AXEL BOMAN 黑胶唱片和CD

Review: The Studio Barnhus imprint run by Axel Boman, Petter Nordkvist and Kornel Kovacs reaches release number three with a cheeky yellow 10". Up first is label boss Boman, whose "Dirty Laundry" offers another glimpse into what is developing into his signature style - classic deep house atmospherics imbued with a carefree sense of fun. The young Swedish producer has already been taken under the wing of DJ Koze, who welcomed him to the Pampa family with open arms; expect big things from Axel in the coming months. Proceedings on the flipside are chaired by fellow Swede Acid Andy (aka Andreas Jonsson), who offers up "Jack Dawson Polka" - a driving acid disco workout dripping with sweat that reminds us of In Flagranti in their pomp. Check it!

Review: A creative sound experiment, Swedish music producer Axel Boman explores new sonic territories as Massproductions. Two sublime tracks on this one: on side A you can hear the drummer (jazz musician Konrad Agnas) get wicked on the ethereal hypnotiser 'BAM!' (Massproduction dub), while over on the flip is the psychedelic downtempo journey 'Meditation On Furniture By Chris Martin' awash in gliding acid, atmospheric synths and and trippy alien-like voices - although not by 'that' Chris Martin we're told.

Review: Somewhat surprisingly, "Eyes Of My Mind" marks Axel Boman's first solo single on Studio Barnhus, the label he co-founded, since 2013. It's also his first EP of any sort since 2017 (though 2019 did see the release of his fine "Le New Life" LP on Mule Musiq). The track is little less than a loved-up aural hug; a deliciously glassy-eyed affair in which dreamy chords, quirky vocal samples, droning bass tones and bubbly electronic motifs wrap around a bustling, loose-limbed drum track that sits somewhere between regular deep house, Max D's Dolo Percussion project and good old-fashioned breakbeat. Over on side B he calms things down dramatically via "Echoes of My Mind", a swelling, wall-of-sound ambient revision of the A-side that's as comforting and meditative as they come.

Review: Axel Boman's 2013 debut album "Family Vacation" was something of a triumph, so it's heartening to report that this belated sequel is every bit as inspired. He begins in fine style by delivering his most loved-up and glassy-eyed track yet - a Sister Sledge sampling chunk of rushing sunrise deep house - before flitting between booming sub-bass and more bliss-inducing musical flourishes on the down-low throb of "Slave To The Vibe". There's an intoxicating and exotic feel to the gently percussive cut that follows, killer ethno-house jam "Paid By The Rhythm", while "Copacabana Dub" is an expertly executed exercise in deep house/Latin percussion fusion. As if that lot wasn't enough to set our pulse racing, trippy slo-mo house chugger "Don't Bug Me" and opaque deep techno shuffler "Konoba Boba" are both suitably sublime.

Review: Despite having a hand in the running of Studio Barnhus - and, of course, regularly releasing on the imprint - Axel Boman has decided that he needs a new sub-label on which to release his music. This first BarnBarn outing sees Boman in fine form, emphatically laying down a marker via the Steve Reich style cyclical riffs, wonky new age melodies, swooping chords, sustained horror notes and layered tribal house percussion of "Geeks". It's a fine track, though nowhere near as wild and alien as flipside cut "Voodoo". This composition, where relentless waves of electronics and bubbling lead lines crash against a crunchy rhythm track, somehow manages to be both pleasingly positive and fuzzily distorted.

Review: Deep house prankster DJ Koze is clearly on a bit of a roll at the moment; the Pampa boss served up the best DJ Kicks in quite some time and has released one of the singles of the year in XTC. Now he's welcoming peculiar deep house auteur Axel Boman back into the Pampa fold with a fine two track 12" 1979. The title track's simple conga beat, hypnotising strings and rising pads build the suspense until that awesome bassline drops. On the flip we have "Nokturn (Grand Finale)" an epic bongo and hi-hat workout reminiscent of The Hayden Andre Brown Project's "Tribal Life" on Strobe from back in 1991. Tip!

Review: Swedish producer Axel Boman seems to have been around forever, delivering solid and occasionally sensational deep house. In fact, he first emerged in 2009, and somewhat surprisingly Family Vacation is his debut album. It's a rather impressive beast, if truth be told, offering a whirlwind trip through his inspirations, from the downtempo analogue wooziness of "Let's Get Nervous" and jaunty, jazz-wise, US-influenced deep house of "Son of a Plumber", to the dreamy electronics and off-kilter rhythms of "No! No! No! No!", and the Theo Parrish-goes-Calypso vibes of "Bottoms Up". Most impressive of all, though, is the dark, humid, tropical pagan flex of "Kings & Emperors". Its' African voodoo atmosphere offers a startling alternative to the quiet positivity found elsewhere.

