Bestsellers This Week

Review: Hot off the back of being hailed the "edit king of 2012" by Gilles Peterson and dropping THAT Gold Fingers release, Kon steps back into Basic Fingers mode to deliver two more sublime disco boogie cuts for the more funk friendly floor. "Get It Together" has summer written all over it, burning into action with a killer horn loop before the bass kicks and the track heads for the stars. Kon demonstrates his skill and understanding of structure throughout, dropping the groove to a lull before building it right back up throughout, and the sweetly soulful vocals have that eminently sing-along quality. The tempo drops to a low slung bump on the flip as Leroy Burgess gets expanded with equal aplomb on the seemingly infinte "Strong Love (Everlasting)".

Review: Daniel Andersen's recent Blackbelt Andersen II album was something of a triumph, a typically quirky set that delightfully blurred the boundaries between shuffling Norse disco and hypnotic, late night house. This EP, featuring tracks that didn't make the cut, is typical of the original Full Pupp sound. Lead cut "Prinsesse Vilikke" is typically bold and breezy, layering Scandolearic bhords and melodies over a shuffling but energetic groove. "Treigt Og Gaeli", meanwhile, is less grandiose, but still packs a punch thanks to chunky, acid-flecked synth bass, gorgeous chords and twinkling, intergalactic melodies. "Klapp Og Trans", meanwhile, delivers the perfect balance between sturdy disco percussion, Detroitian melodies and starry chords. It's good to have him back.

Review: Feel good breakbeat vibes are the order of the day as German duo CMC & Silenta serve up their first collaborative album. Loaded with cameo mic moments from the likes of Vanessa Iraci, MC Fava, Kawele, Linda Friedel, The Root Sellers and the legendary Ragga Twins, there's a true sense of party as we're led through all styles of party vibe. An ideal winter warmer that will grow and grow as you gear towards another summer, highlights include the Kraak & Smaak style disco boogie ("Where We Started From"), the sexy-smooth organ work and heavenly horn toots on "Love Is Drawn" and Madness-meets-Monkey Mafia musicianship of the album's title track. A very accomplished, not to mention funky, debut album.

Review: The Good Times reissue series continues with a fourth selection of joyous gems and Carnival-friendly jams compiled by Norman and Joey Jay. As usual, there's a good mix of the familiar (Aswad's "Warrior Charge", Estelle's anthemic "1980", Bomb The Bass's "Bug Powder Dust" as remixed by long-forgotten French touchers La Funk Mob) and the lesser known (Brenda Russell, the brilliant but often overlooked Ten City cut "Superficial People"), across a dizzying array of styles. From Latin-tinged soulful house, R&B, hip-hop and funk to classic reggae, disco and soul, Good Times 4 barely misses a beat in its pursuit of classy, goodtime pleasures.

Review: By now, we should all know what to expect from Nicholas: decidedly touchy-feely deep house dripping with classic soul and disco influences (not to mention grooves that sound like they've been pinched from old Nu Groove records). This belated return to original home No More Hits is packed with sultry, soulful goodness, from the classic, organ-heavy garage rework of Tammi Tyrrell and Marvin Gaye fave "If This World Were Mine", to the odd, sludgy groovery of "World Of Confusion" and breezy soul-house jam of "Can You Understand". There's also a beefy blast of disco hedonism in the shape of "I Know A Place".

Review: The good ship Juno traverses the Firecracker galaxy and lands once more in the spacious Unthank region with more down under cross genre pollinations. Last year's Inskwel induction was a noted highlight in the small but perfectly formed Unthank catalogue, but this fifth edition from the unheralded Booshank might just match it. Loose gargling acid of the deranged kind characterises lead track "Single Dutch" whilst on the flip "Interstate" has that psychedelic, cosmic vibe that Max D does so well. Booshank's disregard for kick drum politics is demonstrated with aplomb on "Secret Life" a simmering concoction of bristling textures which explodes into a charge of drums with the kind of glee that's almost sexual.

Review: Mushrooms Project are notoriously hard to pin down. One minute they're making off-kilter nu-disco or Baldelli-style kosmiche, the next intriguing leftfield electronica. Here, they offer up something that blends all three, building a dark, atmospheric track that goes through multiple changes during its nine-minute duration. There are weirdy cosmic disco guitars, foreboding sequenced synths, twiddly Japanese melodies and dub effects by the skipload. It's actually rather good, recalling the recent output of the hugely talented Cos/Mes. "Sushi's Dinner" offers more straightforward nu-disco thrills, albeit with a healthy dose of typically Italian cosmic groovery.

Review: Since launching last year, Matthew Kyle's In The Woods label has barely put a foot wrong. This four-track EP from Brendon P is another strong release, taking the label's disco-centric, slo-mo and midtempo house sound in new directions. "Shades Of J", for example, turns a modern soul track into an intoxicating chunk of voodoo slo-mo (think Tiger & Woods on acid), while "Your Definition" is darkroom hip-house at 107 BPM, all low-slung basslines and classic vocal samples. "Home With You" offers some typical ITW style slow dance soul-house, while "Way Down Low" is so dubbed-out it's almost horizontal.

