Sleazy McQueen's Whiskey Disco imprint continues to be one of the more reliable sources of disco and boogie re-edits. Rather predictably, this latest installment in the series is bristling with high-grade dancefloor material. There's some riotous, party-minded disco-funk from newcomer Scott M, who delivers a killer touch-up of Vernon Burnch's "Get Up", and a thrillingly low-slung chunk of rolling disco-house from VinylAddicted and SMQ. While Pontcharain also provides a tightened-up, filter-heavy tweak of France Joli's Prelude classic "Gonna Get Over You" - heavy on the delay, and with the urgent hustle of house - it's the contribution from Canadian stalwart Eddie C that stands out. A smooth, midtempo cut-up of a lesser-known rollerboogie jam, it rises and falls in all the right places.
Serious edit heat from the young Parisian who's always on the Pulse: Three well known funk soul classics, Rhyze's "Relax & Enjoy" gets an upbeat, roof-raising treatment with full emphasis on the instantly distinctive groove. Spinners' "It's A Shame" enjoys a sun-splashed Brazilian treatment while GQ's "Shake" gets a turbo-charged shake-up that makes it more floor friendly than a thick shag carpet. And that's friendly. Get to know.
Serbian disco/house type Tonbe seems to reserve the Loshmi alter-ego for some of his finest reworks; killer edits of often obscure or overlooked material that shows due reverence to the source material. That's certainly the case here, as he works his way through a variety of styles over the course of six suitably hot edits. So, he treats us to some soaring '80s soul revivalism ("Real Love"), jaunty but tight, piano-laden electrofunk ("Be My Love"), surging, high-octane, disco-funk (the string laden madness that is "Depends On You"), and even a dash of punchy boogie-rap (the brilliant "Sad Future", which comes complete with an excellent spoken vocal and some terrifically sleazy sax solos).
San Sebastian-based twosome Jaime Sagastibeltza and Borja Campion have been doing the rounds for sometime, though their releases have been limited (a single on Is It Balearic, and a collection of edits for Los Grandes). Here they attempt to step up to the next level via an excellent, coldwave and Italo influenced chunk of atmospheric, darkroom nu-disco for Nein. The excellent original version - think Brian Ferry style vocals, relentless low register guitars and murky synthesizer arpeggios - is joined by a quartet of remixes. Arguably most impressive is Factory Floor's revision, which blackens the track further via woozy analogue electronics, bongo-laden rhythms and psychedelic melodies. Elsewhere, Rodion goes all macabre acid house, and Reverso 68 turn the track into a surprisingly cheery Balearic disco chugger.
Having previously mined the worlds of disco, boogie and funk for inspiration, Smooth Operators sees the We Mean Disco crew change tack. Instead of their usual, party-friendly fare, we get a quartet of Sade revisions, with some of the sultry singer's finest moments getting the rework treatment. So, Mr Matrix delivers an undulating, super-smooth deep house version of "Couldn't Love You More" (complete with thrilling analogue bass), KidPariz turns "Hang Onto Your Love" into a loopy, mostly instrumental chugger, and We Mean Disco give "Paradise" the sweet, lo-slung, midtempo disco-house treatment. Best of all, though, is Dan K's chunky, sax-laden rework of the anthem-like "Smooth Operator"; a sing-along deep house classic in the making.
Long-term collaborators Pete Herbert and Dicky Trisco once again join forces, this time for a trio of cuts that mark the first instalment of the Paradise Row series. There's naturally much to admire, from the breezy, Latin-influenced keys, Balearic disco grooves and killer vocal samples of "Hanging Out" (think T-Coy meets Reverso 68), to the eyes-closed warmth, tumbling acoustic guitars and chugging groove of closer "Aperol Sunset". Arguably best of all, though, is "Machine 16", a thrillingly upbeat cut that peppers a chunky Balearic disco groove with killer pianos and sweet, life-affirming guitar licks. If cheery, feelgood disco is your thing, you need Paradise Row Volume 1 in your life.
While Lino Rodriguez is clearly a talented producer of original house material, many of his strongest releases are actually those built around creative re-imaginings and subtle dancefloor reworks of vintage tracks. This EP of re-edits is a perfect example. He barely puts a foot wrong throughout, variously turning a 1980s Zimbabwean dancefloor jam into a killer disco/house jam ("Lion of Zimbabwe"), breathing new life into a heavyweight disco smoker ("Shotgun") and tooling up a sweet, early '60s soul cut (the end-of-night brilliance of "Take It Easy"). As if that wasn't enough to get the juices flowing, he also delivers an impressively heavy rearrangement of '80s breakdance classic "Set It Off" (here re-titled "Off").
