Paper Recordings' reputation precedes them in house circles. Now however, they've bitten the bullet and dived into the deep end of the disco pool with this compilation (on sub label Paper Disco) of current nu-disco producers and edit heroes. It's a brave comp that tackles every interpretation of disco, including 2 Billion Beats' deep '80s synth groover "See Us Through", Richard Seabourne's bizarre funk-goes-doomy 303 workout "This Is Acid" and Mezman's bass heavy, dream-pad odyssey. We're looking forward to plenty more disco thrills from this new stable!
It's three years since Craig Smith and Graeme Clark impressed with One Night In The Borough, a landmark album that epitomized all that was good about the cut-and-paste, disco-sampling deep house scene of the time. This sophomore set offers more of the same, delivering tracks that ride a range of tempos in their trademark deep, loopy, hypnotic and pleasingly baggy style. While there are plenty of surprisingly supple, heavily electronic uptempo cuts on offer (see "Feel", the disco rush of "In Your Arms" and the classic, Frankie Knuckles-ish US house of "Read My Mind"), they're still at their best when operating at a slower tempo, as the deliciously jazzy "Walk Away" and sensual throb of "Through The Night" neatly prove.
KS French spreads the love for his latest French Kiss release - gathering an all-star cast of re-edit dons to share the load over these six tracks. Never just content with straightforward editing, French Kiss releases always add extra production techniques to the loops, creating something fresh in the process. Highlights here include KS French's own "Money We Make It" which cleverly incorporates a Marvin Gaye vocal into a deep funk shuffle, the loopy, phased guitar heaven of P Sol's "Feel Me Baby" and the tough, stomping warped disco house of "Another Wish" by DJ Moar. C'est bon!
Alien Disco Sugar sounds like the kind of thing we'd like in our tea: "two lumps at least please!". Here we get a bunch of slick disco rejigs evenly divided between the '70s and '80s. "Gimme Your Love" and "African Love Song" cover the former with rolling soulful grooves and raw, Afrocentric gospel-funk respectively. Then we hit the '80s with "Records Keep Spinning" reworking "Last Night A DJ Saved My Life", and Gino Soccio's masterpiece "Dancer" getting a glorious extending.
Dynamicron's Los Grandes label is fast becoming one of the more reliable sources of contemporary disco. Their Black Lace compilations, which feature tracks that sit somewhere between straight-up edits and disco-tinged house productions, have proved particularly popular. There's predictably plenty to enjoy on this sixth instalment in the serious, from the righteous rubbery bass and space synths of Sunner Soul's "One Game" and heavyweight Italo pulse of Nicko's "Electronic Disguise", to the bouncy cut-up disco house antics of Mr Moustache Love's "El Coca", and Plastic Fantastic's dreamy downtempo gem "Beyond The Horizon". While the latter stands out like a sore thumb next to such boisterous dancefloor fare, it arguably provides the album's most startling moment.
The much-loved Chopshop label is back with four more saucy retakes for your aural pleasure. Label boss DJ Butcher kicks off proceedings with the shimmering bass odyssey of "Paradise", and next is JMRS' new cover of The Stones' "Miss You" which livens up this disco-rock classic with perky guitar and a Lionel Richie-esque vocal, finally the slinky female fronted funk of "Good Time Groove Train" leads us into Ronin's stormin electro-disco remix of "Miss You" - easily the coolest joint on this excellent EP.
It's some 11 years since New Orleans deep house producer Walter Jones made his debut for Westbound Music. His releases have been sporadic, to say the last, since then, but there have been some superb highlights (check 2004's Fade Inn Moments EP, or his deliciously Balearic 2009 single for DFA, I'll Keep On Loving You). Here he pops up on Munich's ever-consistent Permanent Vacation imprint with four chunks of luscious house. Choose between the enveloping pads and undulating bassline of "Heaven's Gate", the twinkling Balearic breeze of "I Am", the Revenge-ish slo-mo pulse of the flute-laden "Lower Chakra Safari", and the deliciously percussive, disco-tinged deep house pump of "A Night In Newark"; all are pretty darn hot.
