Bestsellers This Week

Review: This two-tracker from the previously unknown Elijah Collins and J-Tee is something of a departure for the usually synth disco inclined Mullet stable. "J-Funk" is effectively a re-edit, although one sliced and diced in the now familiar disco/house style. The original track undergoing routine (scalpel) maintenance is Tom Browne's break-diggin' favourite "Funkin' For Jamaica". While it barely needed a rework, Collins and J-Tee's version is expertly teased and twisted, leading to an excellent drop and veritable explosion of groovery. "Holy Smokes", meanwhile, superbly re-jigs Rick James' P-funk jam "Cold Blooded", turning it into an elastic electrofunk/house hybrid. Like the A, it's simple but very, very effective.

Review: Following a string of well received remix outings, the mysterious but fast-rising Tad Wily returns to Smash Hit Music. As with previous excursions, the three tracks here offer a deliciously dubbed-out fusion of original disco synths, P Funk chops and proto-house grooves, all wrapped up in the sort of unashamedly joyous production that would have oh-so-serious deep housers crying into their achingly fashionable hats. "Tape Love" itself is a riotously heavy slab of P Funk revivalism, while "Lonely Night" fuses the lo-slung bass of classic Chicken Lips with sparkling nu-disco synths. Best of all, though, is "Jack Gone South", a vibrant Paradise Garage throwdown that sounds like a jam between D Train and Frankie Knuckles.

Review: With everyone from Metronomy to Azari & III tapping up Psychemagik for remixes this year, the duo will surely be hot property in 2012, however this release, the second in their series of edit EPs, sees them take the knife to another two lost gems. The name of the amusingly titled "Ass Nation" comes from the presumably misheard lead vocal, which is combined with some low-slung bass guitar, trumpet solo action and heavily delayed guitar licks. "Upskirt" meanwhile is a disco-blues number, whose slow pace is given a rocket fuelled push with some searing, high-octane guitar work, topped off with some cosmically charged sound effects.

Review: 2011 has been a terrific year for the Psychemagik crew, who have provided us with all manner of disco, Balearic and psyechedelic treats - not to mention some slick slo-mo soul in the shape of "Feelin Love". Here they drop a pair of terrific re-edits of unlikely disco jams. First up is "Boogie Drome", a vocoder-heavy country-disco-rock banger than really defies definition. It's gloriously odd, but really rather magic. Flip for "Diamond Star", a thrillingly low-slung chunk of midtempo cosmic rock that recalls such classic 70s/80s disco/rock crossover outfits as the Greg Kihn Band. Proper dancefloor gold for crate-diggin' DJs.

Review: Martin Brodin's MB Disco imprint continues its Giorgio Moroder remix project, with a second set of revisions of seminal disco track "E=MC2". Of the six versions on show this time, the breakneck arpeggio of the A Copycat remix had us suitably hypnotised, while the slow-mo electrofunk of the Divide & Kreate version is worth checking for the impressive vocal tweakage alone!

Review: Given the quality of his dreamy, stargazing synth-wave and nu-disco productions, it was probably only a matter of time before Cosmic Metal Mother ended up on Prins Thomas' Internasjonal label. It's not hard to see why the Norwegian leftfield disco don snapped up "Italian Cowboy". Slow, synth-heavy and almost dizzyingly claustrophobic, it sounds like an experimental take of nu-Balearica. If you liked the looser, distinctly sunnier Windsurf releases on Internasjonal, "Italian Cowboy" should be right up your street. Thomas himself and Stallions provide the obligatory uptempo remixes, the latter delivering a Bobby O-goes-Nu-disco version that simply bristles with masculine intent.

Review: Having previously released six quietly confident releases from the likes of Volta Cab, Trujillo and James Teej, Spanish deep house/disco fusionists Apersonal Records gather together some of their favourite remixes on one extended digital EP. It's a good collection, casually flitting between solid rubs from label stalwarts and notable big name remixes. Of these, look out for Soul Clap's excellent version of Michael J Collins' "Nothing Wrong With Holding On" - a joyous fusion of dubwise bass, drifting sax and sugary-sweet melodic builds - and Mark E's Trujillo rework. This touchy-feely slo-mo builder is reminiscent of the Black Country producer's fine early work on Jigsaw.

Review: Since first emerging at the tail end of 2008, production duo Drop Out Orchestra have proved a reliable source of party-centric disco material. Like many others who originally emerged from the re-edit scene, they've built a career on blending samples, grooves and hooks from original disco and electrofunk records with their own beats and instrumentation. The resultant tracks - edits but not edits, if you will - are rarely less than high quality, as this sprawling collection of their best tracks to date proves. There are 15 dubbed-out disco groovers to enjoy here, including the massive "International Track" and "Man On The Run".

Review: New York's Jacques Renault handles re-edit duties on this latest release for the reliable Let's Get Lost imprint. He opens proceedings with something almost apocalyptic - a cranium-busting re-edit of Armando's acid house classic "World Unknown" (as previously celebrated by Andy Blake and Joe Hart's label of the same name). It's formidable stuff, with ragging 303 acid lines rising and falling incessantly over six heavy minutes. "In The Jungle" offers a particularly percussive take on a long-forgotten New York house gem, before Renault rounds things off with "Bah Bah Jazz", a skippy chunk of sax-laden New Jersey garage circa 1998. Like much of the New Yorker's edit work, it's sleazy and inspiring in equal measures.

