For a seventh time, Perth-based scalpel fiddler Dr Packer opens his surgery doors and invites us inside. As usual, his cheery, floor-friendly reworks strike the right balance between contemporary dancefloor chops (beefed-up bottom end, well-placed filters, and so on), and treating the source material with due reverence. Happily, there's not a duffer in sight, and even his reworks of stone cold classics (see Oliver Cheetham tweak "Friday's Enemy", First Choice revision "Love Doctor" and housed-up Evelyn 'Champagne' King stomper "Shame (VIP)") are different enough to be worthwhile additions to your collection. Highlights are plentiful, but check - in particular - the string-laden disco chug of "Ecstasy" and "Nightlife", a thickset '80s boogie rub full of sparkling synthesizers and heavy bass.
There seems to be a real love of classic house around at the moment and Alkalino has dived straight in. "Easy" kicks things off with Alkalino's more organic retake on Rare Pleasure's Let Me Down Easy which was made famous by David Morales. Elsewhere we get infectious, elasticated funk on "Get Up", slinky, low-slung late night grooves on "Kingston Town" and meandering and moody Afro-house on "Drums Of Kenya".
Alien Disco Sugar's last outing was a formidably disco-centric affair, so it's nice to see him switching attention to more Balearic matters - in part, at least - on this latest offering. He begins with the sumptuous sunset grooves of "I Want U (Aegean Sunset Mix)", where tactile nu-disco grooves are smothered in hazy trumpet solos, sensual strings and twinkling pianos. "Why Did You Do It" offers a tightened-up, dancefloor-friendly take of a well-known AOR disco classic, while closer "Set It Off" offers a tweaked, electro-disco revision of Midway's 1984 proto-house classic of the same name. It's something of a sweaty, floor-friendly smasher.
Having previously impressed with a fine outing on his own Deep Sense imprint, Sould Out brings his trademark brand of warm, synth-laden disco grooves to Hotbox Recordings. He kicks things off with the Fernando-ish, live bass-driven boogie-house sweetness of "Get The Funk", before pursuing a more synthesizer-heavy nu-disco sound on "Over Me". "Heartache", the EP's final original moment, is a curious - but hugely enjoyable - fusion of reggae-disco grooves and dub disco panache. The release also boasts a couple of fine remixes. Dicky Trisco gives "Get The Funk" a piano-heavy, bongo-laden tweak, whilst Silver City man Julian Sanza turns "Over Me" into a tactile, cosmic disco treat.
The latest audio missive from the impressively enthusiastic We Mean Disco camp comes from 5 Star Disco Patrol. Little info is available about his/her/their identity, but it matters not; all you need to know is that Disco Police is a decent first outing. The deep house-meets-deep disco flex of "Spirit Of The Night" kicks things off, before the tempo dips on the early Parliament style party funk flex of "Fire Fighters". Punchy disco percussion and steel drum melodies are the order of the day on "Final Path", while "Final Promises" offers an instrumental, flute-heavy disco-house take on Joe Smooth classic "The Promised Land". Finally, there's a deliciously dubby rub of a slow-disco classic previously reworked by the Idjut Boys in the early noughties.
As the nights grow darker and the air turns chillier, the Editorial crew are at hand to make us glow with an excellent selection of glowing disco cuts from five top-notch producers. Highlights include the sea breeze and cocktails vibes of Sunner Soul's "Heaven's Rhodes", its deeper, late night cousin "We Can't Stay" and the slick, bassy shuffle of "Mossa" by Funkyard.
It's been some four years since Conor Wirtanen's last outing on wax, a split release on Public Release with 40 Thieves. This belated return initially appeared on a Jolly Jams vinyl double-pack, and sees him delivering a killer selection of spacey disco re-edits. The source material is, naturally, on the obscure side, and his reworks seemingly stay close to the source material. There's little fluff or filler to be found, just a stream of highly desirable edits. Highlights include the bizarre '80s electro-meets-rock swing of "Power Exchange", the piano-laden stomp of "Bonus Drugs", and the low-slung, disco-funk chug of opener "Sure Thing".
