Few producer/djs on the international indie dance scene opitimize the tropical lifestyle as well as JEFFREY PARADISE from the legendary Los Angeles duo POOLSIDE. A standout favorite at summer festivals and daytime rooftops events, Jeffrey has been championing the slow motion disco sound for more years than we can remember and if his latest solo offerings are any indication of what’s in store for us in 2017 we are in for quite a treat. ‘Cruise Control’ clocks in at a blistering 80 beats per minute cruising along with a meandering live bassline, blissed out synthesizers and guitar providing the ultimate soundtrack for a drive down the pacific coast in an open air automobile.. Mezcal optional.

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As summer sets on the west coast in Los Angeles, I’ve found myself on a foreign beach chasing the endless summer in Sydney, Australia. This mix was created daydreaming in the sun soaked white sand with turquoise waves crashing on the horizon. A slow motion summer soundtrack of classics from the near & distant past touched by some of my favorite modern edit wizards to be enjoyed with chilled beverage of choice in hand.

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Adam Santucci aka Air Zaïre best know for his breakout single ‘Sanibel’ ft. Patrick Baker from the heyday of tropical nu-disco has re-emerged onto the international scene with a fresh collection of new productions and edits. His latest remix of Frank Ocean’s second single ‘Ivy’ takes the original’s indie tinged guitars and prince-esque vocals on a tropical journey with proper lush synths, deep bass, playful marimba melodies and a driving re-drum earning it’s way into the coveted ‘must play’ crate for any pool party this year.

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As temperatures rise along the coast, Melbourne based songstress Jane Elizabeth Hanley, internationally known as KIDS AT MIDNIGHT has emerged from her bedroom studio with an emotionally charged new single soaked in reveries of past love. The track features a whirlwind of Hanley’s main and backing vocals channelling the power of 1980’s pop paired with reserved but playful percussion and guitar that has come to define her signature live electronic sound showcased in her Triple J Unearthed breakout hit ‘Survive’ which received massive support from KLP among many other presenters.

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This latest batch of selections for ParadiseULTD.com became really unwieldy. At over two hours long, so many tracks got shelved, and left off the mix before the set had to be wrapped up at that 120 minute mark.

Why? There’s too much music out there! And musically it’s a funny time. Half of the selections reflect summer feelings that we were still catching as we started making selections starting in late August, while others certainly bring the fall chill. First, I offer that almost every month, three New York City based record labels dominate our choices – that being Razor N Tape, Bastard Jazz, and Soul Clap Records (and their sister labels, Crew Love Records, and Wolf + Lamb). So these three will always make the cut with plenty of selections …

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Just as summer is fading in Los Angeles, indie pop champion Van Bobbi delivers ‘Morro Bay’ a beautiful ode to the west coast packed with infectious melodies and sensual percussion. His slick productions and reverence for legendary crooners such as Chromeo and Penguin Prison have made him one of our favorite up and coming live acts to watch out for in 2017.

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Melbourne based producer ROLAND TINGS delivers a truly stunning new single at the onset of summer in the southern hemisphere. ‘Eyes Closed’ builds on the balearic textures showcased in his previous releases ‘Pala‘ and ‘Hedonist‘ while taking the sound deeper into the night with acid house elements and glimmering string sections setting the vibe for an early morning sunrise on the coast.

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In 1986, I got Art of Noise’s “In Visible Silence” LP and you know at this time in my life the only way to make your music mobile was to make a tape cassette of your vinyl. I made a cassette of that album, but it wore out from heavy use in my walkman and in my parent’s car stereo. Blame it on those auto-reverse tape systems. So I made another copy of the Art of Noise album, that cassette wore out, and I recorded another one. And yet another one. This happened over and over again.

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‘What Do Ya Really Want?’ – More Luxxury Tracks.

Los Angeles duo Luxxury, hits us with this disco heater. Falsetto vocals comb through and leave you pondering what you really want.

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Berlin based duo, Tale of Us, gives Bob Moses original, ‘Tearing Me Up’ an edgy spin.

Spine chilling synths guide you as ghostly echoes of the original vocals fade in and out. Dark  beats leave your hear racing as you are led into a thrilling tale.