Review: Swedish producer Axel Boman seems to have been around forever, delivering solid and occasionally sensational deep house. In fact, he first emerged in 2009, and somewhat surprisingly Family Vacation is his debut album. It's a rather impressive beast, if truth be told, offering a whirlwind trip through his inspirations, from the downtempo analogue wooziness of "Let's Get Nervous" and jaunty, jazz-wise, US-influenced deep house of "Son of a Plumber", to the dreamy electronics and off-kilter rhythms of "No! No! No! No!", and the Theo Parrish-goes-Calypso vibes of "Bottoms Up". Most impressive of all, though, is the dark, humid, tropical pagan flex of "Kings & Emperors". Its' African voodoo atmosphere offers a startling alternative to the quiet positivity found elsewhere.

Review: Often a worthy wildcat amongst more play-it-safe deep house pigeons, Axel Boman can now be found prowling to Hypercolour with an EP brimming with originality and vitality, taking the less trodden path through house music. "Television People" heads into a nervous state of uneasy synth lines, oddball speech and gently simmering drums, while "Cubic Mouth" goes straight in the opposite direction with a light and breezy refrain revolving around carefully treated piano chords. "Look What You've Done To Me" is a more sombre affair, but still boasting some developed dynamics to move the track, and then "Klinsmann" switches up altogether with a heartfelt, epic vocal track that gradually builds into a measured acid psych-out.

Review: Hypercolour's Glass Table offshoot hits the spot once again, as Studio Barnhus' perma inked Axel Boman continues a fine run of production form with the Lucky Tiger EP. Anyone who's been clever enough to indulge in a recent Boman production will delight in what's on offer here, not least opening track "Esteban Peligro". There's plenty of little production nuances that shine through when checking via headphones, but the scuttling groove and gently dubby rhythms provide enough energy and pulse over a large system too! Alongside it, Boman indulges in some sweeping acid house fun on "Naomi" which has a nice undulating feel to it, never exploding into the sort of overt 303 workouts that are all too easy to succumb to. Appleblim and Al Tourettes bring some Bristol atmosphere to the release, transforming "Esteban Peligro" into a scratchy sounding mutation of techno and dubstep which aligns nicely into a gloopy flex after surfing the expansive, sonic ether of its opening minutes. Arriving with the trademark risque cover art and gaudy picture disc, this is a classy twelve alright.

Review: According to Prins Thomas, chairman of the disco board, every track on Axel Boman's new Europa EP will "make every pretty girl dance". Upon first listen it's obvious Prinny does have a salient point - all four cuts on Studio Barnhus's latest release are guaranteed to get bums wiggling and toes tapping. Kicking off with title track "Europa", dreamy modern disco and a smouldering groove set the tone for the equally bewitching "What Do You Need". On the flip, "ABBA" and "The Best Ever Made" are both warm, sultry and uplifting tunes that manage to induce a summery, eyes closed happiness. We salute you Axel!

Review: Our favourite Swede, Sir Axel Boman makes his debut on Play It Down with the Nattsudd EP. In typical Boman style, the EP's upbeat pace and deliriously deep groove sing a rather sweet song when put to work together. A-Side "Nattsudd" plays its game well with punchy vocals and a bouncing bassline that fuels the groove nicely. Couple that with light jazzy keys though and it goes from a mere foot tapper into an eyes closed, hands in the air classic. "Paris 2006" featuring Studio Barnhus buddy Kornel Kovacs steals the show though, with its whispered and choppy cut vocals, vintage orchestral moments and expert arrangement that has had us all dancing at our desks here at Juno HQ this week. Highly recommended.

Review: The slightly illict Backyard Impressions series from Mr Tophat's Junkyard Connection label commenced back in 2012 with a 12" featuring the man himself alongside Art Alfie and Adam Stromstedt. And then it was put to one side as the label focused efforts on full artist releases for the most part. 2015 has already seen the label issue some fine material from Laguna Ladies and Your Place Is Next, we now seen the return of Backyard Impressions lead by Axel Boman! The tat-heavy Studio Barnhus man "Has Something Bad On My Mind" apparently and that manifests in a clipped blues-infused house track hoe down. On the flip Beaner gets busy on the sampler with Sixto Rodriguez on the dreamy "Zuckermann's Geburstags Feier" and Hadyn remoulds the classic ghetto house template as rich deepness on "Booty Meat".

