Resort Island

GERMAN HOUSEの名曲である"BEAU MOT PLAGE"を生み出した ISOLEE が 2011年にDJ KOZEのPAMPAからリリースした「WELL SPENT YOUTH」以来となるニューアルバム「RESORT ISLAND」をリリース!
柔らかなタッチの煌めく電子音、ふっくらとしたキック、微細なイントネーションでグルーヴを描き出すリズム、全てを繊細に繋ぎ合わせたクリック・ハウスから絶妙にほろ苦いエレクトロニックなトラックまで多幸感とメランコリーが交互に漂う、至福の音世界に包まれるマジカルなフルアルバムに。

Resort Island, German house producer Isolees fourth album, recalls the hazy, tropical mood of his 1998 breakout hit, "Beau Mot Plage," rather than the twitchy, post-punk-inspired sound of releases like his second full-length, 2005s We Are Monster. Its focused on the idea of escapism, yet its lush, summery tracks still contain shreds of uncertainty and darker undertones, as if there are problems back home that wont escape a vacationers mind while theyre trying to relax on the beach. The first track, "Cocos Visa," seems to channel the half-time, dembow-lite sound of much contemporary pop, or the ambient reggaeton of DJ Python, adding bright, cascading synths and shades of Auto-Tuned vocals. Most of the following tracks feature the types of tightly clicking beats, gently swinging basslines, and dubby effects Isolee has long been known for, but theres something clean, proper, and pristine about the arrangements and sound design, sanding down the loose edges of some of his previous work. Thats not to say the album is predictable or bland, however -- there are always fascinating sonic details lurking within. Its just not quite as gritty or trippy as other Isolee releases. "Pardon My French" sounds like a distilled version of French house, with a greater emphasis on shimmering synths than filter madness. "Con o Sin" has more of a U.K. garage-style groove rolling along underneath sporadic synth trills. "Rumour" has a more of a citric buzz, like a few extra twists of lime in a drink, but the album largely mellows out from there. ~ Paul Simpson