Mullet At Juno Download

Review: Bastian's Happy Flight are apparently named after a track on the Never Ending Story soundtrack, which should give an indication as to their inspirations. Stylistically, their roomy synth-pop/80s rock grooves sound like the result of many nights spent listening to Tears For Fears, The Cure and Spandau Ballet. The big synths, rubbery bass, echo-laden production, Robert Smith-ish vocals and eyes-closed guitar solos on "It's OK", "In My Mind" and "My Love's (Not Good Enough)" could have been lifted straight from a mid-'80s alternative pop record. Remix-wise, the Dublin Aunts provide the best rework - a cheeky, piano-laden nu-disco/pop take that sounds a little like Friendly Fires. Recommended.

Review: Whether or not you've previously enjoyed Casio Social Club's sparkling take on nu-disco, this three-tracker on their Mullet imprint is worth a look. It's certainly hard to find fault with something so unfussy. There's a child-like joyousness to tracks like "Brassy Boogie" and "Happy Slappy" that's near impossible to ignore. While the latter takes a bold, melodic approach to dancefloor synth-funk, it's the latter that really impresses. It's full of silly synth slap bass and will worm its way into your conscious within minutes. Lead cut "The Running Man" is, bizarrely, the most conservative of the bunch, but still boasts enough big hooks and dancefloor nous to impress.

Review: Sticking Brooklyn-based duo Chordashian into a neat pigeonhole isn't particularly easy. "Don't Wait Up", the lead track from this extended EP, is a great example. Utilising traditional instruments, vintage synths and the latest soft synth plug-ins, it sounds like a curious mash-up of Hall & Oates, andBenoit & Sergio with a Buzzin' Fly-ish deep house sheen. "Sea Crest", meanwhile, could be considered to be nu-Balearic - it certainly has that blinking-at-the-sun gorgeousness - while "The Jam" is thrillingly adventurous (if a little odd). With a trio of fine remixes also included, "Don't Wait Up" is easily Mullet's best for some time.

Review: The prodigious Mullet imprint rounds off a bumper 2012 with a festive treat from label regulars Dato. As with much of the original material released by Mullet, "Bangkok" rides a joyous wave of 80s disco synths, melancholic melodies and bubbling bottom end. With the addition of some delightfully Balearic pianos and a cute indie-dance vocal, "Bangkok" could sit comfortably beside songs from Holy Ghost!, Poolside and Mitzy. Remix wise, Casio Social Club cuts up the vocals and emphasizes the squelchy bass, while Dato provide a delicious dub. It's fragrant, spicy and warming, like mulled wine for the ears. Sup up!

Review: For their third EP for regular home Mullet, Dato continue to offer up bright, breezy and Horlicks-comfy synth disco. Sounding not unlike 80s soul after a heavy night, "Letting Go" boasts all their usual aural trademarks - the bouncy synth bass, the warm chords, the simple-but effective vocal hooks, those pin-sharp guitars. It's comfy, hooky, accessible and surprisingly deep. There are radio and extended versions, plus an 'Extended Dub' that's little more than an extra-woozy instrumental. Well worth checking, as always.

Review: If you're a fan of smart dubby disco grooves driven by insatiable funk basslines, it's likely you'll own at least one Drop Out Orchestra production or remix. Here, they apply their bass-driven goodtime disco formula and apply it to vocal disco-pop. The results are as hooky, well produced and deliciously groovy as you'd expect, with Kinema's vocals fitting the insatiable backing like a well-worn glove. Instrumental and dub versions are included (the latter coming on like an early 80s synth disco production given a Balearic tweak) for those who don't dig the vocal, while floor-friendly remixes are provided by Casio Social Club, JD73 and Faze Action (our pick).

Review: Haircut-fanciers Mullet must be the busiest digital label on the nu-disco scene, releasing a single nearly every week. This two-tracker from Elijah Collins & NIST is one of Mullet's finest to date. "Love's Down" is a particular treat, foregoing the usual Mullet cod-80s synths for some original electro-boogie flava, teasing vocal snippets and sweet 80s soul flourishes. If the sound of famed 80s R&B label Solar System floats your boat, check it. "Shakedown", meanwhile, goes even further towards 80s soul, offering a clattering fusion of slo-mo P-funk and cheeky electrofunk.