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Genre-bending electronic music producer, Sam Gellaitry is taking a stab at the El Rey July 7th & 8th. with his new album, Escapism  topping charts and gaining traction, Gellaitry sold out his show on the 8th, but luckily we secured a pair of tickets for you guys on the 7th.

All you have to do is head to our instagram – @Paradiseultd and repost the flyer with the hashtag #Paradiseultdgiveaway.

Tickets are still available HERE.

Sam Gellaitry Flyer 7.7.16 -Tall Instagram

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Sydney Australia’s Juan Du Sol’s first track ‘Cuba’ off his debut E.P. dropping on Sweat it Out Records at the end of this month, is that perfect blend of chill and heat; or as I like to call, low-key banger.
Impeccably composed from the beginning to the end, you automatically get an authentic Cuban vibe from the start.  From the vocal chops to that sweet melody, once it drops you know just what to expect; deep low bass that compliments the rest of the tune along with a bubbly fx sound and a Cuban like whistle, one can’t help but picture themselves with a cuban cigar, top hat, an exotic woman, and an old school car.  Shit, now I want to go to Cuba.
Juan will be going on a national tour in July with stops in:
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Melodic, positive, catchy, synthy, but most importantly SUMMERY, Mateo’s new original is everything palm trees and sunsets are audibly made of.  I just can’t get enough of it and I can’t wait to include it in my own DJ sets all summer long as I see smiles, head nods, and dance moves immediately transpiring.

Mateo really made a statement with ‘On my Way’ and I’m excited to hear more of where this came from in the future!  It sorta, really, makes my heart happy.  =)


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Brisbane duo YesYou have delivered the fifth instalment of their “6/20” monthly mimimix series for your listening pleasure. Each mix is a brief nod to the new wave of artists that are currently inspiring and influencing the duo’s songwriting in some form or another.

“We’re digging on the internet most days for artist to work with so we thought we’d start to share some stuff we come across, artists we really dig. We’ll be working one every month to give an insight into what makes us… us.” – Gav & Jono

Short and sweet; 6 songs in 20 minutes

Tracklist + thoughts from YesYou:

eu-IV – Whatajob
“Such a lounge track. Totally imagine kicking back in a chill club to this.”

James Blake – The Wilhelm Scream (Flybear cover)
“It’s been awhile since a tracks floored us. When that drop hit our faces lit up.”

NxWorries – “Link Up” (Charlie Kim Cover)
“Found this track super hypnotic. Couldn’t help but fall into it.”

TearLand – Move
“Totally got lost in this as soon as you hear that vocal.”

Arona Mane – Loungin
“Caught this a few weeks back. Been getting a good run since. Arona dropped a mixtape with this on it. YOU MUST GET IT (https://soundcloud.com/arona-mane/sets/2096retrofuture)”

Xavier Dunn – Scattered (Chris McClenney remix)
“This remix is just so good. That groove… Every time.”

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All the cats from Gari Safari are making their summer migration to San Diego this Friday, June 24th and it’s going to be extra Amazonian. An event series organized by Anabel Englund, (Hot Creations/Defected), Human Life (Exploited/MadTech/Defected), MontBlvck & Matt Ossentjuk... aka the “Gari’s”. Known for their knack for bluring traditional genre lines with a mix of live performance and DJing, their events begin with an uplifting melodic feel and end with a deep/tech vibe.
Inviting explorers and adventurers to get into character by dressing in their best safari themed gear you are sure to unleash your inner animal.
Coming as part of the summer tour including dates in Denver, San Francisco and Los Angeles – we couldn’t be more excited to meet these cats down by the watering hole.

Sound enticing? Great- Tix are still available for you, so purchase HERE.


