KORNEL KOVACS 黑胶唱片和CD

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: Further cementing their reputation as the merry pranksters of house music, Studio Barnhus drop their sixth release and you'll either love it or hate it! We love it. The mysterious HNNY delivers an edit of Mariah Carey's cover of Foreigner's power rock ballad "I Want to Know What Love Is" that expertly fools around with her money notes. The addition of creeping neon synths gives the track a brooding R&B flex and the sudden drop into silence that marks the end of the track is hilarious - it's worth dropping this just to see people's reactions. Barnhus regular Kornel Kovacs adds further heat on the flip with a simmering, low riding early 90s vocal house bumper in the shape of "Down Since '92" which will appease the serious house heads.

Review: Last year Kornel Kovacs returned to his "beautiful, boring" home city of Stockholm, citing a need for both "friends and inspiration". Duly settled in his old apartment, the Studio Barnhus co-founder surrounded himself with collaborators (primarily Matt Karmil, jazz musician Niclas Skagstedt and female vocal duo Rebecca and Fiona) and set to work on his second album, "Stockholm Marathon". The resultant set is impressive, with Kovacs offering up a range of ear-catching vocal and instrumental tracks that brilliantly fuse elements of spacey deep house, mutant R&B, leftfield synth-pop, lo-fi electro, tech-jazz and glassy-eyed electronica. More often than not the collaborations with Rebecca & Fiona hit the mark (see "Club Notes", "Purple Skies" and "Marathon"), but there are plenty of other highlights elsewhere on the album.

Review: Swift in the slipstream of his DJ Haus remix on Hot Haus earlier this month comes Kornel Kovacs' debut Unknown To The Unknown release. As we've come to love from the Swedish jack-crafting, Barnhus co-founding groove conjurer, each cut struts with a fuzzy, grainy emotive warmth while remaining floor-toughened throughout. From the loopy vocal hypnosis and filtered charm of "Metropolis" to the decayed harmonic hug of "Babasonic" via the classic rising bubbles and garage feels of "Panda", these were built to last well beyond the summer.

Review: Stockholm's Kornel Kovacs has been a staple of Axel Boman's esteemed local imprint Studio Barnhus for a few years now. The 31 year old Hungarian-Swede is appearing now for the always reliable Mule Musiq diffusion imprint: Endless Flight. There's "Szamar" which is a looped up, pop-inflected disco-house cut that further portrays Kovacs' happy go lucky and tongue in cheek sensibilities: it's downright infectious! On the flip, the good times continue on the emotive deep house jam "Order To The Senses" which is actually a remix by Kovacs of a track by Snacks: the New Zealand/German duo of Rene Corbett & Aljoscha Babel. The original of this particular track appeared on last year's Mule Musiq label compilation entitled I'm Starting To Feel Okay Volume 7, which also featured the likes of Eddie C, Prins Thomas, Lord Of The Isles and Frankey & Sandrino.

Review: In recent times, Studio Barnhus co-founder Kornel Kovacs has delivered a string of eccentric, hard-to-pin-down 12" singles that drag house music in weird and wonderful new directions. He's at it again on Bells, the Swede's long-awaited debut album. While largely deep, melodious and quirkily lo-fi - the distinct sound of tape hiss is never far away - Kovacs nevertheless veers off in many different directions over the album's ten-track direction. So while the pitched-down UK funky rhythms and 8-bit synth melodies of "Josey's Tune" impress, dancefloors may prefer the rambunctious, redlined Latin-house thump of "Gex", the sparkling rave revivalism of "Dance...When The Record Spins", or the rubbery bounce and pulverizing analogue bass of "Pop".

Review: In recent times, Studio Barnhus co-founder Kornel Kovacs has delivered a string of eccentric, hard-to-pin-down 12" singles that drag house music in weird and wonderful new directions. He's at it again on Bells, the Swede's long-awaited debut album. While largely deep, melodious and quirkily lo-fi - the distinct sound of tape hiss is never far away - Kovacs nevertheless veers off in many different directions over the album's ten-track direction. So while the pitched-down UK funky rhythms and 8-bit synth melodies of "Josey's Tune" impress, dancefloors may prefer the rambunctious, redlined Latin-house thump of "Gex", the sparkling rave revivalism of "Dance...When The Record Spins", or the rubbery bounce and pulverizing analogue bass of "Pop".

