To help turn a Halloween house party into something like the Rocky Horror Show or Michael Jackson's "Thriller" video, let Nude_isco's Night Of The Living Edits scare those trick-or-treaters away. There's jamming horror P-funk from Swifft Edits, '80s pop, rock and disco from 80s Child, a floor-filling edit of Talking Heads' "Psycho Killer", and some Afrika Bambaataa inspired electro from Funk Hunk - with plenty more shocks and horrors to devour.
Following his recent appearance on Smokecloud, Sleazy returns to his Whiskey Disco home to celebrate its 25th release. As you'd expect from McQueen, it's an instant disco funk showdown laced with all manner of well dug sources and sounds. From the tight loop and lolloping bass of "Teeny Lovin'" to the more upfront glitter-sprinkled funk of "In The Year 2014" via an extended, head-turning cover of "Dancing In The Streets", each one of these cuts sparkles with Sleazy's skills and reminds us that Whiskey Disco is still very much on-point with every single release.
York-based Alfa Flite is slowly building a reputation as a purveyor of fine, soul-flecked edits that tiptoe the fine line between deep house and disco. Here, the mystery combo drops a new edit - a sensual, head-nodding and toe-tapping reinterpretation of what appears to be a classic Sade cut. With rubbery bass, unfussy beats, gentle guitars and emotion-rich vocals, there's plenty to enjoy. With a decent amount of compression on the beats and bassline, as well as a surprisingly distant feel about the vocal, it feels primed and ready for dancefloors that like their grooves toe tapping, head nodding and groovy.
The devil has all the best tunes, and it seems that Detroit's Pontchartrain has rustled up a little Faustian pact here just in time for Halloween parties everywhere. On the Devil's Funk EP, we get four naughtily nefarious joints - the tough '70s stomp of the title track, "Monkey See" is a saucy slinker for those blurry later hours, "Afrikan", with its trippy, accelerated, spacey funk rock is the perfect compliment for those whose punch got spiked. Finally "Creatures Of The Night" is a dubby rework of Laura Brannigan's 1984 Italo-disco classic "Self Control" - perfect for dancers who've lost theirs!
Here on Editorial's latest compilation, Waxed: 9, the BPMs are typically low. Nothing wrong with that of course, and Matt Hughes begins things nicely with some dreamy and soft chilled disco on the filtered instrumental "Star System", next up "Girls, Girls, Girls" is probably the perkiest EP track here with a jagged electro funk bassline, taught guitar and string stabs, with its shimmering analogue synths, "Get It Right" is like the sound of a magic carpet night flight over ancient Arabia or something, and finally "Hypnotic Groove" is the token houser - all slow thump and piano loops.
Here's a deliciously simple idea from Matias Aguayo's Comeme label: DJ friendly re-edits of tracks from Russian producer Philipp Gorbachev's decidedly off-kilter Silver Album. Aguayo shows the way, turning the loose and eccentric "Distance" into a heads-down chunk of no-wave house complete with military drum rolls and a whisper of acid freakery. Elsewhere, look out for an inspired EBM style reinterpretation of "Arrest Me" from Optimo man JD Twitch - arguably our pick of the bunch - and a brilliant, slo-mo blend of "New Sound" and "Silver Symphony" from Ana Helder. Oh, and a no-nonsense reinterpretation of "What Do You Need" from fast-rising, former Hot Creations man Danny Daze.
Magnetic Soul's Dab Hand label has been responsible for some seriously good edits of late, with the label owner himself providing most of the highlights. Pleasingly, this latest volume features more tried-and-tested treats for those who like their disco with a little extra oomph. Opener "Tailgate" is something of a dancefloor hustler, with swirling strings and impassioned vocals riding a sweaty, percussive groove. There's more delay-laden vocals to be found on the synth-bass driven, late night thriller "Dream With No Name", while "Don't Tempt Me" revolves around a killer disco-funk groove and sweaty vocal. Finally, "Be Here 4 U" dips the pace and stretches out an intoxicating, string-laden, sax-heavy disco cut for added dancefloor sensuality.
