Greek DJ, producer and re-editor Alien Disco Sugar has been busy recently, averaging a new EP of disco reworks a month on his Digital Wax Productions imprint. This latest four-track salvo offers many more reasons to be cheerful, not least the spacey filters, sweeping strings and surprisingly Balearic bump of "Jungle Eyes". "So Good, So Right" offers a wonderfully tactile, piano-laden take on the Imagination record of the same name, updating the legendary Larry Levan dub for a new generation. Elsewhere, "Denise" is a synth heavy reggae-disco delight, while the pitched-down "Don't Let Go" throbs, rises and falls in all the right places.
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.
Hull-based Imfromull has been making his name in the re-edits scene this year, with a series of well-regarded digital-only EPs for his Cut a Rug imprint enhancing his blossoming reputation. By and large, his edits use contemporary production trickery well, while emphasizing the original instrumentation and - crucially - killer percussive passages. This latest salvo features no less than nine fresh scalpel works. There's naturally plenty to enjoy, from the heavy disco-funk chug of "Cut Your Motor Off" and the filter heavy disco-soul release of "Janice" - all parping horns, swirling strings and cheeky pianos - to the winding filter funk of "Right On A Street Called Love" and delay-laden late night hustle of "Back In Time".
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.
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.
When it comes to consistent quality, few re-edit labels can match Midnight Riot! Yam Who's label rarely gets it wrong, and the veteran producer has so far given debuts to a swathe of future re-edit heroes. Here he's at it again, offering Tom "TV" Vine a chance to flex his scalpel skills for the first time. Vine delivers four mature, floor-friendly concoctions that range from the Balearic rock-meets-dub disco vibe of "Games People Play" and delay-laden boogie hustle of the decidedly dubwise "Body Movement", to the surging electrofunk-meets-proto-house throb of "Shalama". It's this latter track that impresses most, with darting synths and Prince style fuzz guitar coasting waves of Italo-style arpeggios.
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.
Havard "Hwah" Kvangarsnes is the man behind Stellar Disco, a little-known but well loved club night in Oslo. The Norwegian DJ is also a fearless editor, and here showcases three recent productions on Deadly Sins' Giant Cuts imprint. There's something pleasingly straightforward about the house loops, celebratory vocals and 80s soul flex of "U Got", while "Celebratee" does an impressive job of rearranging a forgotten disco-funk gem - think urgent rhythms, hustlin' P-funk vocals and crunchy funk guitars. There's an even stronger P-funk influence to be found on the slap-bass boasting "Funkyship", whose handclap-heavy groove is the perfect accompaniment to a veritable meteor shower of intergalactic synths and stargazing vocals.
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.
Taken from their summer album Broken Toys, modern day Northern soulsters Smoove & Turrell unleash this instantly hooky number. Galvanised with a life-affirming chorus and chord changes that sound so natural, you'll be singing along by the end of the first listen, it's one of the album's strongest tracks. And it comes with some very strong remixes, too! Ashley Beedle adds his trademark strut and disco bubbles, Opolopo gets his jazzy jack on while The Porters take S&T to the very edge of the cosmos on a ship made of twinkling arpeggios. Beautiful.
Re-edit maestro and disco/house producer Tonbe dons the lesser-used Loshmi alias for this four-tracker on his Disco Fruit imprint. This time out, he's exploring a P-funk/electrofunk flex, delivering Serious Edits that subtly toughen up and rework a quartet of little-known '80s jams. There's a delightfully celebratory feel about opener "Bring Me There", whose jaunty horns, party atmos and synth squiggles are backed by a superbly rubbery low-end groove. There's more urgent slap bass action to be found on the baggier "Fighting For Nothing", while "Wsoop Wsoop" and "Whatever You Do" both deliver heavy, floor-friendly P-funk workouts. In other words, Tonbe delivers all killers, no fillers.
Numbers aren't giving much away about the identity of Deejay Deer - unless, of course, he is genuinely a forest-dwelling animal with a sideline in synth-laden late night house, as their amusing press release claims - but in many ways it doesn't really matter. Both tracks here are superb, with "Natural" offering a fizzing, melodious take on deep house with clear Floating Points, Tiger & Woods and Joy Orbison influences. There's also a touch of Caribou about virtual flipside "Unantural", whose fluid waves of synthesizer and exotic, almost psychedelic chords seductively crash over a wide-eyed, loose-limbed jazz groove. It's impressively produced, suggesting this is the work of a seasoned pro rather than a little-known newcomer.
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.
Vintage Music, Siberia-based producer Sunner Soul's disco and house-leaning imprint, continues to impress with tracks that blur the boundaries between re-edits and original production. This first label compilation - exclusive to Junodownload - does an excellent job in outlining his party-friendly vision, gathering together both heard and unheard productions from himself, Symbol Skrip and The Sunshine Disco Club (his joint project with Banana Lover). Highlights are plentiful, from the surging electrofunk-meets-French Touch of "Baby" (a cut-up of an old D-Train classic) and uncomplicated sweetness of Sunner Soul's own "Disco Action", to the delicious Jimmy Ross revisionism of Banana Lovers' "Pleasure Boat" and the disco-flecked deep house bliss of Symbol Skrip's "You Attract Me".
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.
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".
More from Munich-based Lino "Alkalino" Rodriguez, who, having recently showcased his re-editing and original production skills, delivers a pair of previously unheard remixes. There's a warped, bass-heavy, techno-tinged late night feel to Rodriguez's version of Arno's "Lokalderby", with the Portuguese producer wrapping rave-influenced stabs and late night electronics around a booming, after party-friendly groove. There's a similarly murky feel about Rodriguez's version of Deep Blast & Ricco Rizzo's "Lufthans", with detached electronics and bittersweet melodies riding a shuffling, early morning groove. Both tracks seem designed to be played loud in dark German basements, somewhere around 4am.
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.
Greece's George Issakidis returns to the inimitable Kill The DJ imprint with a second EP of wavy electronics and silky digital beats. The title track "Cherry Red" is a proper groover, where the glitchy percussion sits tighly next to one hell of a bassline, reminding us of dBridge's more recent 4/4 output. There's a few remixes inside, too, where It's A Fine Line transforms the title track into a bleepy, Kraftwerk-inspired number, while Dzir retains the humongous bass conjured by Issakidis albeit for a noticeably deeper turn in the beats and percussion. Brilliant stuff - don't miss it.