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: "I know he used to do shit for you, but what has he done for you lately?" So asks a lone sampled voice at the beginning of "What Up Girl?", offering a cute warning of what's to come. You see, this newie from Mullet regulars Elijah Collins and Nist is heavily based around Janet Jackson's "What Have You Done For Me Lately?", one of Jam & Lewis's best productions. Collins and Nist's version beefs up the bottom end, making great use of the backing vocals and, later, hooky melodies. Sound wise, it's an electrofunk/loopy house blend, making it more suitable for contemporary dancefloors.

Review: Something seems to have irritated the lads and lasses at Mullet HQ. Like a Glaswegian drunk fuelled by Buckfast and Tenant's Super, they've taken to staggering around, pointing a blackened finger at passer's by and screaming obscenities! Or, at least producers Elijah Collins and Tee J have, as they offer up a decidedly aggressive lead cut that sounds like dirty P-funk for manic depressives (although, we can assure you, it's a bit more fun than that). "I Used To Feel Alright", meanwhile, re-edits a live version of a well-known Marvin Gaye space disco fave.

Review: In its original form, "Strange World" sounds like a long lost 80s AOR jam - like Tango In The Night era Fleetwood Mac with bigger hair and even bigger guitar solos. Oh, and H-NRG style sequenced basslines. It's brilliantly executed - it genuinely sounds like it was made in LA in the mid 80s after an all-night bender featuring copious amounts of devil's dandruff. Both of the included remixes stick to this formula, with FM Attack's chiming, Goldfrapp-ish effort standing out.

Review: Very occasionally, a record will come along that will stump us. You see, accurately describing and assessing "Babe (Don't Feed The Wildlife)" is a near-impossible task. It's an utterly crazy concoction; a kind of camp future disco torch song that boasts both "everything but the kitchen sink" production and an electric violin solo. It's rather good fun, but its hard to see quite where it fits in. It is, though, worth a spin. The Zaku-Chan remix is easier to pigeonhole, offering a sprightly fusion of cascading synth disco, French filter funk and skittish glitch-house that's both pleasingly engaging and blindingly exotic.

Review: Given that there will always be an appetite from DJs for records tailor-made for the dancefloor, this newie from the Mullet camp should be a bit of a hit. It eschews subtleties and nuances in favour of an all-out dancefloor assault. Part funk breaks style mash-up, part piano-and-synth-laden electrofunk jam, it will pretty much do the business at any party that likes its grooves funky! There are all manner of familiar samples involved (including a cut-up version of the iconic synth refrain from Yazoo's "Situation"), luscious 80s synth-strings and the sort of bottom-end that should get even the most miserable punters shaking their hips.

Review: Tigers On A Leash regular Lou Teti pops up on Mullet. He's pushed the boat out for the occasion, too, delivering a bubbling fusion of 80s Italian pop, low-slung disco-punk, coy synth-pop, twisted nu-disco and dreamy Balearica. It's hard to pin down musically, but rather charming all the same. Mullet regular Tad Wily provides the obligatory electrofunk-inclined remix, adding a fat synth bassline to propel the action 'floorwards (see what we did there?). There's also a rather silly (but, again, charming) 80s Balearic pop makeover from the brilliantly named Dublin Aunts. Worth a listen.

Review: Since they opened their doors back in 2008, Mullet Records have made a habit of releasing some of the smoothest 80s influenced, electro, soul/funk dance grooves on the planet. Their eighteenth release is no different, proudly introducing Nuvo Rich's debut release, "Saffron." Pure future synth gold, these two euphoric productions will take you back to the 1980s with a huge big smile across your face.