There's something deliciously laidback and sultry about "The Lament", the first collaborative single from Madrid-based producers Tripmann and Sandrobianchi. The track is built around a head-nodding, midtempo deep house groove, but it's the variety of sweet, sensual samples - think eyes-closed jazz guitar solos, bluesy vocals and hazy trumpets - that stand out. Fingerman's impressive remix injects a little extra energy via a sub-heavy bassline, sample cut-ups and heavy, bongo-laden disco percussion. The EP's undisputed highlight, though, is Dynamicron's remix of "Girl", which turns the woozy, sun-kissed original into a stylish, slightly intense chunk of Balearic disco crossed with exotic, new wave-era middle Eastern synth-pop.
Les Diaboliques is a Scottish producer (or as mum knows him, Stuart Evans). Pizzico cite the sense of detachment in his out-there productions as the reason why they love his music so much and who can blame them? The John Coltrane & A Kick In The Eye EP presents four ever-deeper cuts of sublime, groove based leftfield disco jams. Highlights of which include the DFA-esque punk funk of the title track, the spaced out nu-disco odyssey "Jupiter & Beyond" and best of all, the gothy Balearic trip, "Some Far Away Beach".
Disco Tech's re-edit label DiscoDat has earned itself a strong reputation due to its relentless stream of high quality reworks. Here, on the Metropolis EP, they look towards Fritz Lang for some inspiration, but beyond the titles and cover, the mysterious Rare Cuts stick to '70s grooves. There are four tracks to immerse yourself in, with our favourites being the smooth and jazzy soul ballad "Sweetest Pain" and the suspended tension of tight and funky space jam "Get It Up".
Former Silver City man Fernando Pulichino seems to be mellowing with age. Having previously explored punk-funk, nu-disco and deep house on his solo releases, he's now switched his focus to dub-influenced, slo-mo Balearic synth-rock. Many of the old trademarks are still present - think rubbery live bass, fluorescent, vintage-sounding synths and unfussy beats - but are here joined by fuzzy guitar solos and an evocative vocal from guest star Fiorucci. It's a potent blend, reminiscent of early '80s cosmic rock with a little more nu-disco nous. The original vocal version is joined by a delicious Extended Dub, which impressively stretches out the infectious, head-nodding groove.
Vancouver's Darren Woodhead (aka Woodhead) claims to be a "West (Canadian) coast institution". We can't vouch for that, but we do know that he switched from touring in many popular punk bands, and this shift to disco has so far been very successful indeed. His latest offering, The Music EP, features four new tunes to get your chops round: the slo-mo funked-up house of "The Music", the party-fuelled clap-along "On The Floor", the smooth and lush boogie bomb "Electricity" and finally the contemplative, emotional funk of "Crazy Motion".
To some soul music became super artificial in the chrome and carpet world of the mid-80s. Thankfully Spanish producer Mr Absolutt isn't one of those people and neither are we. This single dives head first into the aforementioned world with aplomb: "Playmates" is all snappy drums, clean guitar licks and fizzy synths, "Sweet Heat" is boogie with some killer electro-bass for extra kicks, "Touchdown" has that more pop production of that era sounding more than a little bit like Luther Vandross and "You'd Better Not Fool Around" ends on a laser-funk high.
KS French either has a ridiculously large archive of edits, or he works unfeasibly fast. Either way, the Paris-based producer has put out a staggering amount of music this year; unbelievably, Super Groove V2 is his 31st EP of 2014. Happily, his knack for creating floor-friendly edits has not deserted him. The expansive, bass-heavy Curtis Mayfield rub "Tuerie II" is particularly potent, while there's a sweaty, low-slung sensuality to the head-nodding grooves and electric vocals of "Hot Night Tool". Best of all, though, is "Touch Me", a filter-heavy disco-house rework of Space classic "Carry On, Turn Me On". It's subtly done, but sounds like a guaranteed floor-filler.
