink are difficult to place, Martin Hannett produced the band’s first single ‘Don’t Hide in the Shadows’ and they're not completely unlike Factory's Section 25. I gather from their debut album Naked they hoped to transition from esoteric new wave band to pop, like Scritti Polliti. Naked includes Mr Blunt (A-T-2 446) and their chart hit The Last Film. Kissing The Pink were signed to Magnet at this time which is an odd UK independent label, it's certainly not Factory or 4AD, it had been the home of Alvin Stardust, Guys N Dolls, Darts, and fellow balearic laureate Chris Rea...
Amnesia dj Alfredo would play Big Man Restless in his sets in Ibiza, resulting in it's title being etched into the gospel of Balearic beat by record monks to be spread around the world by the faithful
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sonmelier · 2 months
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9. Avalon Emerson | & the Charm
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🇺🇸 Etats-Unis | Another Dove | 40 minutes | 9 morceaux
Pour son premier album, la DJ californienne en résidence à Berlin délaisse la techno au profit d’une dream pop à la douceur désarmante. Un remède subtilement sucré à la fatigue émotionnelle, gorgé d’influences esthétiques mêlant le soleil à la mélancolie, la connexion à l’introspection (citons en vrac la house baléarique, la city pop japonaise ou encore le vacarme cotonneux du shoegaze).
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atlas-market · 6 months
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9 November 2023 in Paris France 🪩
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haveyouheardthisband · 3 months
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kenmarten · 2 months
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Go to Spotify's settings and set 'crossfade' to 12s before playing this
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Tracklist:
Bells • Night drive • Gameing man • Fuyuukan • Gotta have house • Machibouke • Way of jungle • Quiet town of tokyo • Right here right now • Sora sky magic • Water melodies • Nippon no natsu • Rain • Orange moon
Spotify ♪ Bandcamp ♪ Youtube
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norepetitivebeats · 1 year
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Inertia - Nowhere To Run (Original) (1990)
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thesunlounge · 2 years
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DYYU∩E - Nie usypiaj mnie (from WYYDMA, The Very Polish Cut Outs 2022)
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randomvarious · 2 years
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Saint Etienne - “Only Love Can Break Your Heart” (1990)
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mywifeleftme · 7 months
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168: John Talabot // ƒIN
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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.
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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
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