Review: New imprint Studio Barnhus makes its bow with this rather stush 12" entitled Good Children Make Bad Grown Ups. The label was formed by Axel Boman, Petter Nordkvist and Kornel Kovacs, and it's Axel who offers the first track here, "Modern Fluids", a fine follow up to his recent EP for DJ Koze's Pampa imprint. This shares with A Side with Pedrodollar's insouciant "Ner I Brunnen", before Kovacs' "Baby Step" opens things up on the flip with on a chunky deep house tip. But it's the jazzy keys and Detroit atmospherics on B-Side cut "For Sharon" by the wonderfully named Gino Bomino that wins the Juno award for EP highlight, which comes replete with vocal loops and junkyard percussion that would make KDJ proud.

Review: Here's a treat for all those who've fallen in love with the eccentric, anything goes deep house antics of Sweden's Studio Barnhus label: a double-pack, nestled in a transparent plastic sleeve, featuring brand new dubs of vintage label material. Axel Boman kicks things off with a wonderfully rolling, tactile version of his jazz-flecked summertime bomb "Mogadishu", before Shakarchi and Straneus get all twinkling and Balearic with a decidedly touchy-feely take on "ABBA". Side three boasts another "ABBA-Dubb", this time from Baba Stiltz, who adds a little Latin flavour to proceedings before dropping into a colossal bassline, ragged electronics and glitchy rhythms. Finally, Pedrodollar's disco-influenced anthem "Love Me Now" is given the "Dubb" treatment, with particularly delicious results.

Review: New label Taf Kif kicks off with this classy VA package from some cool cats who know how to lay down a slick groove or two. First up on this distinctly 80s-styled package is Axel Boman, who brings some of his signature sparkling melodies to a synth-pop indebted jam entitled 'Oasis'. Meanwhile Velmondo follows up with something a little more trippy and adventurous on 'Echo Welt', before MLiR inaugurates the B-side with the sultry tones of 'It's Baby Time'. Lusille completes the set with the hazy Afro house deviations of 'Une Longue Route', riding a swung groove that offers something different from the everyday cookie cutter house we know so well.

Review: The Africa Shakedown label coined one of last year's surprise hits with it's debut release, and the label's second release is likely to prove just as popular. Noema features once more and the Salon Zur Wilden Renate resident has collared contributions from Eddie C, Axel Boman and the Soft Rocks crew. Eddie C is first up with the irresistibly groovy "O Ye" which wouldn't look out of place on a Red Motorbike 45 dinker, whilst Noema conjures up the spirit of Bill Laswell on the dubby, scratchy production "The Shake". Studio Barnhus co-founder Boman is probably the biggest draw here and his rerub of the uncredited "Bayaya" should be familiar to anyone that's caught a DJ set from the fun loving Swede. Soft Rocks bring it home with the heavily delayed jammer "Disco Machine". Strong moves all round here sir.

Review: Swedish label Studio Barnhus unveil their most esoteric release yet: a collaboration between label boss Axel Boman, nuclear physicists Bo Cederwall and Torbjorn Back and media artist Kristofer Hagbard. Known as the Radioactive Orchestra, the project started as an awareness campaign spearheaded by the Swedish government; the primary aim, according to a Studio Barnhus press release, was "to interpret gamma radiation, which has its origin in the nuclei of atoms, and translate it into sounds and music". The team of four went on to "create musical algorithms based on the scientists' models of how radiation is emitted from various isotopes". Of course even the best concept falls flat if the music doesn't hold up: excitingly, the fruits of this project are nothing less than stunning. Put simply, this is one of the most interesting house or techno releases you'll hear this year. Limited to 200 copies.

Review: Having first joined forces to DJ together under the Taloboman tag some years back, Axel Boman and John Talabot first got together in the studio for 2014's Sideral 12". Three years on, the experienced duo has finally recorded a debut album. It's naturally imaginative, eclectic and atmospheric in tone, effortlessly gliding between humid, Afro-influenced deepness ("Midnattsol"), dark and spacey dancefloor moods ("Samsa"), fuzzy epics ("Six Million Ways"), hushed tech-house ("The Ghosts Hood"), stretched-out wonkiness (the hypnotic "Dins El Lit"), and a variety of intriguing downtempo explorations. It's largely left-of-centre and mostly not focused on the club, but that's not necessarily a bad thing. Certainly, it's a fine collection of music.