Review: For the second volume in the "Compost Disco Selection" series, label founder Michael Reinboth has rounded up some of the German imprint's most magical disco-house moments (though, we should add, it's not all disco-house in the traditional sense of the term). There's naturally plenty to set the pulse racing throughout, from the angular electronic disco-funk of Indoor Life's "Voodoo (Chocolate Garage Production Mix)" and the throbbing loop-house cheeriness of Tiger and Woods' classic remix of Pitchben's "Stand Up", to the spiraling peak-time disco-with-house-drums of John Gazoo's "Midnight Runner (Vintage Mix)" and the kaleidoscopic boogie-house fun of Purple Disco Machine's remix of Lorenz Rhode's boogie-flavoured "Back". As you'd expect, Reinboth's accompanying DJ mix is tons of fun, too.
Review: Although the title may be Deeper Detroit 2, don't be fooled as the artists on this latest various release for Kolour Recordings come from distinctly different places. Francis Inferno Orchestra has been setting alight his home turf of Australia with a refined take on deep house that sits comfortably in the Session Victim field of funk-infused grooves, which comes through in abundance on "All Up In This Shit". Istanbul's Sinan Kaya takes a more dubbed out approach on the luscious "Day On Vine", while Melbourne's The Tortoise gets remixed by Genius Of Time into a steamy, decidedly stripped down slice of wild frontier house.
Review: Having carved out a sturdy reputation for classily executed deep house, Francis Inferno Orchestra returns to Let's Play House to offer last year's "Hezbollah" up to the reliable but somewhat enigmatic Carter Brothers. The original track gets looped up and stretched out in a restrained yet unrelenting cycle of addictive piano chords and pattering disco drums, shot through with a hint of psychedelia for good measure. Aside from that immersive DJ friendly cut, there are three locked grooves of varying intensity to choose from, ranging from a goofy techno throwdown to an eerie pad loop if you want to add a little spice to your mix.
Review: Big release for both artist and label here as London-based Australian producer Francis Inferno Orchestra comes through with A New Way Of Living, a debut album on the Voyeurhythm operation, which doubles up as its first full-length project. Having first surfaced in 2010 and dropped numerous 12"s along the way, you feel now is the right time for Griffin James to show what he's capable of over the length of an album and this is a very confident set. The dusty, sample laden house sound Francis Inferno Orchestra is known for is very much in evidence here but there's plenty of diversity shown over the seven cuts to keep you coming back for more. The daisy age goes house vibes of "The More You Like" and the weighty beat down "Rap Beef" are immediate standouts.
Review: Brand spanking new label Sccucci Manucci launches with this offering containing cuts from four different but equally pleasing sources. Those of you who hang out at the crossroads where disco meets house will no doubt already be keenly aware of the stylings of Aussie pup Francis Inferno Orchestra, and here he turns in piano-driven stomper "Horizon Beat". No less euphoric is "Scare The Night" by Jonno & Tommo - alas not a production duo from Far North Queensland but the considerably less tropical climes of London - who drop an oven warm slow-mo jam that brings to mind I:Cube's epic "Falling". Up next, Scott Featherstone & Tino TCB, with "Circles" guaranteed to raise a smile from the more discerning corners of the dancefloor. Portuguese newcomer Ramboiage rounds off the release, dropping some Cottam-esque heavy thud house on "Pretty Baby".
Review: Melbourne native Griffin James has been busy over the past few years, snapping up releases on Sleazy Beats, Join The Dots, Drumpoet Community and Fina in a whirlwind of contemporary deep house. As such it makes sense to see him sliding over to Let's Play House for another bout, leading in with the riotous party atmosphere of "Hezbolla". It comes on like the more flamboyant end of Moodymann's layering techniques, all shot through with a hooky central drum that wanders through a range of pitches. "Vibrations" gets into a more soulful kind of snag, all fragile beats that could crumple at any second and heartfelt key loops. "Hezbongobongo" is a more outwardly metallic edit that lets the drums shine through without the heated social ambience for those who like their beats with clarity.