Review: In the space of two years Wurst Music has emerged as a label with a blossoming reputation - one that should be considered as much a part of New York's musical landscape as DFA, Environ or Slow To Speak. To showcase the label's credentials, Roy Dank has put together The Wurst Music Ever, a cheekily titled collection of previously unreleased cuts from label stalwarts, new signings and like-minded friends. With 10 tracks covering every aspect of the label's musical approach - vaguely Balearic nu-disco, underground NYC house, disco revivalism and heavy electronic grooves all feature - it's a thrilling snapshot of where the label is at right now Highlights are naturally plentiful. Newcomers Pink Stallone impress with "Help Yourself", a low-end heavy chunk of slo-mo contemporary P-funk that's dirtier than a night in with Prince and a bevy of bikini-clad beauties. Hometown heroes Midnight Magic provide a stunning cover of Native Underground's "Push 4 Love" that recasts the freestyle-tinged original as a loose, dubwise disco gem. Tiago channels the ghost of Patrick Cowley on the Munich Machine-aping "Peanuts", whilst Soho 808 (another promising newcomer) and Great Weekend throw down future house anthems. If The Wurst Music Ever is an indication of what we can expect in the future from Dank's label, it seems the Best of the Wurst is yet to come.

Review: The finest moustache bearer since Selleck rocked the TV as Magnum PI returns. That's correct, Sccucci Manucci drop a long awaited second release on the fledgling imprint, enlisting a premier cast of continental friends to lay down some class A discoteria! Securing the talents of Runaway's Jacques Renault is no mean feat for the self styled "purveyors of fine music," and the On The Prowl boss serves up a beefy disco funk edit in the vein of his killer Public Release twelve from last year. In support, a cast of rising UK talent serve note of their budding prowess, with Tenth Circle's Zoo Look indulging in some monstrously expansive beatdown a la The Revenge on the aptly titled "Early Doors". Casino Times provide the "why didn't I think of that" moment with "That's The Truth," a Bashmore style take on the De La Soul & Chaka Khan collab which has been burning up sound systems from London to Petrcane this summer. Young one Picture House ends proceedings with aplomb on "Blaxploitation" a gritty shaker reminiscent of Eddie C in his pomp.

Review: Dikso unveil their fifth EP of pan European disco meets house moments which commences in fine form with the ubiquitous Duff Disco. The London based producer is cranking up the heat and delivers a finely poised deep house bump on "I Won't Forget" with the glowing chords and delicate keys riding the muscular house groove with real aplomb. The surfeit of angelic cooing that gently ripples in the nether regions has the requisite emotive effect and the belated arrival of some twisting acid just demonstrates his variety. Alongside this, "The Music We Play" from We Play - the latest alias of two producers with far too many to list - gets a French House revision from Leeds based Mam which dovetails nicely with the loose boogie joint that is "So Much Fun" from German producer Larse. Dikso's own Andi De Luxe makes his belated label appearance to round off proceedings with the low slung beatdown sounds of "Boobsie Collins".

Review: Absolutely sick return to the game for Erdbeerschnitzel after an extended period in the record releasing wilderness. Arising on regular haunt 3rd Strike, the German producer reveals a hitherto hidden talent for working with vocalists on "Always Remain", a stupendously bouncy collaboration with The Drifter. Now the term future boogie gets thrown around far too easily these days, but "Always Remains" is definitely that, the yearningly soulful tones of The Drifter effortlessly riding a day glo procession of multi layered luminescent synths and live drum fills. Subsequent to this, the Strawberry flavoured one indulges in some suitably murky explorations of house music rhythms via "Same Same" which ascends from its dusty beginnings into a deliciously off kilter groove garnished with a suitably pots-and-pans approach to percussion. The point where a soaring piano arrives and the track swerves into some kind of subaqueous treatment of classic Chicago House invocations is pretty much perfect. Check the flip where "A Merchants Lament" switches up the tempo again, bringing intricate MPC manipulations around chewed up vocal samples that unfold with soulful intent - again it's the disregard to sit with one direction across the length of the track that smacks you for six. "Devotion" begins in calmer fashion as delicate female harmonies float in over the rhythmic marriage of swerving piano flutters, cleverly chopped beats and what might be deft sampling of the Seinfeld intro. Just when you think matters will remain calm, the mother of all electric organ lines comes in and signals a huge rise in dancefloor impact.

Review: Daniel Solar's Dikso imprint hits the spot on their fourth Super Sound release, with some multi national discoid business that reaches from Germany to NYC via Glasgow. It's the latter that reps first with FOTO boss Ooft dropping the constantly building elastic analogue mid tempo tribalist bump of "Hit For Six", which sets the tone nice and deep. Burrowing further is "Make You Mine" from Autodeep and RoMorri which kind of sounds what you' expect the unholy union of Prince, R Kelly and flexing 303 minimalist bump to sound like. Solar meanwhile drops the insistent slick loopy disco house of "Baby's Tears" which aptly demonstrates the producer's talent for slicing up arrangements. Proceedings slow down for the closing gambit from New York producer Soho808 with the sultry twilight disco chug of "Get Up Disco" a gentle cacophony of late night strings, liquid melodies and heart melting vocal harmonies.