Robert "Robjamweb" Webster's contribution to Editorial's 2014 Love Dubs EP earned him many new fans. Amongst them was Masterworks Music boss Danny "*)s Child" Worrall, who here hands the producer his first solo EP. Webster duly delivers, serving up a quartet of mirrorball-friendly, disco-house re-edits. He begins with the heavily compressed bump of "Lover's Groove", before unfurling the triumphant "Just A Little More" - a rock solid filter-house revision of a Teddy Pendergrass belter. "Like This" makes superb use of swirling strings and bold piano motifs, while closer "Clap Your Hands To The Music" is the kind of disco earworm that will be stuck in your head for weeks.
The fourth release on Bristol's popular Boogie Cafe imprint comes from Laura Ingalls, a fast-rising producer who confusingly also happens to be a man. The Shanghai-based Frenchman kicks things off with "Party Down", a killer rework of the George Duke tune of the same name, that makes great use of the original's rolling piano and tight, bass-heavy groove. There are a few neat production tracks to keep things moving, but for the most part it's a pleasingly reverential revision. Next, he turns his attention to a classic slab of Roy Ayers, turning "Hey Uh - What You Say, Come On" into a sweaty disco-funk treat full of extended percussion breaks and mind-altering instrument solos.
Earlier this year Yam Who's Midnight Riot profiled the birth of Chicago House in their own distinct way, with a compilation of edits, reworks and homages of classics from the raft of artists associated with the label. Chicago is back on the agenda here, specifically the iconic Hot Mix 5 DJ crew consisting of Mickey 'Mixin' Oliver, Farley 'Jackmaster Funk', Ralphi 'Rockin' Rosario, Kenny 'Jammin' Jason and Scott 'Smokin' Silz and their associated label. This 19-track collection features Chi town pearlers from Larry Heard, Ralph Rosario, DJ Pierre and more given the Midnight Riot treatment with all the usual suspects involved.
It seems like an eternity since slow, chugging edits were all the rage. It's good to see, then, that Mantova-based Massimo Vanoni is still keeping the flame alive. The Italian producer's style feels like a slightly less loopy take on fellow countryman LTJ, with the emphasis on head-nodding grooves and tactile disco shapes. There's much to enjoy here, from the pitched-down AOR disco stomp of "Got The Power", and 12-minute boogie chugger "69", to the undulating sweetness of "Deeper", and Italo-influenced, Moroder-ish bob of "Deeper". Judge Funk remixes the latter track, pitching it up to 112 BPM for additional dancefloor pleasure.
Kraak & Smaak seem to be mellowing with age. While they were once renowned for delivered blistering, funk-fuelled breakbeat jams and sweaty warehouse tracks, recent excursions have seen them doffing a cap to soul, boogie and disco. "My Mind's Made Up" is a slick, synth-heavy boogie jam, with Brenice's classic-sounding vocal riding a wave of boogie bass, Rhodes chords, clipped guitars and bubbling electronic melodies. They pay tribute to their own past with virtual flipside "Shiiit", a hustlin' disco-funk workout built around wild organ lines, rubbery electric bass and rolling house drums.
As the matter-of-fact title suggests, Mixing & Remixing gathers together a selection of the finest reworks from hard-working Grecian producer Angelos "Timewarp" Stoumpos. He stamps his now familiar 'nu-disco meets deep house' style over tracks from Quiet Fire, Noetic Nega and Gabriel Rocca, occasionally diverting to pay tribute to funk-fuelled hip-hop (the slick, synth-heavy old skool revivalism of his take on Morlack's "Let's Go Jamming"), and lay down some tougher, more obviously house-centric reworks. Of these, it's his version of "Hr Tichy" by Shanti Roots and Scheibosan - a dubby tech-house chugger full of exotic, Middle Eastern strings - that really hits the spot.
