All Day I Dream Germany 黑胶唱片和CD

Review: Now well past the 100 releases mark, All Day I Dream continues to serve up perfect escapist house sounds for those who like to get lost in lush melodic realms while dancing. Amonita is behind this latest such offering and 'Rainbow' pens with shimmering pads and airy beats that are topped with an emotive little vocal hook. 'Amulet' then brings bubbling drums, pads and exotic percussive sounds to another rolling groove and 'Moon Dust' closes down with a mix of sweeping pads, serene chords and super smooth grooves.

Review: Lee Burridge's All Day I Dream label is like the Ronseal of house music - it does what it says on the tin. It's been a while but at last the boss man himself is back on wax here, this time in collaboration with Los Desert across four fine tunes. 'Les Voyeurs De La Nuit' is a lovely jumbled-on scattered congas, toms and snaking synths that soon soothe the mind, body and soul. 'Slave To The Strings' is an elastic deep house cut with a busy melodic bassline and serene strings while 'You May Never Leave' is a sonic daydream tethered to a smooth, rolling house rhythm. 'Here With You' closes down with funky little guitar riffs stitched into another mind-expanding and gorgeously airy groove.

Review: The faultless All Day I Dream label is back with more zoned-out sounds for loved-up dances in the open air under a hot sun. Pippi Ciez is in charge of this one and it opens up with the beautiful melancholy of 'Seeking Solitude' which has chords draped over smooth rolling drums. 'Limitless' then lifts off into the stars with airy, floaty-light chords and wispy pads all ensuring you are cast adrift from your woes and left free to float in a happier place. Last of all, 'Guardians' is a sublime and supple deep house lament.

Review: If you have heard any All Day I Dream releases you will know what to expect, and yet still the label keeps on turning them out and still they keep us interested because it is such a lovely and escapist sound. Dim Kelly is next up to offer their own spin on it and do so with four fantastic cuts. 'Pianologic' is a piano-laced jam with wonky rhythms and warming pads that bring plenty of playfulness. 'Preach The World' (with Stereoclip) settles into a more smooth groove with subtler melodies and 'The Stream' then sinks into a more heads-down groove with darker basslines. 'Nuit D'amour' (feat Maya Safar) completes the picture with a spine-tinged vocal that soars over shimmering deep house.

Review: Double Touch make their return to German label, All Day I Dream, with their four-track EP, 'Storm'. Like soaking into an ambrosial dream, Reigan's beautiful vocals, reminiscent on 90s trip hop, drift effortlessly through the emotive core of the titular track, 'Storm'. For 'Serenity', a cherubic, cascading melody twirls gracefully around the driving, percussive spine of the track - replete with a sense of endlessness, this track is like looking into a distant horizon. 'So Free', the second track to feature Reigan's ethereal vocals, rides a rousing orchestral wave, precisely punctuated at points by soft garage-esque rhythms. And as the release draws to a close, a deep house reimagining of the classical piano piece, 'Clair De Lune', is a lesson in combining two supposedly disparate musical spheres. A fantastic release, perfect for roof-down listening or ecstatic dancefloors alike.

Review: London's All Day I Dream label is instantly recognisable for its use of clouds as its EP covers, a trend it has kept up since since its first release in 2011. This latest wispy six-track EP from Tim Green is a beautiful floater, very much unafraid of plunging its head into the deepest and most rapturous of clouds. Opener 'Water Steers' very much sounds like we're floating up to the pearly gates, with its stretched-out choir samples and voxy one-shots opening to a tricky single-key house track. From there, it's all blissful yet rave-worthy, with tech-trancers like 'Tears' and 'We've Been Here Before' not letting up from the crossrhythmic formula, but still laying down a slowly-revealed emotion.

Review: As evidenced by the cover of this latest EP, Belgian house artist Hermanez has his head in the clouds. Similarly, if we were to liken the weight of his productions to a cloud, it would probably be a dense cumulonimbus, ready to pour it all down on us. That's because every track on this bit has extra-special, nuanced attention paid to its drums, all of which are backed up by immense, emotive bassweight to boot.