Copenhagen-based crate digger Ziggy Phunk has built up a big following on SoundCloud for his boogie, electrofunk and '80s soul reworks. Here he pops up on Yam Who's Midnight Riot imprint with a white-hot collection of six of his finest. While seasoned diggers and old heads may spot some of the source material, for the most part he's breathing new life into long-forgotten gems. There's plenty to get excited about, from the breezy piano solos, rubbery bass and bongo-laden grooves of the impeccable "All Night Long", to the clipped guitars, darting synths and Jheri curls of "Every Girl". Arguably best of all, though, is the saucer-eyed, loved-up sweetness of closer "Love You Too Much", a prime slice of yearning '80s soul tweaked to perfection with the addition of some top notch use of delays.
Japanese DJ/producer Kezokichi made quite an impression during his time in London. Now he's returned to Tokyo and launched his own record label, Blindetonation, dedicated to "the disco of randomness - Balearic, drug chug, slow motion and weird vibe". Here, he kicks it off with an expansive compilation featuring a range of well regarded and little-known artists. Naturally, there's much to enjoy, from the sweet, analogue bounce of Jamie Paton's "Keys For Your Keeper (Dub)" and the near psychedelic chug of Tronik Youth's "The Past", to the bubbling electronics and eyeliner-clad melodies of Kieran Holden's "Stubbies", and the twisted, slow motion acid of Duncan Gray's "Kickintrusion".
For their latest compilation series, Sound Exhibitions aren't beating around the bush - from the telling-it-like-is title (Nu-Disco Volume1), to the extremely obvious choices of much of the source material. However these edits are made for dancing and if there isn't even one track that gets your dancefloor moving amongst these 11 sizzlers here, we'll eat our hats. Highlights include the soulful proto-house of "You Can't Hide Your Love", the searing high-energy funk of "Could Be Tonight" (by the amazingly-titled Funk Hunk), and the lean and twitchy "Body Boogie".
Second comings are in the air these days what with the return of both Moroder and Chic. Well, veteran Greek DJ Leonidas was returning before they were(!) and he's been firing out killer re-edits for the last few years under the Alien Disco Sugar moniker. Here we get four new (old) cuts - "Get Over You" is housed up and filtered down electro-boogie, "Love Sign" is a subtle re-tweak of a '90s Prince/Nona Gaye jam, "Music Of Life" is hazy Balearic bliss, and "Keep It Up" wraps on a similar, but slower, and longer, note.
Having previously plied his wares for a wide variety of labels (Nang, Rare Wiri, Disco Volante and Midnight Riot, amongst others), Spanish producer Jaime Rodriguez pops up on Fingerman's Hot Digits Music. It's a rather expansive collection, with the Spaniard variously touching on humid, exotic Balearic disco ("Radio Warrior"), synthesizer-heavy, Italo-influenced nu-disco ("Funk Dank" and standout "Feeled"), and rubbery electrofunk (the D-Train synths and elastic slap bass of "Up Me Pump"). There's also a couple of tasty remixes to check out, too, with Fingerman's re-touch of "Feeled" offering the perfect balance between nu-Balearic dreaminess and tactile nu-disco grooves. Rodriguez and Fran Deeper's tweak of the same track, bristling with shimmering synths, is pretty tasty, too.
Following appearances on Midnight Riot and Masterworks Music compilations, fast-rising electrofunk cut-up maestro Coutel is given an EP of his own on which to showcase his wares. His style - filter-heavy, loopy, smooth and sumptuous - is largely based around chopped-up rearrangements of largely forgotten '80s soul gems, with ultra-slick vocals riding bumpin' grooves, twinkling synthesizer melodies and shimmering chords. It's hugely appealing, and results in some suitably entertaining fare. Highlights include the soulful boogie-house shuffle of "Gotta Have You", the Jam & Lewis style beatbox pop of "See The Light", and "Stop That", a killer loop jam blessed with delicious guitars, simmering strings and addictive vocals.