Veteran Austrian house DJ Pariz (aka Senor Manolo) has been causing a commotion with his label We Mean Disco! Here he welcomes the legendary RLP to the fold. This man arrived in Paris from Canada back in '83 and has been serving up the freshest house and soul music ever since. This EP boasts six mighty rare groove re-edits including his breaky take on The Mohawks's perennial favourite "Champ", a choppy, sample-heavy retake of Rufus Thomas' "Itch and Scratch" and a teased out, percussion-heavy version of "Scorpio" by Dennis Coffey.
Internasjonal's refreshingly worldwide focus continues apace here with a comprehensive label debut from Belgrade-based musician and producer Nenad Markovic. Despite high profile names like Mark E, Hunee and Mano Le Tough appearing on the label, Internasjonal has largely been a platform for unheralded talent to shine and Markovic certainly does that with Kayto. This album presents the eminently talented Croatian to have a true mastery of his instruments and a production style that is effortlessly contemporary in its approach to disco. The bugged out jazz house of "Theme" and the Balearically inclined "Weather" are standouts on a fine debut release.
Having first dropped on fluorescent yellow vinyl back in November, Dirtytwo's baggy, string-laden Razor 'N' Tape debut, "The Remedy", finally makes it to digital download. The original - a tactile US garage-influenced deep house take on Diana Ross's disco classic "Love Hangover" - is joined by a quartet of similarly classic-sounding remixes. DirtyTwo throw in a few more original disco elements on their TwoDirty Remix (which, incidentally, also comes in instrumental form), Caserta drops some piano house riffs and booming garage bass on his rework, while Grey Area go all Balearic on their deliciously saucer-eyed version. Finally, Duu Ben sprints back towards the disco on his chunky, percussive interpretation.
Neil "Tronik Youth" Parnell has been fairly quiet of late, so it's nice to see him back in action, dropping an expansive EP featuring no less than six remixes. His original version of "Pain Relief" is fairly typical of his heavily electronic, analogue-influenced space disco sound - all undulating synthesizer riffs, relentless drum machine handclaps, wonky vocal samples and hypnotic acid tweakery. The accompanying remixes vary wildy, but are for the most part rather good. Arguably the highlight is the Hardway Brothers druggy, pitched-down analogue techno take, which continues their run of remarkable reworks. Elsewhere, there's a bubbly, nu-disco meets deep house take from DJ Steef that's certainly worth a listen, and a delicious Pet Shop Boys-go-Balearic (well, kind of) interpretation from Ben Macklin.
Some of the original electronic dance records from the early '80s still sound so ahead of their time that they never stop influencing new generations. "Bostich", the sizzling 1981 electro-disco anthem by bonkers Swiss act Yello is one such classic. With its raw arpeggiated bassline, rolling drums and moody atmospherics, this tune will forever fire people's imaginations and here MB Edits provide a few new modern rejigs of it. Martin Brodin simplifies things by stripping the tune back to basics whilst A Copycat provides both a poppier take and a 'fonkier', percussion-heavy version too.
Friends for many years, Richard Sen and Scott Fraser come together with a dose of mutual admiration and back slapping by remixing each other on this 2 track EP. However, what makes this collaboration different is there are no original versions appearing, just these remixes. By completing an unfinished track of each the other, the pair have taken the respective unarranged music and gone back to their East London studios to, in essence, finish the other's songs in the form a "remix". Known for a myriad of deep electronic dubs in the last few years, Scott provides plenty of surprises with his remix of Richard's Night Navigator. A driving 10+ minutes 'piano-house' opus, the late 80s Italian / Balearic vibrations run straight through his interpretation of that classic Mediterranean sound. Not for long though, as firmly dragging things straight back to the dark and wet streets of Hackney, Richard takes Scott's Ask For Control and creates a tough, percussive, deep dub remix that would propel any basement dance floor through the early hours.
Australian disco-house-electrofunk fusionist Brevil has been a busy boy over the last couple of years; in 2013 alone he released no less than seven singles on his digital-only Electric Larry imprint. Here he delivers his first EP of 2014, a curiously off-beat saunter through contemporary deep house with his usual synth-funk, R&B and disco influences. Check the pitched-down male vocals and odd guitar solos of "High Pressure", or the swung, jaunty synth bass and celebratory disco vocal samples of opener "Give Me The Funk". Best of all, though, is the hypnotic, delay-laden late night bounce of "Brown Love" - a midtempo treat blessed with more classic vocal samples that sounds primed for peaktime plays.
