Man like Recloose returns to Delusions of Grandeur, having debuted on the label in fine style with last year's Don't Get Me Wrong EP, and it's a welcome one as It's Too Late is the New Zealand dwelling producer's first EP of 2013! Despite this prolonged absence, Recloose has clearly lost none of the energy that drove his DoG debut, with all three tracks here demonstrating a real vibrancy that will immediately provide a lift for any dancefloor experiencing an element of lag. The title cut bounces along with the sort of finesse you'd expect from a producer of Recloose's calibre, whilst the heavy slab of filter disco "You Just Love You" highlights his arrangement skills. Fans of Cardiology era Recloose should head right to "Backtrack" and bask in its brilliance.
With an intrinsic link to the Futureboogie crew in the live arena, long-serving UK house crew Crazy P bring their broad sound to the label with gusto, maximising on the skills the component member possess. Most apparent of these is Danielle Moore with her arresting croon shining through the most on "Clouds", and also popping up in snippet form on "Burning". There is a spread of different moods at work across the tracks from seedy electro tones on the first track to the sizzling disco flavour of "Virtuality", leaving plenty of room for Outboxx to lay down a blissful slice of keys-rich deep house in their inimitable style.
Last time round, nu-disco producer Valique went all out pop for his choice of re-edit material. Here he's thankfully chosen to explore more obscure material for these six tracks. '70s disco seems to be the main source of inspiration, highlights of which include the futuristic auto-funk of "Machine" (by the Jackson 5), the tightly clipped percussive riffs of "Bear's Holiday" and the sleazy Euro disco of "Still You".
EPs of original material from Terje Olsen are infuriatingly infrequent, but when they do appear they're rarely less than fantastic. Predictably, this two-tracker is a bit good. "Spiral", in particular, is something of a peach, a soaring, wide-eyed, 10-minute rush of appregiated synths, Scandolearic melodies, spine-tingling positivity and sturdy disco drums. It's a bit like "Inspector Norse" after a fistful of happy pills and too many nights spent listening to Lindstrom's Where You Go, I Go Too (check, in particular, the glorious breakdown around the six minute mark). Virtual flipside "Q' is, if anything, even happier, delivering a smile-inducing mixture of cheery analogue synths, drawn-out, trance-like builds and tactile electronic grooves. Impressive stuff, as ever, from the Norwegian disco don.
Now based in New Zealand, Reed & Radley learnt their trade in northern England in the early 1990s. That probably explains the unashamed New Jersey garage/New York house sound of both "Keep On" and "Don't Let Me Down". Both are impeccable tributes to the Easy Street/early Strictly Rhythm sound, complete with hip-wigglin' beats, choice vocal samples and fluid chords. "Don't Let Me Down" offers the added bonus of some classic organs and pianos amongst the skipping snares and classic vocal samples. As old-fashioned as it is, it's certainly an accurate tribute. The package is completed by a decent remix of "Keep On" from Shallow Taxi Club, whose "Hard Dub" sounds like Mr G doing NJ garage; an enticing prospect indeed.
Given that "Dust to Dust" is coming out on Dicky Trisco and Pete Herbert's Maxi Discs label, we probably shouldn't be surprised that it's a gorgeously positive chunk of sun-flecked Balearic disco/house fusion. The first single from the previously unknown Professor Angel Sound and the 13th Tribe (not to be confused with the Ninja Tune-affiliated artist of the same name), "Dust to Dust" blends bouncy synths, bubbling bass and saucer-eyed melodies with baggy disco grooves and saucy guitars. "Ashes To Ashes" is similarly sun-drenched, though operates at a slower, groovier tempo. Dicky Trisco and Pete Herbert each remix the title track, with the latter's Reverso 68 style interpretation being the EP's undoubted highlight.
