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Disco/Nu-Disco |
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$1.49
On its original vinyl release in early 2011, No More Hits Volume 1 offered an early indication that there was more to Italian producer Nicholas than we'd previously thought. Before this three-track EP landed, we had him down as a slo-mo disco/house fusionist - a kind of Euro-Revenge with a more obvious love of soul. No More Hits Volume 1 delivered reworks of forgotten gems in a slick soulful house style that displayed a deep knowledge of 1990s US garage. If you missed out first time around, this digital reissue is well worth picking up, especially for the sassy, sunny-day vibes of colourful closer "The Way".
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New on California's Cordovan label, GSUB's "Hudu" is a sleek UKF/grime banger that will seriously get under your skin despite its relative simplicity. After introducing itself with some tropical snares and tight bass hits, it breaks into a zombified Eastern horn riff which sets about transforming the tune. With the percussion handled just right with Roska-esque clarity, there's little not to love about the original, radio mix and dub versions that make up this very tasty single.
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The esteemed Dikso imprint presents the sixth edition of their Super Sound Singles series with quite the all-star continental line up. Representing Portugal is the prolific and magnificent Social Disco Club, whose "You Got To Stay" nestles nicely between house and disco, whilst Kitano's "For The King" plunges deep into the chugging, bass heavy house refrain. Soho 808 are on top form at the moment with appearances on Wurst and Mystery Meat and their return to the Super Sound series is magnificent. "Turning Slow" features the Ditto style vox of Lydia Caesar and present a near flawless contemporary update on the classic disco sound. The excellently named Satin Jackets close this release with aplomb on the twilight tinged "Girl, Forever".
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If, like us, you're still getting pain pangs from Dissident withdrawal symptoms, the recent spate of digital reissues from Andy Blake's long-gone label offers some relief. The latest cut to get dusted down and re-released is "The Bounce", the seventh track from Blake's own Control Voltage project. Despite its vintage - it originally appeared way back in 2008 - "The Bounce" has lost none of its power. Like much of Blake's work since - and the musical direction of his World Unknown night and label - it offers an uncompromising, twisted take on late night acid house. Its energy and ragged, analogue sound recall not only Phuture 303 and Virgo Four, but also the darker fringes of Detroit techno.
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Since dropping his debut single in 2007, Eli Escobar has proved himself adept at changing with the times. His inspirations may change - from house to disco and back again - but his insouciant attitude remains the same. "Work It" is undoubtedly a fun record. The title track captures the spirit of hip-house and uses it as inspiration on a fearlessly cheeky cut that sits somewhere between nu-disco and shiny electronic house. Vocal cut "I Believe" goes even bigger and shinier, turning into a techno-tempo nu-disco workout with all manner of layered synths. "KOD", meanwhile, sounds like a nu-disco producer's take on classic Masters At Work - all bumpin' grooves, twinkling synths and impeccably soulful vocals.
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Canadian disco deviant Gazeebo returns with the third (count 'em) instalment of his well-respected Adults Only series. This time round, there's no overdubbed groans, just a heavy dose of contemporary electrofunk that gleefully joins the dots between original synth disco, Italo and noughties nu-disco. The bottom end is heavy, the beats snappy and the synths authentically vintage. Orlando-based Whisky Disco man Sleazy McQueen provides the standout remix, upping the tempo and adding some swing to the beats on a swirling, funk-laden nudisco take. There's also a delightful blast of Italo campness in the form of Zoe's Raygun Remix - the most markedly different of all the included revisions.
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Second time around for 78 Edits' excellent Been A Long Time EP, which first appeared on Giant Cuts last summer. The title track is arguably the best 78 Edits cut to date, a chunky, midtempo disco/house bumper that wonderfully morphs into a string-laden disco anthem as it progresses. For those whose DJ sets dart between both house and disco, it's an essential purchase. "The Love You Give Me" wanders off on more of a jazz-funk meets disco-boogie tip - whilst, of course, retaining a suitably heavy bottom-end groove - whilst "Unlimited Love" wraps flute-laden samples and filter tracks around a seriously sturdy house beat.
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The Good Times reissue series continues with a fourth selection of joyous gems and Carnival-friendly jams compiled by Norman and Joey Jay. As usual, there's a good mix of the familiar (Aswad's "Warrior Charge", Estelle's anthemic "1980", Bomb The Bass's "Bug Powder Dust" as remixed by long-forgotten French touchers La Funk Mob) and the lesser known (Brenda Russell, the brilliant but often overlooked Ten City cut "Superficial People"), across a dizzying array of styles. From Latin-tinged soulful house, R&B, hip-hop and funk to classic reggae, disco and soul, Good Times 4 barely misses a beat in its pursuit of classy, goodtime pleasures.
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New York based party-cum-label Let's Play House return with their second release. Following a killer debut from Runaway (aka Marcos Cabral and Jacques Renault, the latter of whom runs LPH with Nik Mercer) the sophomore cut comes from The M.E.B., a new project featuring Chicken Lips man Dean Meredith and fellow Londoners Ben Shenton and Tim Silver. Jacques and Nik have called in New York ace Brennan Green and Juno Plus Podcast alumnus Chicago Damn to remix the two original tracks, namely driving Italo anthem "Il Principal" and the slow burning "M5-M6". The pick of the bunch is Mr Green's piano-soaked remix of "M5 M6", which beefs up the original's key refrain for a slab of chunky disco-house primed for use at LPH's legendary NYC parties and beyond.
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Some classic Dissident (R.I.P) tackle available digitally for the first time. Clocking in at just over 11 minutes, it's fair to say that Drumstep is based on epic proportions. The track starts off in an unassuming manner, with hissing percussion lapping up against a gently wobbling bass. Snares flail and hats hiss as de Ritmos gradually adds more detail to the groove, but the killer element is the spaced out vocal sample that hangs over the bass and percussive parts. Like the twist at the end of a Coen brothers' movie, it lends Drumstep a strangely elusively feeling and calls to mind the early noughties minimal house experiments of Ricardo Villalobos and Farben. Long live Dissident!
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Having recently offered up reworks of classic Giorgio Moroder material, Martin Brodin's MB Disco imprint turns to Mike Salta for some original disco grooves. Ironically, Salta's original actually sounds like the result of an unlikely jam session between Mororder, Gino Soccio and nu-Balearic/nu-disco studio bod Peter Visti. It's perhaps fitting, then, that Visti himself provides a remix that balances Salta's pleasing melodies and sun-flecked touches (check the breakdown) with twisted, acid-flecked bottom end. The best reworks, though, come from Swedish production crew Drop Out Orchestra. Both the Dub and Rework (the latter nearly 14-minutes long) offer low-slung electric bass, heady melodies and, crucially, superb percussion.
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