/// FRIDAY JUNE 24th /// 9PM-4AM ///



——–>> GARI’S:

/// ANABEL ENGLUND [LIVE] (Hot Creations, Exploited)

Anabel Englund





/// HUMAN LIFE (Exploited, MadTech, Defected, ROLLINGTUFF)

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Matt O 1




/// MONTBLVCK [LIVE] [Diego Cuevas Casale & Jackson Englund] (Gari Safari, ROLLINGTUFF)




——–>> GUESTS:

/// JOZIF (Leftroom, Culprit, Desert Hearts)

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/// HARVARD BASS (Turbo, Saved, Relief, No. 19)

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/// DADON (No. 19, Lovelife, Music Is 4 Lovers)

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/// RYBO & KEVIN ANDERSON (Desert Hearts)








/// PAUL NOLAN (Chapter 24, Sasha)

Paul Nolan




/// DIAMONDSTEIN (Dream Catalogue, InFine)






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Continental records has been on the rise over the past few years releasing tropical tinged indie dance releases from around the world under the guide of Kitsune’s legendary resident DJ and collaborator, Jerry Bouthier of JBAG. Their latest offering from Mexico City’s BLUEHOST holds firm to the tradition with a latin new wave twist and today we have the pleasure of introducing an exclusive cut from the remix EP from Frenchie PALLACE. Best known for his latest collaboration with ZIMMER, Pallace has been on the rise behind the scenes and now in the limelight with a driving house rework best for late nights on Parisian dance floors. In addition to a tempo push, the young producer brings a fiery SM101 bass line that creates a wonderful bouncing energy accompanied by Hammond organ stabs that add a floating emotional feel on the dance floor that anchors the vocal samples playfully throughout. Be sure to snag a FREE DL from the crew and check out BLUEHOST’s ‘We Need You’ EP out now via Continental featuring a dub version and additional remix from Sweden’s COPYCAT available internationally HERE. 

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Leo Islo manipulated our taste buds, daily dropping songs from his new EP Golden Grave last week, and now we’re really salivating over this Portland producer after our little sit down.  Enamored by the release of Co-Exist last year, we couldn’t be more thrilled by the release of his new EP, Golden Grave.

 A true masterpiece of gorgeously produced tracks with immensely relatable messages behind them, the 27-year-old musician clearly holds wisdom far beyond his years.

Hungry for some of this wisdom, we got together with this exceptional man behind the music and asked him a few questions about his EP, his influences and when we will be getting a full album.


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Paradise Unlimited: I always like to start out with a little history on how you got started as an artist. What were some of your highlights and downfalls that got you to the artist you are today?

Leo Islo: I think what got me into music originally is that I’m exceptionally un-athletic, haha. I literally tried to play every sport available to me in high school and failed fantastically at all of them. My girlfriend at the time was in the contemporary rock class and invited me to sit in. Immediately, I realized that I wanted to be a drummer. From there I went on tour with some older musicians out of high school around AZ. I later realized I wanted to be in complete control over the music, and it evolved from drumming to bass to guitar and finally producing.

I think the biggest “downfall” for me was also what got me into writing electronic music in the first place. After I had graduated, I moved from Flagstaff, AZ to Los Angeles to pursue music. I was feeling unhappy by year two, and it came to a front when all the shit simultaneously hit the fan: I went through a breakup, my band fell apart, my car was totaled, and I was fired from my job all within about three months. I was incredibly depressed, but I felt like it was the universe sending me a sign- “Get out of here and figure yourself out, man.” So I packed up my stuff and moved back home for a couple of months to think about where I wanted my life to go. I ended up moving to Portland because a few friends were making the same move and I needed something new. Once the dust had settled, I realized I just needed to be in the right environment to find my tribe and work on building myself as an artist instead of trying to jump into the deep end right away, and that has made all the difference.

P.U. : This EP starts off on a sadder note with the song Blame, which if I’m correct is about the ending of a relationship but then Golden Grave seems to be about an infatuation with a potential new relationship. Was this your intention with the EP?

L.I. : The EP, in general, is about the dark side of relationships- not just with people, but also with fame and vices. “Blame” is actually about a friend of mine who was getting divorced at the time. We had a heart-to-heart, and I could feel his pain. People my age (I’m 27) are trying so hard to make something of themselves that we often forget to stay connected to the people we love, and I recognized that I was also guilty of that in my own life. It was a moment of clarity and empathy I wanted to capture.

“Golden Grave,” on the other hand, is about a blind pursuit of fame and fortune, even if it destroys who you are as a person. I mentioned it earlier, but I lived in LA, and the experience was a “chewed up and spit out” kind of feeling. I had tried to write about it before, but it always felt contrived until I landed on this song almost four years after the event. I guess to me it’s about realizing that empty validation and material wealth is a thin veneer on a shallow desire, and that life is about more substantial things than dying rich.