Review: Soon, Kornel Kovacs will release his debut album, The Bells, on the Studio Barnhus label he founded with Axel Boman and Peter Nordkvist back in 2010. To raise awareness, the label has decided to offer up this sampler 12". It contains altered versions of two cuts from the album; the bumpin', Sneak-goes-wild sample-house bump of "Gex (Tended)", where Kovacs gets busy with filters and some horn-heavy snippets, and "Josey's Tune (Extended)", a deliciously tuneful vision that melds ear-catching melody lines to a UK-funky inspired, broken house rhythm. Also included on the 12" is a fine remix of that track from Samo DJ, who turns in a dreamy interpretation built around an entirely new dub-house groove.

Review: Here's something of a pleasant surprise: Studio Barnhus co-founder Kornel Kovacs turning up on Glasgow's masters of all things dancefloor-friendly, Numbers. While there's a little more of a garage swing to opener "Lighthouse" - think darting string samples, booming sub-bass and energetic deep house drums - the Swede doesn't seem to have wandered that far off-piste. So, we get some undeniably classy, jazz-flecked deep house (the rubbery and flexible "Gangsta"), a surging, saucer-eyed dose of piano revivalism ("Malon", featuring Marcus Price, and some suitably jumpy drums), and, best of all, the late '80s Paradise Garage Latin house brilliance of "Pantalon". Stellar stuff, all told.

Review: On the basis of this latest Studio Barnhus slab, it feels like Kornel Kovacs is becoming a more accomplished producer with every release. Kovacs first committed some music to the label he runs with Axel Boman and Petter Nordkvist back in 2010 - one track on a split release - and he's gradually used the label to explore his sound in greater detail. Nincs is his most comprehensive statement yet, featuring some four tracks filled with that trademark Barnhus charm and personality. See the strange vocal ticks, samples and manipulations that populate the cheeky house bump of "Nordic Rave 4" or the more glacial breeze to "Utopia, Ohio". Best of all is "So So Solid" which discards with any rhythmic concern completely so Kovacs can focus wholly on manipulating and processing a vocal harmony.

Review: German imprint House is OK built its reputation on a series of compilation style EPs called We Make Music. Five years after the final volume dropped, they've decided to revisit the concept by launching a new series, Gemist. Fittingly, heavy hitting Swede Kornel Kovacs kicks off Part 1, serving up an everything-but-the-kitchen-sink peak-time floor-filler seemingly inspired by the cut-and-paste, sample-laden house hits with which M/A/R/R/S and S-Express made their name. Jean-Paul Gavri and Sleazy McQueen do a good job combining choppy house beats, disco samples and wild synth solos on "Dead Sea", while Longhair's "Coco Loco" is an attractive, retro-futurist box jam. If you fancy something a little raw and rough-round-the-edges, Janis's excellent "Floating" is well worth a listen.

Review:  As you might expect, there's plenty to enjoy on FourtyFour Ways, the first of a number of EPs celebrating the German deep house imprint's tenth anniversary. Studio Barnhaus co-founder and recent Numbers artist Kornel Kovacs leads the way with "Space Jam", a decidedly cosmic chunk of intergalactic deep house that comes laden with shimmering synthesizers, echo-heavy R&B vocal samples and a killer US garage style bassline. Elsewhere, Smallpeople attempt to out-deep the competition with the deliciously dreamy "Cricket Orchestra", Juniper doffs a cap to classic Detroit techno on the sci-fi throbber "Variations In Grey", and L'Amour Fou drop a sprightly chunk of soft focus positivity with the ricocheting drum machine hits, eyes-closed melodies and booming acid bass of "Da'an".