Review: It's good to see the Dikso label make an appearance on digital download. So far, they've impressed on vinyl with a series of killer 12" singles full of slinky, next-level disco/house edit fusions. This digital edition of the second Super Sound Single release features must-have cuts from Nicholas and Daniel Solar. The former's "Without You" is one of his best moments to date, offering a long but not so loopy midtempo disco-soul jam that's just made for summer. Solar's "Fake It", meanwhile, builds a killer disco/house groove around a spectacularly rubbery bassline and some slick jazz-funk guitars. Killer stuff.

Review: Given the eclectic nature of Soft Rocks' output so far - and, in particular, their effortlessly Balearic re-edits of crate-digging obscurities - you'd expect this debut original album from the Brighton quartet to be impressively varied. For the most part, it is - though perhaps not in quite the ways you'd imagine. While you could certainly describe it as Balearic - see the dreamy, Kate Bush-ish pop of "Thunder Thunder", the Afro-tinged slo-mo prog-disco weirdery of "Slowdown" and the Spanish vocals and bubbling grooves of "Mirador De las Estrellas" - that wouldn't really do it justice. Hidden amongst the album's 11 exquisite cuts are trips into weirdo cock-rock territory, twisted dub-punk and folksy, string-drenched hypnotism. A fittingly impressive debut.

Review: Spanish edit maestro Rayko pops up on Ruben & Ra's Retrospective imprint with a clutch of synth-heavy electrofunk re-rubs. As the title suggests, the lead track is a heavyweight cut-up of The Whispers' 1984 Reggie Calloway-produced synth-funk jam "Contagious". Like the rest of the edits here (particularly the lush "Whip"), it strikes a neat balance between thick instrumental grooves and the original's simple vocal hooks. There are two versions of twinkling 80s soul groover "Love Come Down" - a smart edit from Rayko and a remix from Ruben & Ra that sounds like a breezier version of Tiger & Woods.

Review: Aside from a gloriously colourful Coati Mundi album, the Rong Music imprint has been notable for their absence from the release schedules of late. Matters are amended with aplomb as the New York label adds the quite excellent Mutant Beat Dance to their roster with this excellent release. Just one of many side projects from Ann Arbour's consistently excellent Melvin Oliphant III, Mutant Beat Dance sees him collaborate with vintage synthesizer enthusiast Beau Wanzer. Transmissions from the duo to date have been restricted to a DFA remix here or a Disco Capablancas 12" there, but the spontaneous energies and innovative rhythms demonstrated on both "Another World" and "New News Is Old News" ensure this is an instant favourite here at Juno Download. Highly recommended.

Review: After starting his production career with a string of re-edits, Burnley native Andrew Clarke made his full debut last year with the solid Head High EP on Audio Parallax. Here he returns with arguably his strongest work to date. Lead cut "We Built This House" is particularly beguiling, mixing bubbly nu-disco bottom end and Balearic guitar flourishes with delightfully touchy-feely deep house pads and some exquisite drops. "I Wish I Was There" darts between the speakers on a wave of slo-mo Balearic disco goodness, while "Give It Up" sparkles with positive melodic intent. There are some decent remixes, too, with LeSale's wide-eyed bagginess just edging out KidWho's everything-but-the-kitchen-sink nu-disco rub.

Review: This latest audio missive from Glasgow's Maxi Discs label could certainly be described as Balearic. In its original form, "Glow Of Filter & Dub" flits between heavy, afro-influenced percussion sequences and moments of sunny, almost blissful electronic riffery. It's a combination that works brilliantly, ensuring that "Glow Of Filter & Dub" delivers both dancefloor thrills and sublime, eyes-closed moments. 6th Borough Project take the track even further towards eyes-closed Balearic deep house territory on their excellent rework, while Maxi Discs regular Dicky Trisco goes for a low-slung dub disco vibe on his no-nonsense take. It all adds up to one of Maxi Discs' strongest releases to date.

Review: When it comes to contemporary Balearica, nobody does it quite as well as Paul 'Mudd' Murphy's Claremont 56 label. This debut album from newcomers Almunia - Leonardo Ceccanto and Gianluca Salvadori - is a great example. While it ticks many of the 'nu-Balearic' boxes - slo-mo, dubbed-out disco grooves, an ear for the atmospheric and an obsession with cut-glass guitar frippery - it's not your average Balearic by numbers full-length. For every moment of sweet, Smith and Mudd-ish semi-acoustic groovery (see "Until She Comes"), there are three or four others that revolve around echo-laden Peter Green style blues licks, druggy rhythms and contemporary psychedelic wizardry. This off-kilter mix of dark and light elements gives New Moon an attractively intoxicating feel throughout.