P.U. : What does your studio process entail? Are you always writing down lyrics and then laying down a track to put them to or do you find the sound first and write the lyrics last?

L.I.: It’s always different. Sometimes it just starts with tinkering around on my synths or guitar until I find an interesting sound or progression. I have five synths now, and I’ve spent a lot of time tailoring the patches on each one so that they’re as inspiring as possible. It’s really important for my process to be able to pick up a synth and just run with the first thing that comes out, and to make interesting sounds as quickly as possible.

I also record melody ideas and atmospheric sounds all the time, and I have hundreds of them on my phone at this point. Golden Grave came from one of those.

I find that lyrics are typically the last piece of the puzzle. I usually have the arrangement in place before I do my vocal takes, and I take my time to refine each line and how they flow into each other. It’s probably where I spend 70% of my time on a track, honestly.

P.U. : You live in Portland, I’ve always wanted to go but have never been, what’s your favorite thing about your city?

L.I.: Probably the food. It has absolutely ruined me for eating in other cities because I’ve become such a snob about it now, haha. Also the sheer amount of weird and unique things you can do in this city- the largest World Naked Bike Ride is here, for example.

P.U. : Euphoria and Golden Grave have sounds of wildlife used in them if I”m not mistake its birds. Are these specific types of birds and what inspired you to incorporate that into your sound?

L.I.: They aren’t really specific regarding birds (I’m no Ornithologist) but I’ve been experimenting with different “found sounds” the past 2 or so years because I enjoy textures in music and trying to make electronic music more humanized and organic. The point of music, to me, is to create an environment, so it seemed like a no-brainer to start using textural sounds in my music to help create that world I want my listeners to be a part of.

In “Euphoria” for example, you can hear what might sound like a record skipping or weird syncopated claps in the background, and that’s actually me and a few friends walking down some temple stairs in Laos (SE Asia) wearing flip-flops that I recorded on my phone.

P.U. : Tell me what’s going on with your EP artwork. I love the style, but there seem to be a lot of pieces to this puzzle, no pun intended with your record label, but what do all these images mean?

L.I.: When I decided that Golden Grave was going to be the tittle track I wanted just to embody that over-the-top opulence and splendor that I had associated with aspirations of fame and fortune, but with a sort of dark tinge. Death and vices are present, but everything is wrapped in a golden sheen so it can’t be that bad– right?

P.U. : Euphoria seems a little on the R&B side of things to me. Do you have any R&B artists who influence you?

L.I.: The Internet (Syd The Kid), Jessy Lanza, Majid Jordan, and James Blake are all amazing. At the time I wrote that song, I had just discovered a Sevdaliza track called “That Other Girl” and was totally taken aback by it and wanted to try my hand at making my own darker sounds in that same vein.

P.U. : Last track you listened to.

L.I.: Weval – Easier

P.U. : Venue or Festival that you would kill to play at.

L.I.: I’m going to a smaller fest called What The Festival here in Oregon this coming weekend, and would LOVE to play that. Sasquatch is probably at the top of the list, though… that entire venue is gorgeous, and I’ve had so many life-changing experiences there.

P.U. : When can we look out for your first complete album??

L.I.: Not sure yet! I think the rest of 2016 will be devoted to collaborations because I have a ton of other artists asking to do things with them. I’m really happy about it, though, because I learn so much more from collaborations than I ever have from hours of watching tutorial videos. Becoming part of someone else’s process gives you great insight into how you can refine or change your own.


By: Nicole Frederick

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Portland based producer, Leo Islo has gained serious traction with his seamless blend of smooth vocals and celestial beats.

Eagerly awaiting Islo’s EP ( Set to drop on Friday on PUZL Records), our excitement could not be contained with this little teaser. Known for riding a wave of funky, psychedelic synths, Islo’s vocals reverberate with a fluidity that washes over you – and Golden Grave could not be more indicative of this. An upbeat percussion carries a groove factor that will lead you straight to the dancefloor, while solid lyrics keep your feet firmly planted on the ground.



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