Every one's favourite Deborah Harry rap gets a cosmic workshop makeover in Dr Packer's edit of Blondie's seminal "Rapture", the track that opens this sixth Surgery Edits release. Each track of this edition, as is the way with disco edits, hints to the listener where the track originally stem. And for some fun, we suggest you do some digging/guessing to find the origins of productions like "Oh What Wow", the crooning funk of "Just A Little More", and the legendary "One More Time". Light up your next party with the Best Surgery edits release yet.
Fingerman's Hot Digits imprint has always reflected his production style, delivering releases that gleefully blur the boundaries between re-edits, remixes and original material, and blend elements of disco, funk, soul, boogie and deep house. This groovy, warm and floor-friendly formula is much in evidence on this first anniversary compilation. Featuring a blend of previously released gear, exclusives and a bonus DJ mix from Fingerman, Hot Digits: Year One is an effortlessly entertaining collection. There's naturally much to admire, from the subtle house beats and P-funk synths of Fingerman's own "Shine Yo Litez" (a rework of an old Grangers tune), and the disco-funk chunkiness of Groove Motion's "Party Now", to the compressed, dubbed-out disco house madness of Chewy Rubs' "Let It Go".
Veteran UK house act Crazy P (aka Danielle Moore, Jim Baron and Chris 'Toddy' Todd) are back with a defiant new long player courtesy of the Walk Dance Talk Sing label. It's been a few years since we've had a album from the group, and this 11-track-strong effort doesn't disappoint. Highlights include the sumptuous opener, the sleepy disco of "Like A Fool", the slinky and soulful synth odyssey "Echo" and the beguilingly honeyed female vocal chorus of the title track. Walk Dance Talk Sing fits the bill for this Saturday's night party or Sunday morning's chillout soundtrack.
Daniel Leseman and Hans 'Junktion' Peeman first joined forces under the Fouk moniker late last year, delivering an impressive debut EP, First Things First, that skillfully combined the former's jazz-tinged rhythms with the latter's smooth deep house nous. There are plenty more reasons to be cheerful on this debut for Detroit Swindle's Heist Recordings imprint, not least the driving bass, jaunty jazz samples and warm chords of "Kill Frenzy". There's even more soul present on the loose house beats, glassy-eyed vocal samples and rich textures of "Leftys Bar", while "Ken Sent Me Release" is as woozy, wavy and dreamy as you'd expect. Soothing stuff, all told.
Dave Gerrard has been a member of the Chop Shop family for some time, making his first contribution to one of their split EPs way back in 2012. Here, he returns with his third EP for DJ Butcher's imprint, following appearances on Sound Exhibitions and Hot Digits. He begins in sensual fashion, dropping a straightened-out, string -laden head-nodder ("Get On Up") for the slo-mo disco crew. "Say Yes Sir" sees him turn a classic chunk of rabble-rousing funk into a hip-wigglin' house shuffler, while "Shake At The Disco" sees him return to a slower tempo with a killer chunk of horn-heavy disco-funk. He rounds things off with "What You Gonna Dow", a James Brown style funk number given a swinging 4/4 makeover.
Given that this two-tracker is one of Razor-N-Tape's strongest releases to date, it's good to see it coming out digitally at long last, some 6 months on from its initial vinyl release. Lovebirds man Sebastian Doring takes time out from crafting luscious deep house to deliver a pair of similarly warm and sensual re-edits. "Free (Lovebirds Beautiful Rework)" kicks things off, delivering a wonderfully tactile and breezy blend of Balearic sunshine, reggae-disco rhythms and just the right amount of deep house swagger. "Downandchooback (Lovebirds Edit)" is a more traditional affair, with Doring cutting up a familiar disco favourite, extending the groove in all the right places whilst giving the original vocal pride of place in the nix.
Having previously plied their trade on their own eponymous imprint, the We Mean Disco crew join Solid Fool, for another foray into party-starting re-edit territory. As with previous excursions, the So Wot?! EP blurs the boundaries between disco, boogie and house, offering re-edits laden with additional percussion and the latest production trickery. There's plenty to enjoy, from the deep house meets disco warmth of "Dancing Machine" and tooled up, filter-heavy tweak of "Lost In Music", to the baggy, party-hearty warmth of opener "Wot", arguably the EP's stand-out moment.
On the second May bank holiday weekend, the Lost Village festival makes its debut, with the action apparently taking place at a "mysterious woodland village". Moda Black bosses Jaymo and Andy George are doing their best to promote the event, putting together this collection of tracks and remixes from artists playing at the event. Based firmly in the deep house camp, but also boasting tracks that touch on disco, tech-house and more leftfield exploits, highlights come thick and fast. Amongst our favourites are Tiger & Woods lolloping boogie-house rub of Rex The Dog's "Do You Feel What I Feel", Dan Ghenacia's bumpin' "Acid Walk", and the delay-laden riffs and booming basslines of Dusky's anthem-like "Love Taking Over". It is, though, all rather good.
Just in time for the summer festival season comes this gem of an EP from Rio-based Joutro Mundo (AKA DJ/producer Jonas Rocha), featuring a swathe of superb reworks of Brazilian and American disco and boogie gems. The hits come thick and fast, from the straightened-out disco-boogie shuffle of "Danca" and effortlessly sunny "Boogie Da Central", to the acid-laden P-funk tweak of "Bring It Back (Jou Acid Way)", and horn-totin' smoothness of "Dancin Happy". Best of all, though, is "Tanto Tempo", a toe tapping saunter through bass-heavy Brazilian funk territory built around a killer drum break.
