Eskimo Recordings:
Cosmic Balearic Beats Vol. 1
If 2008 is going to be remembered for anything, then it’ll be because its the year that “Balearic” broke through, or more specifically, “nu-Balearic” as people like to call it in certain quarters. Of course, what this term defines is a type of dance music which has been around for while in various forms for years, but with its wider exposure through internet channels, its labeling was surely inevitable.
Balearic is a foggy term; for a more concrete explanation of where the term came from, I would advise you to read this article at DJ History. The term Balearic has been attributed to compilation albums for years, but 2008 is the year when the term changed from being synonymous with cheesy Ibizan “Dance Anthems” to being a mark of respectability. I don’t really know how long this respectability will continue until the inevitable backlash, but until that point, there is surely a cash-cow to be milked dry.
Thankfully, Eskimo Recordings’ “Cosmic Balearic Beats Vol. 1″ (mixed by Skinny Joey) does not fall into this category of cynicism. It may not be the first Balearic compilation this year, but unlike Fred Deakin’s catch-all Nu-Balearica which offers an introduction to the established figures such as Todd Terje, Aeroplane, and Lindstrom, Cosmic Balearic Beats offers exclusive tracks from mainly relatively little known names. Eskimo’s take on Balearic is characterised by deep disco basslines, warm, analog sounds, rich string pads, and a lot of melody. The first half of the album is dominated by trance inducing synthesizers, slowly ebbing and flowing it’s way to the middle. The first three tracks, “Footprints” by Stratus, “80s Boy” by Phoreski, and “Grow Your Hair” by Coyote all have a hazy quality, which open the mix in sublime form. Things continue this way through a myriad of textures, until the mix’s turning point, the incredible “Cockroach” by Rubber Room, an infectious track seemingly named after its spindling guitar and scuttering arpeggio. The tempo may not increase, but the mood of the mix changes markedly, with rigid beatmatching being less important than the more upbeat mood that is created. The next highlight is Lullabies In The Dark’s “Estrella”, which, with it’s off-beats and guitar solo, is more pop than disco, and is probably what Justice would sound like if they went Balearic (for more Lullabies check here. The mix’s penultimate track is “Personal Angst”, probably In Flagranti’s best track since “Bipolar”. It eschews the disco pastche that they have a tendency to overuse, and create a track that is altogether more alien, the musical side they really need to show more often. The album would be somewhat cold if it ended on this note, but for the final track, Lovelock’s “Don’t Turn Away From My Love”. A project of Steve Moore, bassist in Zombi, Lovelock’s sound takes on the 80s vocal synth pop in a similar way that Heartbreak have done to such great success this year.
This compilation is unlikely to be as influential as, say, Italians Do It Better’s After Dark compilation from last year, but as an attempt at defining a wave of music that is still a mystery to many, Eskimo have made a compilation that not only provides a way in for those not in the know, but that is forward looking enough for those who want something a little bit deeper.
MP3:> Lullabies In The Dark - Estrella
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Cosmic Balearic Beats Vol. 1 is available now on Eskimo Recordings