Review: Now well into three figures, Lee Burridge's mighty All Day I Dream has firmly established is own house music sub-genre. It's a place where sunny grooves, dreamy pads and deep beats all coalesce into music that is soul enriching and perfect escapist. Nathan Katz has mastered all that on this new Parallax EP which begins with the wispy pads and plaintive keys of the title track. 'Dreamland' is a supple and sublime roller, then he links with Molac for 'Flamingo', a track with jittery arps that ride up and down the scale to beautiful effect. Finally, 'Moonlight' shuts things down with an alluring an sensuous vocal over meditative beats.

Review: Pure melodic tech-house from German artist Sebastian Leger, who has been a part of the All Day I Dream camp for a god whale now. 'Regina Blue' hears three joyous cuts make it to wax, all of which are characterised by fluttery electronics and harmonies on many a sine-textured synth. The main highlight is 'We Used To Laugh', which is seriously deep in its arpeggiated flourishes and pentatonic chords, which emboss the mix's depth to the extent that we can almst feel ourselves falling into the song.

Review: Like its' two must-check predecessors, Lost Desert's third collection of collaborative cuts is packed to the rafters with melodious and tactile treats. Fittingly, they first hook up with regular studio buddy (and label boss) Lee Burridge on 'My Time With You', a gorgeous, deep and dreamy house workout blessed with twinkling electric piano motifs and a suitably squelchy bassline, before joining forces with Junior Akwety on the bittersweet brilliance of 'Mwinda', where simmering synth-strings, enveloping chords, West African vocals and a subtly garage-influenced deep house groove catch the ear. Madrass and vocalist Sofiya Nzau lend a hand on 'Dwokire', an immersive, tech-tinged deep Afro-house number, while Lost Desert go solo on saucer-eyed deep tech-house cut 'Liebe Dich'.

Review: Never mind just all day, Lee Burridge must be dreaming of this music every second of every night as well because he manages to unearth more of it on a constant basis. It's like aural wallpaper, a sonic lava lamp to gaze at, zone out to, and lose yourself in. Mass Digital is the latest to offer up four teaks of people are calling yoga house with his Viaje De La Vida EP. 'Someone Like You' kicks off with a joyous and celebratory feel, full of hope and choral melodies. 'Rain In June' is similar, with lovely keys racing down and 'I Remember You' then slips into something deeper for later in the evening but still with those churchy bells up top.

Review: Tricky, textural minimal once again from All Day I Dream, delivering another EP from their mainstay Greg Nairo. 'Omala' sonically expresses the deft inner workings of a jellyfish; pulsating and pushing through the abyssal waters comes 'Phyla', with its white noise sweeps and plucky stabs conveying a near-oceanic sense of curiosity. An ambient version of the former track 'Bhurma' makes the B; this is mover music for deep-sea-dwelling Drexciyans on vacation.

Review: London's All Day I Dream label has been using clouds on its EP covers since its first release in 2011. The latest huffing of the vapours is a cumulonimble EP from Noraj Cue and Anton Tomas, two dreamy and deft masters of texture local to the label. The track Cue contributes to the EP, 'Ode To Life Formation', is impressive, with an ear-caressing bassline taking centre stage as echoic blips and cuts float around its suspenseful stasis. The remixes on the B by Tomas add trembling wind chimes and additional melodies to the mix, overall providing a neat coda to the track's vision.

Review: Following accomplished, if arguably overlooked, EPs for Tale & Tone and Akbal Music, Jim Ruder pitches up on All Day I Dream with four more slabs of melodious, atmospheric and soul-enriching house music. Check first the fabulous EP opener 'Final Straw', a full vocal collaboration with Black Soda piled high with chiming melodies, drifting chords, bittersweet clarinet snippets and chunky bass, before admiring the (synthesized) steel pan sounds and beefy beats of 'Rascals'. Elsewhere, 'Los Que Caen' is fill to bursting with sparkling, life-affirming cheeriness, while 'The Cypriot' is an immersive, intoxicating, sub-heavy tech-house wonder tailor-made for heads-down 4AM moments.