They say that the editor's cut is final, and with this debut re-edit compilation, who are we to argue? It's apparent from the outset that this release is firmly in the party pleasing, housed up end of the re-edit spectrum. Nothing wring with that though, as sing-along anthem "Ai No Korrida" gets a tough boot up the backside by Buzz Compass, "Party Now!" brings some '70s party sunshine courtesy of Alien Disco Sugar and A Taste Of Honey's mighty "Boogie Oogie Oogie" gets subtly tweaked to perfection by VinylAddicted.
For this latest Chopshop release, label boss DJ Butcher has decided to present a smorgasbord of his roster, the prime cuts if you will. Ill Advised presents the fast n' furious raw vintage funk of "Save Me", Leon Sweet's "Wasn't I Your Friend" is slower, more sensual and guitar-led, "Burn It Up" is straight outta the mid 80s with a digital sheen and linn drums aplenty and things wind up nicely with The Silver Rider's eccentric chant of "Baboon".
The Glue got tongues and ears wagging with their debut (solo) EP Love Generator, back in July. Since then things have been quiet, but that's all changed with the arrival of this new eponymous three-tracker, and it's worth the wait! "Pink Ink" is total early 80s Essex electro-soul joy. With added 21st century thumping kick drum, "Something Ain't Right" ploughs a similar field, but relies less on the boogie, instead sounding like an early hip-hop/electro-pop jam. However it's the sublime "Places", all deep, ecstatic proto house that truly mesmerises.
Katakana Edits regulars Timewrap return to the ever-reliable label with another trio of dancefloor-focused reworks. Perhaps the headline attractions are the two alternate takes on Duran Duran's '80s classic "Girls On Film" (here re-titled "Girls on Drugs"). Both versions (vocal and Dub, the latter of which is our pick) make much of the original's restless punk-funk bassline, tough (but tasteful) new drums and plenty of delay. Arguably even stronger, though, is "Yakayaka", a stretched out, tweaked and teased version of Monyaka's odd (but essential) 1983 reggae-boogie cut "Go Deh Yaka (To The Top)". Stitching together the best bits of the original and dub with new electronics and even more dubwise effects, it offers an excellent, dancefloor-ready alternative to the '83 12".
Some people aren't really fussed about celebrating their birthday and some other people really like to go all out for the occasion. Gazeebo are most definitely in the latter category, with the past few months seeing an onslaught of retrospective comps to mark their 12th anniversary. Here now is a fourth instalment and the nu-disco heat is still very on! Highlights include the six-minute acid drum break odyssey, "Boogie Monster" (culled from Lets All Chant), the linear electro-funk of "Meet The Beats" and the slightly camp, bouncy electro-disco of "Take It There".
Who'd ever have thought that when the nights grow dark and cold, the exotic disco we turn to for warmth would be supplied by a Siberian producer? Well, it's true, and here, Alexander Chebankov aka Sunner Soul delivers three more sizzlers to keep the frostbite at bay. This time produced without his pal Banana Lover, "Hey" is all laid back and loungey guitar funk, "Mysterious Investigator" is seriously cool bass and bongos driven disco-fizz and "Street Madness" wraps things up with shimmering and golden phaser-heavy looped grooves. Hot!
The slightly shady KS French has developed a strong reputation for himself due to his clever knack of delivering tres chic boogie edits for the likes of Diggin Deeper. This time we get a four new tracks, all sparkly disco cut ups, the best of which include the positive pumping anthem "Keep On", the Nile Rodgers-style disco euphoria of "Heaven Love" and the edgier electro-disco of Mastercue collaboration, "Spend Some Time".
Rhythm Plate's long-await debut album, Off The Charts, delivered in spades, offering a vivid mix of tracks rooted in deep house, electrofunk and disco. Here, some of the album's strongest moments get the once over. There are two contrasting versions of Frank H Carter III hook-up "Not Like That", with Art of Tones analogue-heavy tribute to rave-era house just edging out Hot Toddy's slick, nu-disco-does-deep house take. Demarkus Lewis delivers a shuffling,hip-wigglin' take on soulful Clyde collaboration "Bring It All Back", while James Dexter's version of "Keep A Light On" is the epitome of classic deep house. Best of all, though, is YSE's epic, 12-minute reinterpretation of "Yeah X 10", a glorious fusion of bumpin', low-slung analogue house and strutting P-funk.