Review: Fast-rising New York disco/house producer JKriv launches his brand new Deep & Disco label here, with a slinky and sophisticated chunk of vocal deep house. While there are definite disco and electrofunk touches, "Another Night" is a wholehearted deep house rub that should find favour with anyone who likes a little dash of sensuality. There's a whole raft of remixes to enjoy, too, from Greg Wilson's epic, stripped-back deep house extension to Dicky Trisco & Project Tempo's low-slung re-dub. Check, too, Matthew Kyle's version, which pits heavy boogie back-end against midtempo filter house to great effect.

Review: With a title like The Pitch Down Jamz EP, you know what you're getting: proper head-nodding fodder to get the party started. Label boss Ali Ooft (an old hand at this kind of thing via his contributions to Instruments of Rapture) kicks things off with the delightful "Love & Soulsaving", a reconstructed soul-funk bomb that swings and struts its way towards 105 BPM banger status. La Tuerie's sweet and smoky "Filter" continues on this hypnotic theme, whilst quietly shuffling off towards "erection section" territory. Luvless's "Motion Capture" wanders towards straight deep house grooviness, while Cole Medina evokes memories of his greatest triumphs with the delightfully smacked-out "I Like It", the slowest of the bunch.

Review: Already boasting support from the likes of Jacques Renault and Jazzanova, File Under Disco are onto another winner with their latest release. Future Feelings are analogue disco enthusiasts with a mission to deliver music 'developed both for dancefloor glory and for sensitive listening'. With its loose, slap-heavy funk bass and shimmering piano, "Neat Disco" straddles the divide between a messy night out and a messy night in with gusto. Disco-nouveau hero, Pete Herbert, hooks up with Dicky Trisco for a teased-out spacey Balearic remix, but we're loving the mournful, Guru-Josh-on-downers trip of "Wonky Disco" the most.

Review: Although sounding like a Manhattan laundry or maybe a pizza delivery service, Sixth Avenue Express are in fact a nu-disco duo from Peckham. They've generated some pretty large interest since forming in 2011 and now finally we have a much-anticipated new release from them. "Can't Stop Feelin" is not just an anthem for everyone out there incapable of keeping their hands to themselves. No, it's a deep and sensuous slice of the kind of mellow electro-house favoured by the likes of DJ T, and to which Pete Herbert adds some extra percussion and ravey stabs. Classy!

Review: Having already stormed up the sales charts on vinyl, Ron Basejam and Dicky Trisco's Drop Out Orchestra reworks finally make their way to digital download. Trisco's mix is particularly good fun, offering the perfect balance between percussion-laden disco revivalism (check the low-slung walking bass, jazz guitar and heavyweight timbales hits) and slick nu-disco (tasty synth melodies, some 21st century FX). Crazy P man Ron Basejam opts for a housier approach, weighing in with a mix that sits somewhere between electrofunk revivalism, jazz-funk and string-laden deep house. Expect to hear it plenty of times on disco dancefloors over the next six months.

Review: Usually found lurking in the halls of the Heartbeat Revolutions HQ, nu-disco troubadour Thomass Jackson has, this time, teamed up with relatively new imprint Legendary Sound Research for "The Sound". The title track is a chic excursion into a world of tight funk guitar licks, fluid basslines, and Studio 54 strings. Our favourite mix sees Disko Selectors add a killer electro-disco bassline a la Metro Area and a dark mix is also provided for deeper early hours soirees. Extra tracks "Sat It Good" and "One Atmosphere Shot" supply slick disco-house and space-bounce kick respectively.

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: Although they hail from Germany, this duo's hearts are most definitely rooted in France, or more specifically, the French sound. Once again "Moonshine" mines that familiar territory of sugary, compressed 80s synth-pop in the vein of well, almost anything on labels like Valerie. Auxiliary The Masterfader keeps it 80s, but more electro-funk, Phunktastike goes for a classic Alan Braxe-style workout, while CRAM go for a slightly housier interpretation.

Review: Following a brief diversion to allow for the release of Dean Mereditch solo project Rhythm Odyssey, Stafford's most productive duo are reunited for a new single. It's perhaps a little looser than their greatest work, combining that familiar low-end throb with fuzzy vocals, maudlin pianos and scratchy guitars. While solid, it's the accompanying remixes that offer more thrills. The real killer comes from Brummie nu-Balaeric types The Main Steam, whose Country Fishing Trip version is a delightfully dubbed-out excursion that sounds like early Fleetwood Mac after a trip down the Paradise Garage. Leo Zero excels, too, offering up a version that neatly draws out the original's hidden disco chops.

Review: Aspiring vocalist, Miss Bee, hasn't been shy lending her vocals to a host of dance-pop releases of late. Now however, she turns her hand back to her more rare solo outings. "Weak Knees" features a gentle, sun-bleached electro-house backing with a melody that's vaguely reminiscent of Mason's Exceeder. Complimenting the beats, Bee's jazzy voice comes on like that gal in Morcheeba, but it's the inclusion of a full-on shredding lead guitar that marks this tune as a bit out of the ordinary. Of the five remixes included here, its Eddie Mars' bouncy electro-house mix that's just pips the others at the post.