Back in stock: Balearic/Downtempo

Review: In the late summer of 2019, DJ Rocca and Chris Coco spent time together at the intimate La Casella festival in Umbria, Italy, where they chatted about Italo disco, the Rimini/Riccione riviera in the 90s and classic Italian clubs. Inspired by their conversations and imagined memories of scenes they weren't part of, they set out to make the music which over time, evolved into CocoRocca DiscoTeca, an imaginary retro-futuristic club blending past influences with future possibilities. It draws on dub, house and disco and is now resented on this wonderfully escapist full length which starts slow and dreamy, raises the pulse then slows down to a nice emotive finish. A fine reimagine of some classic sounds.

Review: Released in 1994, Deee-Lite's follow-up to their colossal hit 'Groove Is In The Heart' and the World Clique album that contained it finds the trio taking a more adventurous route of funky rhythms, electronic experimentation and blissful psychedelic vibes. Tracks like 'River of Freedom' tap into a carefree dancefloor energy, while 'Picnic In The Summertime' evokes sun-soaked nostalgia, its bouncy beat an effortless backdrop to the dreamy, carefree lyrics. Deee-Lite's willingness to explore genres and sounds is evident throughout, with samples from The Orb and Carl Craig, among others, meshing seamlessly with live instrumentation and infectious grooves. One of the album's defining features is its ability to balance quirk with cool. The smooth transition in 'Somebody,' where the track slows down into a human beatbox rhythm, exemplifies the experimental nature of the band. And then there's the entrancing 'Party Happening People,' a track full of playful vibes, layered synths, and an unmistakable 90s energy. This isn't just for fans of the groupiit's a record that captures the essence of the 90s club scene. A perfect soundtrack to the era's fashion and carefree spirit, its sounds still hit fresh today, reminding us of the euphoric, experimental days of early electronic music. For anyone who has ever found themselves lost in the vibe of house, techno, or the club, this collection is essential listening.

Review: Hilarity ensues with Miles J Paralysis and his new 'Folktronic' EP. Brought to the Leeds-based label Crying Outcast, this is an authentic crock of real dancefloor experimentations by the debuting artist, furthering our sense that this West Yorkshire city's contribution to dance music history an indelible one. Here, one can really hear the admixture of humour and attention to detail gone in, with dark-comedic label name matching tongue-in-cheek-microgenre-used-in-title, which mocks the Four Tet populariser style. We were surprised to hear, then, a relative lack of dulcet arp twinkles set to tricky fidget-tech house here, as is the "folktronic" sensibility. Instead, 'Still Waiting' and its corresponding Brian Not Brian and Piers Harrison dub bring a much headsier, erudite, lettered sound, with trippy didgeridoo design marking the opener and wonkier speed-plods following on the remix. 'Eavesdropper' plays on the Leodian favourite that is chug music, with reverso-yearny pads alternating away in the back, while 'Always Liked Scarecrows' makes titular use of the kind of offhand, fieldside observation many daydreamers like us often use: uncanny mock 303s, dubbing martial arts.