Balihu Records was started by legendary disco deejay Daniel Wang in 1993 as a place to release his own productions. Since the man lives in his “own little dream-world” his approach to disco music is undogmatic and very sweet (no, I won’t use the word leftfield here) and served in its early days as an escape from the formulaic and boring sound of the New York clubs Daniel once too often ended up in. On this compilation he has put together his favourites from 15 years of Balihu releases and besides some groovy dance tracks you get a very important lesson from this double CD: The disco-sound of the 2000s is not a revival but part of a continuum.

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http://soundcloud.com/qboymusic/djqboy-electromix-march10

alx @ liganova

A collaboration between Danger Mouse (among many other projects one half of Gnarls Barkley) and James Mercer (mainly the singer of the band The Shins)? What sounded like an indie-pop fan’s wet dream when it was announced last year, became beautiful reality this week. The Broken Bells‘ self-titled debut amazes you with ten tenderly crafted gems built from organic drum samples, subtle electronic experiments, Mercers addictive voice, catchy guitar melodies and atmospheric strings. In general this one is a neat and timeless pop album which surely will end up on several top ten lists at the end of the year.

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wonderful! can not wait!

for HD quicktime: http://www.program-glitch-esc.net/

alx @ liganova

alx @ liganova

love the neon tube columns

H@liganova.com

Kasper Bjorkes second album is a danceable and pleasantly leftfield offering. You can hear it being influenced by the recent disco revival, but it also features some heavier tunes like the techno monster Melmac with its wobbling dub step baseline. Kasper has gathered some interesting guests around him, mainly for the vocal parts, of which surely the most outstanding one is WhoMadeWho’s Tomas Höffding on Efficient Machine, which also is the latest single. The album is a weird and twisted little gem and worth being checked out by anyone interested in diversified electronic dance music.

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SPECTACLE IS THE NEW COLLABORATION OF MUALLEM & BENJAMIN ROEDER. THEIR WORK MAY BE UNDERSTOOD, WHEN THINKING OF THE IDEAL CLASSIC CHEESEBURGER: A PERFECT BLEND OF GREAT STUFF MAKES A JUICY WHOLE. BOTH HAD THE VISION TO INCORPORATE THEIR FAVORITE IDEAS IN ORDER TO COME UP WITH SOMETHIN FRESH. SPECTACLE IS NOT HOUSE NOT DISCO NOT TECHNO – BUT STILL LOOKS OUT FOR THE MOIST ELEMENTS OF THOSE. IT´S STRAIGHT FORWARD – TWO DUDES, TWO SIDES, TWO TRACKS – FOR CLUB USE!

BENJAMIN ROEDER, WELL KNOWN TO MOST FROM HIS GLXY CLUBNIGHTS – HOSTING SOME OF THE FINEST DJS WORLDWIDE – SPENDS MOST OF HIS TIME WORKING AS VISUAL ARTIST. SINCE YEARS THE SCENE IS VISUALIZED BY ROEDER IN TONS OF POSTERS, SLEEVES & INSTALLATIONS.

AFTER HIS ACCLAIMED DEBUT SOLO RELEASE FRANKIE SPLITS & THE MUTATIONS TRIPLET ON COMPOST, DIVERSE REMIXES FOR LABELS SUCH AS GSTONE, BINGO AND FINEART AND STUNNING SETS AT CLUBNIGHTS ALL ALONG THE GLOBE, MUALLEM RETURNS WITH HIS NEXT SUPREME WORK.

SPECTACLE No. 1 2010 INCLUDES LIMITED 12” RELEASE WITH POSTER & SPECTACLE X VANS SHIRTS!

TAKE A BITE – JOIN THE RIDE!

Lou Thomas of the BBC wrote that this album “might just be the first great album of 2010″. And even if you think that this statement is a little bit exaggerated, you have to admit that the four Britons created a very danceable and catchy release, oscillating between indie-dance and electro-pop. On the one extreme you have the nine minutes long title track witch could be enjoyed on many dance floors and on the other there is the spaced out power ballad “Submission”, reminiscent of the mastery of bands like New Order. So, in general this is a clear recommendation for everyone who likes a well done mix of guitars and electronic sounds.

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