Super Value Edits frontman Riccio touches down on the similarly discofied Editorial outlet with four freaky-deaky disco joints in an ultra-sleek, contemporary flavour. "I've Loved It" is a grizzly boogie attack complete with a funky guitar riff and wailing vocals, "Put Some Love In Your Life" is slower, more soulful and utterly sexy, while "Flute" is a wonderful DJ tool that'd go down a storm in any Moodymann set. "Little Drummer" provides something more tropical and this release is seriously recommended for the disco heads!
After releasing Luke Vibert's acid-heavy Ridmik set, Hypercolour boss Jamie Russell asked the Cornishman if he had any disco-flavoured Kerrier District material knocking about. He answered in the affirmative, and 4, Vibert's first full-length under the alias for a decade, was born. Although the project was initially inspired by Black Devil Disco Club's warped electronic disco (and, presumably, the smoother grooves of Metro Area), a decade on Vibert's approach is noticeably different. While the fluid synths, undulating disco basslines and cheery grooves remain in place, the intoxicating depth of the original has been replaced by a cheekiness more readily associated with Vibert's Wagon Christ pseudonym. It is, then, a different beast than previous Kerrier District outings, but no less entertaining.
After putting out three Mixed Bags on Wall Of Fame and other material for Hot Digits, FKR and Editorial, P Sol lands on DiscoDat! His entrance is a laid back one with the lazy Sunday vibes of "You Left Me", while "Six Machine" is amplified funk with trumpeting horns, walking basslines and sassy vocals. "Not Easy" ventures down a soul route leaving the flutey "Harlem River Drive" to seal the deal of a great four-track release.
Tronik Youth's "The Healer", a six-minute EBM gyrator, laced with bleeps, fizzes and a sample of a televangelist delivering a deranged rant, receives a royal treatment of reworks. The Emperor Machine rocks up with a 12-minute cosmic cut of punk-funk, while Danielle 'the King' Baldelli turns in an epic Italo disco rework with help from DJ Rocca. Chris Massey meanwhile goes on an 808-fuelled acid frenzy and Max Jones turns in a darkly cool electro-meets-disco rerub. Awesome.
Given Opolopo's impressive track record over the last decade check his releases on Especial Records, Local Talk, Swedish Brandy and Sick Trumpet for proof. You'd expect this outing on Z Records to be rather tasty and of course it is, with Colonel Red collaboration "The Best" delivering a killer chunk of house-tinged contemporary electrofunk. Full of vintage-sounding synths, classic percussion touches, clipped guitars and wonderful vocals, it's a soulful delight. "Get On Up" is almost as good, offering up a breezy blend of piano house, undulating synth bass and late '80s US garage flourishes. It's the sound of summer - for those enjoy their music warm, positive, synth-heavy and soulful, at least.
LTJ's Hot Groovy label contuniously serves up hot plates of drum tracks that
make the sonic cuisine of other contempory disco labels look like sloppy fast food gruel. This release sees LTJ delivers an ultra sultry "Get Your Groove", a track that should only be danced to when the temperature is hot and the ceiling is teeming with sweet. Alternative cut "To The Disco" also focuses on basslines and drums with a slapping string stab that vamps as hard as Bootsy Collins on heat. Get down.
In Flagranti seem to have a thing for releasing one-track digital singles. Unbelievably, As Fast As I Can is their 36th such release since the turn of the millennium. The Swiss duo has described this one "as a little vintage slow sleaze", suggesting it was recently rediscovered in their no doubt bulging vaults. Interestingly, it's a little baggier, looser and groovier than their usual, often forthright fare, with woozy, Moodymann/Seven Davis Jnr style vocals riding a head-nodding, live-sounding groove. There are some neat touches, of course - sparkling synthesizer melodies, sweet strings, additional percussion hits - but it's the blazed feel of the track that makes it so addictive.
Portugese edit hitman Alkalino drops two new cuts on his home label Audaz, and it seems he's in the mood for some deep and mystical house servings this time around. "Dancing With Somebody" is a true groover, a chunky dance arrangement surrounded by loopy R&B vocals, while "Dance To The House" is distinctly old-school in flavour, a mid-90's joint that has been reworked and twisted into a more contemporary disguise.
Most commonly found dwelling in his spiritual home of Circus Company, French-Canadian artist Guillaume Coutu Dumont now sidles over to Freerange Records with a three-pronged salvo of bubbling grooves for those who like their house jams funky as hell. "You Lost It" uses a dynamic set of percussion at its core, and then proceeds to take its time in unfurling woozy organ lines around the drums for a perfectly simmering cut. "Doughnut Jam (Who Took It Out?)" has a snappier edge with its peppy tempo and anthemic chord lines, before "Sutra" cools proceedings down into a thoroughly deep concoction that spreads itself out over eleven minutes of mystical house enchantment.
Some quintessential nu-disco vibes here courtesy of Lord Funk, with two low-slung burners just in time for summer. "Your Love" leads the charge, and at 108bpm it's clearly not a charge that's in any particular rush. No problem there though, as it's a dreamy, meandrous groover full of balmy sensuality. Things perk up however when Funk couples up with heavy breather Ginnie Watson for the saucy electro-funk jam "Drive Me Crazy" - a bonkers cacophony of tin pot percussion, snappy snares and samples of old porno.
Given the quality of Jonny Miller's first JM Edits release on Kat last year, hopes are naturally high for this belated follow-up. Pleasingly, both tracks are stunning. A-side "What You Did" is particularly impressive, with Miller cutting up Chaka Khan's "What You Did", rearranging it, adding delays and subtly beefing up the bottom end to deliver a superb new take on a soulful disco gem. Miller takes a different approach on the flip, delivering a deliciously stretched-out version of Dionne's "Come & Get My Lovin", a 1988 house gem that was once an anthem at the Hacienda. Seemingly taking bits from both the dub and vocal versions, Miller turns in an anthem-like 10-minute reconstruction.