Tom Tom Disco founder Richard Rossa has been part of the European electronic music scene for the past four years, releasing fluid, synth-heavy blends of Italo, nu-disco and deep house on a variety of labels. Here he returns to his own label with a three-track blast of undulating goodness. "Ramvong" sets the tone, offering an attractive fusion of raw analogue synths, live-sounding drums and vivid electronic melodies. "Draco" flips the script a little, focusing the action around a thunderous, rave-influenced synth bassline and wonky riffs. Best of all, though, is Justin Robertson's rework of "Ramvong", which morphs the Stockholm native's breezy original into a head-pounding chunk of acid-tinged Italo-disco.
For all you fans of DJ Ionic's Finnish disco-boogie label Kojak Giant Sounds that missed out on this limited vinyl edit series, don't panic - here's another chance to catch up via MP3. This 11th release sees Pat Les Stache take his proverbial scalpel to the blistering chaka-waka disco rock blazer "The Spirit Rides Again" before dropping some raw, trumpet-fuelled Afrobeat in the shape of "Odeiyolaoo Mambo".
Marcel Vogel's Lumberjacks In Hell welcome the disco master Al Kent into the fold with Yes I Can't. Al Kent is a true original. Not interested in anything but Disco. Dying his hair in a truly unique fashion, to match the sparkle of disco balls and having recently hired an Octopus to help him chop up those records. Both "Yes I Do" and "Can't Stop" highlight the Glaswegian's importance to keeping the true spirit of disco alive, deftly and tightly edited in a manner that would impress Messrs Hardy and Gibbons were they alive today.
"It all started in 1974 with the purchase of my first Mini Moog and another 70's dream machine,
a white Mellotron M 400." So starts Klaus Hoffmann of his 40 years love affair with the Mellotron. Moving from Prog-Rock guitarist to Cosmic Disco warrior in a space of a few years, the birth of Cosmic Hoffmann would
lead to a number of classic Kosmiche albums through-out the 1980s. Before this though came Space-Disco. Initially recorded in 1978 after endless late night sessions exploring the new realms of this free form electronic music, the first incarnation was recorded live to tape for a failed film project. An uplifting spaced-out synth journey, it was the later reworked version that would go on to become the lost cult classic. With added disco syncopation taking the track into interstellar spheres, it appeared only as a flipside of Cosmic Hoffmann's first and last single,
"Weltraumboogie", in 1982. Unfortunately the release did not make much impression at the time but has become highly sought-after for the more leftfield DJ and music lovers in the years since. Now fully licensed and remastered, the inclusion of the unreleased 1978 Original will be only add to the collectors dream.
Longtime fans of Jon Nedza's Gazeebo productions can't help to have spotted his love of percussion; many of his edits and original productions are effectively glorified drum tracks. This is not a criticism in any way, though; for disco DJs with a similar passion for percussion, Gazeebo tracks are must-haves. He's at it again here, delivering two tracks built around bongo-laden live percussion. While the original version of "Mango Moon" - think dense percussion plus a few fuzzy guitars and decidedly spacey, cosmic synths - is excellent, the real killer is the alternative "Drums in Space Mix", which strips the track back to the brilliant beats and a few well-timed cosmic sound effects.
Belgium's Eskimo Recordings has always been unpredictable, though much of their output tends to straddle the fine line between nu-disco and deep house. That's certainly the case here, as Rotterdam-based Eelke Kleijn delivers two solid chunks of house/disco fusion. "Lovely Sweet Divine", with its swirling strings, bouncy bassline, addictive cowbells and sublime deep house chords, is particularly good. In fact, with its brilliant, string-laden breakdown, it sounds like a summer Balearic anthem in waiting. "A Tale of Two Lovers" is deeper, more melodic and almost melancholic. It comes backed with a pleasing Dub that injects a little deep house shuffle beneath its mournful violins and playful melodies.