If you're going to have a garden it might as well be a disco one, even if it's just so you could answer the question 'how does your garden grow?' with 'pretty disco actually' (should anyone ever actually ask such a thing). The grass in P Sol's garden is certainly disco and the low slung, punk-funky grooves of the title track prove it. Elsewhere we get more sleek, linear and looped edits including the throbbing disco house of "Fool's Paradise" and a mellow take on George Benson's "Turn Your Love Around".
In Fields have returned to early champions La Belle for the follow-up to their acclaimed Blonde Ambition EP for the mighty I'm A Cliche. Throughout the EP the music balances a taught line between pulsation and depth, with the latter usually winning: "On Time" sounds like Yazoo played at half speed on a knackered cassette, "Teeth" is deep, undulating and slightly fragile house, and "The View" recalls the late night spirit of Metro Area. Fkclub turn the title track into early Duran Duran while Brioski strips it back to icy arpeggiated '80s disco.
We can't believe it's a whole year since Madrid's Los Grandes dropped Future Feeling's nu-disco bomb, the Funk EP. Well, Our Nights are keeping its spirit alive by releasing a whole bunch of remixes of lead track, "Skylife"; Fernando gives his old cowbell and voicebox a good workout, Heion goes heavy on the squelchy analogue grooves, L'equipe Du Son brings some killer Chicago jack to the party and Modulaire supplies some stripped back Italo vibes. Also the mighty Dynamicron adds all kind of quirky noises to "Africa's" leftfield disco shizzle.
[Emotional] Especial is the new label from the Emotional Recordings stable. A sub label to Emotional Response, Especial is though squarely aimed at the floor rather than the head. In a similar vain to the limited 4 EPs-only label that was Emotional Relish, it will merge the sounds and styles that influence contemporary electronic producers, taking in new wave, new beat, EBM and proto-house to create something modern. Jamie Paton of Cage & Aviary helms the debut release with Bizarre Feeling. A youth soaking up punk, dub and new wave, the EP acts at times as a homage to the sounds of New Order, The The, Kraftwerk and the then other-wordly machine funk emanating out of mid-80s Chicago. With both Timothy J Fairplay and Scott Fraser aiding and abetting down in the Scrutton Street bunker studio, with keys, guitar and a heavy dose of space echo, plus hypnotic FX laden vocals from Jamie himself, all propel the EP beyond pastische and make the perfect start to Especial.
What a way to start a re-edit label: Dennis Parker (aka Wade Nichols)'s disco classic, "Like An Eagle"! Taking its time to revel in its own greatness, this hazy sunkissed classic now spans over ten minutes! Elsewhere Marathon's Ben Becker also tackles sizzling '70s funk (Tony Danza Experience), The O'Jays classic "I Love Music" and Quincy Jones' immortal "Ai No Corrida". An impressive label debut.
Longstanding Italo duo Crimea X pay homage to the oft-forbidden art of ghost wooing. The result: Two Balearic-minded bliss sessions and two outstanding remixes. "Haunted Love" has a beautiful sense of development. Building up from the mournful, almost Black Strobe-like bass rumbles we're soon treated to a shimmering array of melodic textures and counter chords. "A Present" is much more direct and pounding. Nodding towards the likes of Depeche Mode but with modern Silver City twists, there's a tangible sense of psychedelia coded deep into the spiralling groove. Remix-wise Lauer adds a butt-wrigglingly sexy synth bass to "Haunted Love" while Legowelt flips "A Present" into a classic electro jam. Spookily awesome.