{"id":201922,"date":"2025-01-27T14:51:12","date_gmt":"2025-01-27T13:51:12","guid":{"rendered":"https:\/\/btf.it\/?post_type=product&#038;p=201922"},"modified":"2025-11-20T15:06:14","modified_gmt":"2025-11-20T14:06:14","slug":"peaceful-sound-for-broken-minds-copia-3","status":"publish","type":"product","link":"https:\/\/btf.it\/en\/prodotto\/peaceful-sound-for-broken-minds-copia-3\/","title":{"rendered":"ECHOES OF ITALY &#8211; EARLY 90s HOUSE VIBES \/ Vol. 1 &#8211; Artists in Wonderland"},"content":{"rendered":"<p><strong><em>It is a human and artistic adventure made up of craftsmanship, passion, and continuous exchanges between high culture and pop tensions, that of Italo-House. A story of laboratories, sound workshops where the fascination for new technologies and the infinite possibilities they offered, is often mixed with the rigour for classical scores, the result of academic studies at the Conservatory. A story that is then intertwined with that of the \u201cbalere\u201d, the places for dancing and socialising, where dance was not only an opportunity to stage a whirlwind pursuit of hedonism, but was born out of the desire to make a community, to meet, to discover a new family, that of the night, often more welcoming than the original. &#8211; <\/em><\/strong><strong><em>Pierfrancesco Pacoda<\/em><\/strong><\/p>\n<p>* * *<\/p>\n<p><strong><em>If Paradise was half as nice\u2026<\/em> by Fabio De Luca<\/strong><\/p>\n<p style=\"font-weight: 400;\">Googling \u201cparadise house\u201d, the first results to pop up are an endless list of European b&amp;b\u2019s with whitewashed lime fa\u00e7ades, all of them promising \u201c\u2026an unmatched travel experience a few steps from the sea\u201d. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the \u201cparadise house\u201d we\u2019re after, we have to scroll even further down. Much further down.<\/p>\n<p style=\"font-weight: 400;\">It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an \u201con a budget\u201d version of the best Seventies disco-music \u2013 Philly sound made with a set of piano-bar keyboards! \u2013 the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct \u201cphysical\u201d component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, F\u00e9lix Guattari, Paul Virilio&#8230; Both those genres \u2013 we would learn shortly after \u2013 were born in the black communities of Chicago and Detroit, although listening to those vinyl 12\u201d (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.<\/p>\n<p style=\"font-weight: 400;\">Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster&#8230; Boom! From the dancefloors \u2013 the London ones at least, whose chronicles we eagerly read every month in the pages of\u00a0<em>The Face<\/em>\u00a0and\u00a0<em>i-D<\/em>\u00a0\u2013 came tales of a new generation of clubbers who had completely stopped \u201cdressing up\u201d to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of\u00a0<em>Strings of Life<\/em>\u00a0rose up through the fumes of dry ice (certain \u201csmiling\u201d pills were also involved, sure). At this point, however, we must move on to Switzerland.<\/p>\n<p style=\"font-weight: 400;\">In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called \u201cMorandi\u201d. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the\u00a0<em>Nude Tour<\/em>\u2026 The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&amp;B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&amp;B. The title was\u00a0<em>Alone<\/em>: Don Carlos would explain years later that it had to be intended both in the English meaning of \u201cby itself\u201d and like the Italian word meaning \u201chalo\u201d. That wasn\u2019t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand,\u00a0<em>Alone<\/em>\u00a0was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the \u201cjunk modernity\u201d section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.<\/p>\n<p style=\"font-weight: 400;\">No one knows who was the first to call it \u201cparadise house\u201d, nor when it happened. Alternative definitions on the same topic one happened to hear included \u201cambient house\u201d, \u201cdream house\u201d, \u201cMediterranean progressive\u201d\u2026 but of course none were as good (and alluring) as \u201cparadise house\u201d. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and ineffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (\u201cMusic perfectly adept at going nowhere slowly\u201d as noted by English journalist Craig McLean in a legendary field report for\u00a0<em>Blah Blah Bla<\/em>h magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.<\/p>\n<p style=\"font-weight: 400;\">For a brief but unforgettable season, in Italy \u201cparadise house\u201d was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year\u2019s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time \u2013 thanks to its sons and daughters \u2013 the wild side of industrial modernity. The clubbers of the so-called \u201cfuoriorario\u201d scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Aug\u00e9!) \u2013 old dance halls, farmhouses and business centres \u2013 transformed for one night into house music heaven. As Marco D\u2019Eramo wrote in his 1995 essay on Chicago,\u00a0<em>Il maiale e il grattacielo<\/em>: \u201cFour-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (\u2026) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred\u201d.<\/p>\n<p style=\"font-weight: 400;\">\u201cParadise house\u201d perfectly understood all of this and turned it into a sort of cyber-blues that didn\u2019t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then \u2013 as we would wholly realise in the decades to come \u2013 was fully inhuman and heartless. A world where we were all\u00a0<em>alone<\/em>, and surrounded by a sinister yellowish\u00a0<em>halo<\/em>, like a neon at the end of its life cycle.\u00a0But, for one night at least, happy.<\/p>\n&#13;\n<p class=\"wp-block-paragraph\">* * *<\/p>&#13;\n&#13;\n<p class=\"wp-block-paragraph\">Tracklist:<\/p>&#13;\n<p>A1 Progetto Tribale \u2013 The Sweep<br\/>A2 Onirico \u2013 Echo<br\/>A3 Open Spaces \u2013 Artist In Wonderland<br\/>B1 Alex Neri \u201cThe Wizard\u201d (Hot Funky Version)<br\/>B2 M.C.J. feat. Sima &#8211; (To yourself) Be Free (Instrumental Mix)<br\/>B3 Mato Grosso &#8211; Titanic<br\/>C1 Dreamatic &#8211; I Can Feel It &#8211; (Part. 1)\u00f9<br\/>C2 Carol Bailey &#8211; Understand Me (Free Your Mind) &#8211; (Dreams Piano Remix)<br\/>C3 The True Underground Sound Of Rome feat Stefano Di Carlo \u2013 Secret Doctrine<br\/>D1 Don Carlos &#8211; Boy<br\/>D2 Lady Bird &#8211; Jazzy Doll &#8211; (Odissey Dub)<\/p>&#13;\n","protected":false},"excerpt":{"rendered":"<p>2LP exclusive compilation of 90s Italian house music \/ 1st in a 2-volume set, includes inner sheet!<\/p>\n","protected":false},"author":37882,"featured_media":201924,"template":"","meta":{"_acf_changed":false,"_uag_custom_page_level_css":"","advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":""},"product_brand":[],"product_cat":[31977,31951],"product_tag":[],"class_list":["post-201922","product","type-product","status-publish","has-post-thumbnail","product_cat-disco-dance-en","product_cat-electronic-music-en","pa_artista-various-artists","pa_format-2lp-en","pa_label-space-is-the-place-space-echo-jungle-fever-en","first","instock","purchasable","product-type-simple"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Various Artists - Echoes of Italy\/Early 90s House Vibes Vol. 1 \/ 2LP - BTF.IT<\/title>\n<meta name=\"description\" content=\"2LP exclusive compilation of 90s Italian house music \/ 1st in a 2-volume set, includes inner sheet!\" \/>\n<meta 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