Although this is his first outing as Nuvo Rich, the man behind the monkier is far from a novice in the scene. Ferris Armstrong has been making music under a plethora of guises since he first emerged in 2001. He is most recognised as Kid Dub, under which he has had notable success producing everything from dark and eerie minimal and electro to deeper and more melodic sounds. He makes tech house under his D Dub alias with Cozzy D and on his own as Voltaeric. He also writes cinematic, ambient glitch music as Cuebit but it is under his new Nuvo Rich pseudonym that Armstrong escapes the world of techno and electro and wanders into the dreamy landscape of synth pop and 80s new wave.



"Saffron" and "Krystal" are both synth-heavy, melodic pop tracks inspired by French house producers such as Daft Punk, Lifelike and Air. The title track gets the release under way with heart felt melodies and euphoric keys. It's uplifting to the last, with new wave synth lines building towards an ecstatic end where dream-like melodies finish the track in emotive style. "Krystal" is much the same but continues with a less sensational approach. Sounding almost modest, the track keeps a warm and emotive vibe but in more of a laid back style. Mullet Records have done it once again, looking forward as only they know how - namely, by delving into the classic pop of the 80s to get people dancing once again.

Review: Swedish electrofunk producer Odahl has been something of a go to man for Mullet in recent times, releasing a string of solid EPs and serviceable remixes. This four-tracker is another decent offering, too. "Out Of Control" itself is the real killer here, offering a slick combination of contemporary nu-disco chops and vintage, Prelude-ish synth funkery. Justin Faust provides the obligatory remix, laying down a straightforward electrofunk jam that rises and falls in all the right places. Bonus cut "Just Be Easy" offers some cascading melodies and far eastern charm, while Homon's remix provides bubbly nudisco grooves. Mullet's best for some time.

Review: Less than a month after the release of the electrofunk-themed "Brand New Day" single, Satin Jackets return with another radio-friendly hit on Mullet. Featuring the smooth vocals of Eric Cozier, "Everywhere I Go" sees the Jackets slip into something more comfortable - string-laden midtempo disco, to be precise. A quick listen to the included instrumental version (our tip) will confirm the quality of the production - all sun-bright pianos, sweeping strings and, most impressively, live beats, bass and guitar. There's also a more laidback bonus cut, "Don't Stop Looking", which offers some slick Balearic groovery for sun-soaked beach bars.

Review: Having forged a reputation for sprightly nu-disco and quirky synth-pop, Mullet try their hand at something a little deeper. "Brand New Day" from Satin Jackets - another pseudonym for veteran German studio type Tim Bernhardt - does bear some of the Mullet trademarks, such as slick synth bass and electro-funk twiddles. But these largely get lost inside a tightly wrapped take on deep house that owes more to Naked Music or Om than Prelude or West End. Sare Havlicek provides the best remix, a Crazy P-esque fusion of live disco elements and touchy-feely electronics. There's also a neat mix from DATO, which slows the pace for a sensual, cultured vibe.

Review: Fresh from collaborating with Retrofit boss Jay Shepheard, Tad Wily returns to Mullet with more synth-heavy electrofunk bombs. "Go Ahead" sets the tone, fusing heavy synth basslines and vintage P-funk synths with just the right amount of new wave dubbiness and delightfully sparse production. "Garage Love" continues in a similar vein, throwing more vocals into the pot on a lowdown, late night synth jam. Mullet Regulars Casio Social Club offer up two remixes of "Go Ahead", with the sprightly, bouncy "Luvdub" just edging out their similarly New York-themed "Remix".

Review: Casio Social Club's haircut-obsessed imprint goes pop here, with Telsa Boy slapping down something that hovers somewhere between vintage New Order, Divine and Simple Minds. With Glam Rock beats. Odd? A little bit, though it has a quirky charm that's hard to resist. Remix-wise, there's plenty to enjoy, including two melancholic, piano-laden nudisco rubs from Satin Jackets (if you're not digging the vocal, there's an instrumental) and a full-on French synth-pop-goes-filter-funk rework (think Breakbot and Alain Braxe producing beardy babies) from Estate. Best of all, though, is Solila's ubeat remix, which has more than a touch of the Pet Shop Boys about it.