Madrid's disco don Rayko, is back on his own label for some pastel coloured edits on Rare Wiri Feelings Vol 1. Unbelievably he's tackled Frankie's '80s disco-sex-punk anthem "Relax" - possibly the most re-edited/bootleged '80s tune ever. However he turns it into a smoother electro-house workout, which largely works. "Dare" sees Linndrum fills compete with elastic slap bass resulting in a mid-80s Miami freestyle showdown and finally Hall & Oates' classic "Family Man" gets dubbed out in fine style.
Given the abundance of krautrock influences and cosmic synthesizer sounds on the Vermont debut album (simply titled Vermont), Prins Thomas was the natural choice to provide remixes. Here, he puts his typically cosmic, space-leaning stamp on three tracks from Dani Plessow and Marcus Worgull's much-hyped set. First, the Full Pupp boss delivers a chugging, hypnotic version of "Dynamik" full of rising and falling electronics and fizzing techno percussion. A slower, more Scandolearic take on "Elektron" follows, before Thomas memorably turns "Macchina" into a head-nodding chunk of woozy ambient dub. It's this, more than the EP's other dancefloor-focused moments, which really impresses.
ISM has high hopes for this debut EP from male model-turned-DJ Leebo Freeman. It's not hard to see why. The Salford-based producer's trademark sound sits somewhere between cloudy and dreamy, with chugging, chunky grooves and looped up disco and boogie samples mixed with heady chords and warming, sun-kissed melodies. It's a blend that regularly produces playable material, from the hazy, slo-mo bump of "Sunset 'N' Swang" and instrumental Balearic pop of "Midnight Cap", to the deliciously bright and immersive "Cocktail Haze", and cut-up disco fluidity of "Hot Ways". His debut album, due soon on On The Fruit Records, should be worth checking.
Following well-regarded outings on Unterton and Delsin, Gerd Janson and Philip Lauer bring their Tuff City Kids project to Prins Thomas' Internasjonal imprint. Predictably, there's much to admire about the Parallel Forest EP, not least the wide-eyed electronics, disarming effects and analogue deep house shuffle of "PF01". There's more vintage electronics and ear-pleasing melodies to be found on the acid-influenced goodness of "PF02", while "PF03" sounds like a long-lost demo for a late '80s deep house/synth-pop crossover (minus the vocals, of course). If you're after something a little more gritty, head for "PF04", whose sparse but intense arpeggios, analogue beats and intoxicating electronics recall the more experimental end of early Chicago house.
Oslo boys Trulz and Robin are hardly newcomers, having released their first EP way back in 2000. Even so, Sol marks their debut on one of Norway's most influential labels, Prins Thomas's Full Pupp imprint. The title track seems tailor-made for the label, with sun-kissed synthesizer melodies and attractive, Scandolearic style electronics wrapped around a chunky, Italo-influenced groove. Like so many releases on Full Pupp, it sounds distinctly Norwegian - the kind of record you'd expect from Blackbelt Anderson, Magnus International or Telephones. Thomas remixes, delivering a wonderfully saucer-eyed ambient interpretation that could soundtrack a thousand sunsets. Finally, "Froskelar" sees them saunter off in a different direction, attractively fusing Norwegian disco and dub house in the grooviest of ways.
Nicholas 'Geena' Molina is becoming something of a go-to man for Quentin Vandewalle's Antinote label. The curiously titled On The Top of Deep Heated Fern is his third EP for the label in less than 12 months. As usual, it features tracks that blend raw, Chicago style jackin' beats with fluid, Balearic-minded electronics and a heightened sense of new age electronics. There's naturally much to admire, from the thumping, techno-style rhythms and woozy chords of "I Gotta Wear Shades", to the deep Detroit electronics and spine-tingling breakdowns of "Lunar Substance" and the curiously wide-eyed "Gamma Sector", whose dreamy, new age melodies mask an uncompromising groove.