When Favorite Recordings decide to do a crate-digging compilation, they rarely get it wrong. Following recent Disco Boogie Sounds selections focusing on Brazilian and French fare, they've recruited dusty-fingered DJ Waxist to put together a Caribbean-themed edition. Predictably, he's picked some suitably obscure disco, boogie and disco-funk killers. Highlights come thick and fast, from the winding synthesizer lines, swinging disco-funk grooves and intergalactic sound effects of Musicism's "Bermuda Triangle", to the Clavinet-laden shuffle of Eddie & The Movement's "Macho Man", and the hard-wired reggae-boogie business of Barry Bryson's "Going To The Party".
Greek groover Floppyedits has never been one for frivolities, or even track or release titles. The aptly named #4 - which, you guessed, is his fourth EP - features three more nameless, numbered re-rubs, all of which hit the proverbial sweet spot. He begiuns with the woozy, synth-laden disco-funk slow-jam "#1" - all sexually charged vocals, breathy intent and nervous glances - before raising the temperature with the effortlessly sweet, floor-friendly celebration that is "#2". As for closer "#3", it's an impeccable rearrangement of a loose, groovy, disco-funk party jam full of clipped guitars, prominent boogie bass and urgent vocals.
Throughout the latter half of the noughties, musical fusionists 7 Samurai made regular appearances on G.A.M.M and Poets Club Recordings, delivering reworks and original tracks that somehow joined the dots between jazz-dance, dub, deep house, soul, hip-hop and Latin beats. Here the duo returns on France's Favorite Recordings with their first new material for well over four years. Flipside "Cosmic Jam", dedicated to Patrick Forge, is arguably the pick of the two tracks, with rich Rhodes riffs and Herbie Hancock style space synths riding a dubby, rolling deep house groove. That said, Alicia Blue Eyez Smith hook-up "Shake It Up" - a loose, twinkling chunk of cosmic disco inspired dub-soul fusion - is pretty darn tasty, too.
Fresh from releases on Nang and Chopshop, Gloucestershire-based disco/boogie/deep house fusionists Situation pop up on Paper Disco. "Get A Taxi" is arguably one of their strongest tracks to date; a seductive fusion of bubbling P-funk synth lines, vintage electrofunk swing, smooth disco drums, heady vocals and just a little 21st century deep house flavour. Interestingly, it's this latter element that most of the remixers choose to focus on, with Alkalino, Goshawk and Vampire Disco all delivering nu disco-meets-deep house interpretations. Love Drop do things a little differently, serving up a warm, Balearic-inclined interpretation that doffs a cap towards jazzy, early noughties broken beat.
According to his SoundCloud page, Florence, Italy's Mattia Tulioxi "is a good person and a wise guy". Which is all well and good but how about the music, you say? Not bad at all! His latest release for Spain's Golden Soul Records provides us with some cruisey, spaced out, nu disco grooves that fans of Todd Terje or Jay Shepheard will be all over. Starting off with the galactic boogie of "Revolution Zero" he the launches into "Don't Stop" which is actually on a more energised tech house tip with its razor sharp and bumping bassline leading the way towards mad and modulating euphoria. "So What", however, gets back into the cruise control tempo with its smooth arpeggio and sweet melodics backed by a study drummers' beat and a recurring Blaxploitation sample. There's a couple more remixes of this track; Mexico's Molinar stays on the nu disco tip, but gives it more of an uplifting vibe with bleepy synths, while Sweden's Copycat gives it a glitzy, pop-inflected house makeover.
Often in dance music it can take real guts to slow things down. However can really be worth the risk if done right, and that's just what Rucci & Fedeli have done. "Get Up" is nearly five minutes of deep, slow-building cosmic grooves that is to take its time to work a dancefloor. The "Happy Edit" is trippy too but added vocals chants and vibes for extra measure.
Heavyweight Hoy returns to Tru Funk with another clutch of instant party-slappers. "Fonkee Muzik" is a game of two distinct halves: the breezy early 90s rave pads and breaks and a deadly JB-style funk hook. It's an interesting blend that works incredibly well. Further on we douse ourselves in glitter for the unfettered disco dynamite of both "Filtered Luv" and "Disco Hood". "The Love We Have" closes the show on a full emotional vocal tip that's not dissimilar to Pilooski's Frankie Valli edit a few years back. Lovely.