Review: Voyeurhythm deliver vinyl-led releases from an international set that literally drip with classy vintage house vibes. Here it seems they've been lazy - there's no title and one act is simply unknown. But don't worry; the quality is still here and it's strong! The Linkwood remix of "Biscuit Twat" takes us back to the late 80s and, with its rolling bassline, shuffling percussion and fuzzy synth stabs, does nothing to stop those Burrell Brothers resurfacing. "3AM Piano Thing" kinda describes itself - piano house riff married to killer raw jackin 808s equals early hours delirium. Hot stuff!
Review: With a string of rapturously received feel good club anthems already under his belt, Aussie deep disco-house peddler Griffin James (aka Francis Inferno Orchestra) is back again and he's bought the sun with him. The vitamin D vibes are literally bursting out of "Amber Express", a tune which cleverly weaves 1960s sunbeam funk samples around a fresh galloping house beat. "You're The One" is more mid-tempo and built around a euphoric vocal sample. "Dreamtime" is tougher peak time stuff that's drenched in luscious synths and "Dusty Echoes" dives head first into a swimming pool of acid!
Review: Following impressive outings on Under The Shade, Kolour and Sleazy Beats, Melbourne-based producer Griffin James brings his Francis Inferno Orchestra project to 2020 Vision offshoot Fina. Thankfully, he's stuck to his usual style, delivering a trio of deliciously wide-eyed cuts. "Astral Breeze" sets the tone, offering a thrillingly touchy-feely fusion of saucer-eyed chords and hands-in-the-air pianos. "Here's To Feeling Good All The Time" retains this retro-futurist feel, combining bumpin' beats and melodic touches with classic old skool samples. A fine EP closes with "Silk & Smoove", a gorgeously sunny disco-house groover built around some classic strings from an oh-so familiar record.
Review: The brilliantly-named Griffin James continues his meteoric rise with the delivery of another strong EP, this time for Kolour Recordings. "Sing To Me" is a touch different to previous Francis Inferno Orchestra releases, but still boasts Griffin's trademark production and attention to detail. The lead cut builds a lolloping deep house groove around lazy midtempo drum breaks, offering both laidback shuffle and effortless atmospherics. Both the brighter "Go Easy On Me Girl" and Deep Space Orchestra-ish "All Up In This Shit" return to more traditional deep house pastures, mixing chunky 4/4 grooves with delicious organs and intoxicating pads.
Review: The House of Disco site launches its new label endeavour of the same name with an impeccable selection of cosmopolitan sounds from four of the contemporary disco scene's most valued selectors. The ubiquitous Nicholas kicks things off with the slinking "Talking About Love" which leans on a soul classic with aplomb, and it's matched by the most upwardly mobile number on this release from Australia's Francis Inferno Orchestra. "Sun Up" is driven by one of those incessantly energetic filtered cores and surrounded by a thumping groove and leaves you gasping for the moment the vocal hook and hats finally kick in. Up next everyone's favourite South American dwelling East European exponent of super slow disco does his thing on "Outstanding" whilst Psychemagik indulges in some carnival leaning house boom on "Carnaval De Transoco". A deft release that corners all aspects of the modern discoteria needs.
Review: The underground disco network operated by Under The Shade reaches out to Australia to showcase the sounds of Francis Disco Inferno. Fans of the Wolf Music and Dikso imprints might be familiar with the work of the young Melbourne based producer, and the rest of you will probably make a mental note to keep your ears peeled for future FDI missives on the potential shown here. There's an inherent warmth to the rich piano melodies that filter through "Meet me In Salt Lake City" but the sloppy drum hits give the track an unpolished idiosyncratic feel that's all too absent from contemporary disco tinged house. Soul Clap drag the track back towards proto house territory with a stripped to the bone warehouse rhythmic thrust running throughout, dark pulses of bass augmented by reverberant key stabs and subaqueous melodies. In contrast, the remix from Eddie C embellishes all the elements, dipping the track in a swathe of delightfully bubbling delay.