Review: with their new album, Mucho Danger, a ten-track excursion into the wildest, most far-reaching corners of nu-school breaks. Tunes like Ellas Son Satan", a sort of break-ridden, nu-disco-coldwave hybrid, make up the essence of this LP, and we love that because it's just s refreshing to hear artists doing things their own way. "Gipsy Drug" is another raunchy, progressive house driver, but the title tune "Mucho Danger" is what gets all our attention thanks to its lead vocal sample and fiercely tight bassline-drum roll. This is the sort of gear for fans of Plump DJs and Scratch Perverts. Solid.
Review: Spain's Gameboyz are a trio of electro-breakbeat enthusiasts, who are just about the only ones doing it right these days. Coming through for the young Sprechen label, they deliver the excellent "Off The Wall", the sort of tune that Plump DJs would have been playing back in the day, and one that even manages to deliver some fine waves of 303 acid; "Electric Boogaloo" feels like the slower, housier companion that offers something deeper and more cerebral. There's remixes of both: the former is versioned by Italy's Fabrizio Mammarella into a slick tech-house bomb with the same acid licks giving it extra power, whereas the latter sees Neon Amish transform the tune into a spacey piece of prog house. Check it!
Review: If there's one trend that's commandeered the cooler dance floors in recent times, it's the slowing down of the BPMs. Where once electro-house and similar scenes were all bouncing around to 130bpm electronic disco blinders, everything has slowed right down. Matt Walsh has embraced this trend with his Clouded Vision label and here's he's snapped up Spanish outfit Gameboyz. These three tracks make up in attitude what they lack in speed with the bleepy, floaty grind of "Bad Chemical" giving way to the arpeggiated acid of "Wir Sidn Drei" and the raunchy body music grind of "Loco Kilombo".
Review: Gameboyz are are a Spanish trio based in Badajoz who have released previously on Nein and Madrid's Rotten City. Their new release for Melomana sees them throw down some seriously acidified electro-house on "Kakum" with a bit of help from homeboy Mijo. While "Chaka Chaka" shows a bit more restraint on this bumpy minimal/tech house jam with some sweet bleepiness and pitch shifted vocals that calls mind mind early Run Stop restore and m_nus releases. These guys have some potential!
Review: Although busy releasing albums and singles, Relish boss Robi Insinna still could not stop himself putting out another label compilation, such was the quality of the stuff he had on his hands. Relish EP Six sees contributions from five different artists whose sound all manages to comply with the Relish vision. Highlights include the doomy new romantic electro-disco of Heretic's "Insurrection", the warped body music of Club Bizarre's "East Side Story" and the jack hammer nastiness of The Mansisters's "SSWS".
Review: Since launching last year, Madrid's Rotten Files has delivered a trio of releases dedicated to the trippy end of mid-tempo house/nu-disco fusion. Here, they continue that approach, serving up a quartet of remixes of tracks from November 2015's excellent Rotten Citizens Volume 1 EP. Undo steps up first, turning Kieran Holden's intoxicating "Barlick Acid" into a vocoder-sporting chunk of low-slung, post-punk disco/nu-disco fusion. Next, JackWasFaster's "Granada Liberation" is re-invented as a 102 BPM psychedelic acid chugger by A Best Man Dead, before Avanti doffs a cap to EBM on an excellent re-make of Gameboyz' "Tacon Puntera". Finally, Jonathan Kasuma chucks everything but the kitchen sink at Cabaret Nocturne's "Blind Trust", resulting in a chiming, chugging treat.
Review: Madrid's Rotten City is a label dedicated to all things slow and moody and to kick things off they have rounded up some of the most appropriate producers for this new label comp. Over the fours tracks we vibes are all about slow motion brooding body music. Kieran Holden ups the acid levels on "Barlick Acid", JackWasFaster's "Granada Liberacion" is dark, linear machine music, Gameboyz deliver some typically excellent electroclash and Cabaret Nocturne wraps things up with the soaring Depeche Mode style electro-pop of "Blind Trust".
Review: Halloween may have been and gone, but Disques Discos continue to champion Italo tricks and horror treats. This latest volume in the label's continuing Discorror series is arguably the best yet. It's certainly the most tightly packed, with eight grisly tunes to choose from. Highlights come thick and fast, from the ragged acid lines and psychedelic electronics of Gameboyz wild "Regan 666", and Roman & Castro's Twilight Zone-bating "Spektro" (a kind of John Carpenter theme for the 21st century), to the low-slung ghoulishness of PTSD, Mutanek and Rodion's fine contributions. The atmospheric nu-disco creepiness put forward by Samfuentes and Comegatos is also superb.
Review: Since launching back in 2012 with a suitably grisly EP from Moon Runner, Disque-Discos' occasional Discorror series has provided listeners with an impressive catalogue of horror-influenced, heavily electronic disco jams. This fifth installment, arriving just in time for Halloween, offers more of the same. There's naturally plenty to enjoy, from the John Carpenter-on-steroids pomp of Comegatos' "Ultratumba" and psycho strings of Gameboyz dark italo jam "Casa De Morte", to the throbbing bass, snappy analogue hits and moody electronics of Inigo Vontier's "Camino A Mordor". Arguably even better is the deliciously camp stomp of "Palo Oscurito" by Roman & Castro, and the sludgy, mid-tempo pulse of Tronik Youth's standout "The Machines Are Coming".
Review: Having focused exclusively on digital releases for its first six years, leading Mexican disco/house/Italo fusionist label Electrique has decided to press this 80th EP to vinyl. Happily, it's also available as a digital EP. An all-star concoction featuring various label regulars, it variously touches on bleep-heavy deep house (La Royale and Pato Watson's bleep-heavy "Gravy"), dirty analogue electronics (a trippy and fuzzy offering from Max Jones), rubbery machine funk (Gameboyz), throbbing heads-down fare (Bufi, Eddie Mercury) and Latin-tinged analogue disco (Juan Soto & Rocco Desentis). Best of all, though, is Thomas Jackson's Lee Scratch Perry-sampling "For The Junkies", a prize slice of fuzzy, Prins Thomas-ish organic disco.