Serenades At Juno Download

Review: Nu-disco/house cosmonaut Bermuda makes music that feels like it's been beamed down from the far reaches of the solar system for the express purpose of rocking intergalactic house parties. If the Cantina band from Star Wars were inspired by vintage Italo-disco, they would make music like "Ishama". As it is, it sounds like it was recorded on Pluto by two tache-sporting Italians sitting in an ice bath. Nacho Marco and Jay Shepheard run with this theme on their remixes, with the latter laying down some glacial house while the former dances round a handbag made entirely out of the plastic casing from vintage early 80s BBC Micro computers. It's a good look.

Review: Portuguese house heads John Waynes hook up with singer Stee Downes for this anthemic slice of piano Balearica, out now on Serenades. Keeping things nice and vital with some relentless synths and a tight, mainroom bass "n' drums combo, they take things up and down beautifully on the original mix, while the JW raw mix gets more tribal and dubby, with the vocals stripped back for a Todd Terry-ish extension.

Review: The pairing of Juho and Computer craft dreamy synth-pop for the 21st generation in "Pyramid Game", employing delicate layers of guitar against heartfelt synth patterns and the fragile croons of the vocalist (at this time it's not quite clear who the singer is). It's a gorgeous, soft-centred song for sensitive souls. The Manolo remix beefs things up a touch with some Moroder style arpeggios and a tough beat, but this is still bombastic balladry with one eye on peak-time radio of about twenty-five years ago. The bizarrely named "Gabber Song" is far from breakneck BPMs and white noise, plying a trade in a synth line that sounds inspired by "Sweet Dreams".

Review: This latest missive from Loudeast regular Nacho Marco is a little different, offering up a densely building chugger based around a loose-limbed drum break, relentless, low register piano and the occasional electronic interlude. With some growling guitar solo action later on, it's formidably sweaty. The remixes come think and fast. First, Mario Basanov and Vidis Cepkaukas impress with an organ-drenched deep house/disco mash-up, before Roberto Rodriguez inserts a ton of plastic explosives up the original's swinging groove. The package alaso contains an odd but intriguing, percussion-laden nu-disco tweak from Ahki, and the Juno exclusive Acid Dub - a nuggety fusion of Chicago jack and nu-disco deepness.

Review: After a 13 year career in which he's quietly impressed with the quality of his fluid, synth-heavy deep house releases and cosy nu-disco fusions, Roberto Rodriguez finally gets round to releasing a debut album. Dawn is in many ways typical of his previous output, offering a melodic, dancefloor-focused take on deep house that makes great use of rubbery synth basslines and pitched down R&B/soul vocal samples (this year's inescapable house trend) whilst doffing a cap to classic house (see the rave era riffage on "Eternity" or bouncy pianos of "Body Right"). Being Rodriguez, there's also plenty of nods to synth disco (see the warm and inviting "Tell Me" and "Saturn").

Review: Serenades label boss Rodriguez gets the remix treatment from Arttu, whose work on Clone has impressed. The first version is based on a buzzing bassline, sliver of cheese-wire percussion and utilises the vocal part to its fullest. The dub take plays down the vocals and puts them deeper in the mix, with Arttu allowing the wispy synths and heavy claps prevail. Finally, the alternative mix has a looser feeling, with live drum patterns supporting the dismissive vocal narrative.

Review: In the space of less than a year, Roberto Rodriguez' Serenades label has seen its releases receive admiration from the like of Tensnake and Maya Jane Coles, and this compilation release offers the label a chance to reflect on a successful year, and win themselves some new fans in the process. Label head Rodriguez contributes the Balearic boogie-funk of "Has Been", whilst the Nacho Marco remix of "Ishama" takes a more cosmic path, dancing round a handbag made entirely out of the plastic casing from vintage early 80s BBC Micro computers. Johnwaynes contribute "Never Enough", featuring relentless synths and a tight bass "n' drums combo, taking things up and down beautifully, whilst Volta Cab finish with the slo-mo soul of "I Don't Want Love", its bumping rhythm brought to life with a staccato piano sample that takes things into a housier realm.

Review: Having previously impressed with a range of releases on Delusions of Grandeur, Fina, Freerange, Laka and Compost Black Label, deep house don Roberto Rodriguez returns to Serenades. "Tell Me" is a sprightly, synth-heavy electrofunk meets nu-disco cut that sits somewhere between the orange-hued warmth of Crazy P and the hipster swagger of DFA. While light and airy, there's a dark dubbiness throughout that impresses. Jacques Renault plays with this contrast on his two remixes, which contrast the 80s funk synths with an almighty sub bass part, bright pianos and snappy house percussion. Killer package all round.

Review: Already getting a stellar reaction from big name house heads like Tensnake and Maya Jane Coles, Russian nu-disco/deep house producer Volta Cab's new release is simply a treat. The spacey thrill of "We Rock" flits between classic, peak hour house and early hardcore-isms of The Prodigy, while the deep key stabs of "House of The Rising Fire" and the slo-mo soul of "I Don't Want Love" are simply essential purchases.