Warrington-based 80s Child is turning into a one-man re-edit machine, delivering floor-friendly touch-ups of synth-heavy electrofunk, 80s soul and boogie jams on a regular basis. There's naturally much to admire about this third EP for regular home Midnight Riot, from the rolling boogie-house revision of stone cold classic "Flashback" - all carefully cultivated loops, filters and metronomic pulse - to the chiming synthesizer melodies, vocal breakdowns and delay-laden drums of "This Love". Arguably best of all, though, is the heavyweight swing, looped vocals and killer synth bass flex of "Run From My Love", one of his strongest rubs to date.
The notion of Jose Padilla releasing an album on International Feel makes perfect sense, the two go together like Bogart and Bacall. Last year the Cafe Del Mar legend appeared on Mark Barrott's label with Solito and this set the wheels in motion for an album by Padilla that remains under wraps for now. A taste of what is to come arrives in the shape of Day One, a release that sees Padilla working with Norwegian producer Telephones (a man who has his own LP due on Running Back) and it has set opener written indeliably into it's DNA. Few other tracks this week pack as much vivid detail and colour into them as the eight minutes of "Day One" do and Telephones achieves similar levels of magic on his accompanying Club Dub.
To celebrate a quarter century of releases, Katakana Edits has decided to do things differently, eschewing disco and afrobeat jams in favour of a six-track set of reggae, dancehall, ska and ragga reworks from Athens-based ManJah. His formula is simple: take a variety of cuts, and give them a massive boot up the backside to make them more appropriate for contemporary dancefloor plays. In some instances, this means adding toughened-up hip-hop style rhythms ("Kingston Knowing", "Smoking My Ganja"); at other times, he's more interested in the 4/4 shuffle of pitched-down house (the excellent "Raggamuffin"). The results are never less than solid, with the rich, head-nodding sweetness of "Roam" and "Rudies" standing out.
Having previously released on the likes of Clouded Vision and Correspondant, moody French house producer Sebastien Tex is back with "Sway In Stones" on (possibly his own label) Mange Moi. It's all about the dark and sensuous grooves here, with the original being a slow strip-club-at-3am grinder like sleaze disco classic Walk The Night on downers. Remix-wise, Vox Low doubles the length to eight minutes and adds sleazy electroclash vocals, Id!r strips things back to a warped acid beat and Il Est Vilaine Chipati turns in a cool druggy electro-disco version.
Marvin & Guy launch Young Adults' 2015 with a fresh, thrilling three-tracker in the familiarly disco-infected take on house music. The dupo's own M&G edits have now solidified their sound and we can only expect total dancefloor quality from the pair. As expected, Dance Ability certainly doesn't disappoint and their trademark blend of tight loops and acoustic instrument is more prominent than ever! "Dance Ability (The Journey)" is an ultra-deep, psychedelic synth journey accompanied by a relentless 4/4 swagger; "Dancecity" features Athena and goes into a funked-out jazz mode thanks to those cool horns and seductive vocals, while "Dancenergy" picks up the tempo and heads back to the floor...where Marvin & Guy always rule with an iron fist.
Early in 2014, Highlife regulars Auntie Flo and Esa traveled to Cuba to play at the country's biggest music festival. While there, they hooked up with a string of local vocalists and musicians to lay down the first installment of Highlife's World Series. Predictably, it's something of a triumph, with both artists gleefully joining the dots between Afro-influenced drum machine rhythms, traditional Cuban instrumentation and the kind of skewed synths that are such a feature of their work. Auntie Flo's effort is a 13-minute epic featuring the rambling vocals of Eric Eleindro and some snaking trumpet action. It's Esa who steals the show, though, with a dreamy, Balearic-minded cut that sounds like a contemporary update of Hugh Masekela's mid 1980s work.
For the latest release on his Sound Exhibitions imprint, Italian producer Dimitri Ferrari has turned to the mysterious TJ Edit (so mysterious, in fact, that he, she or they don't seem to have any kind of online presence at all). The presented edits are all pretty tidy, particularly "Funky Lady", which bobs, ducks and weaves impressively around a killer slap-bass propelled groove, guttural vocal samples and razor-sharp funk guitars. "Sweat" is similarly funky, with a Prince style swing, synths and bass wrapped round a head-nodding, toe-tapping dancefloor groove. As for "Falling In Love", it's exactly what you'd expect - a tasteful rearrangement of the well=loved Surface track of the same name.