Review: By now, we should all know what to expect from Editorial's multi-artist edit missives, namely refined party-starting fodder that puts the needs of dancefloors first and foremost. That's certainly what Ed Wizard and Disco Double Dee serve up on the bustling, bass-heavy Afro-funk style madness of the first of five "Dope Licks" on the long running label's latest EP. Hotmood's string-powered disco-funk bubbler "Worldwide" also hits the heights thanks to punchy horns and rolling, beefed-up beats, while Levantine's "Right On" is a rolling and relaxed exercise in filter-sporting disco-house grooves. Elsewhere, Melon Bomb's "Sweet Jam" makes merry with rubbery beats, jazzy bass guitar, dubbed-out vocal snippets and clipped funk guitars, while Alex Zuiev's "Get Lifted" offers the perfect balance between Idjuts style dub disco madness and toe-tipping disco-house chunkiness.
Review: More multi-artist action from the effervescent Editorial label, a stable that has consistently delivered some of the strongest re-edits, remixes and reworks of the last few years. The imprint's most storied outfit, Ed Wizard and Disco Double Dee, kick things off with the lolloping, piano-heavy disco positivity of "Spirit Power" - where sampled female speech provides an interesting focal point - while slow disco stalwart Duff Disco delivers the head-nodding, toe-tapping warm-up warmth of "Burning Hot". Elsewhere, Hotmood ups the heat and tempo on the P-funk-fired stomp of "I Was Born in Mexico" and Alex Zuiev lightly beefs up a swirling peak-time disco jam on EP standout "I Feel Funky".
Review: It's been three years since the last installment in the "Giant Cuts Presents" series, so this fiery and funky four-tracker from Mexican hero Hotmood is long overdue. He's naturally in fine form, brilliantly joining the dots between loopy disco edits, James Brown and groovy deep house on tasty opener "The Rhythm Is There", before serving up a slightly deeper flavour of disco-house on the dewy-eyed bounce of "My Darling (Dina)". Doc Jam does his best Tiger & Woods impression on his loopy and life-affirming house revision of "The Rhythm Is There", while closing cut "Tropical Space" is an inspired fusion of jazz-funk, disco-house and evocative tropical jazz samples that's as summery as test match cricket, family barbecues and disappointing package holidays to half-built Spanish seaside resorts.
Review: We're not sure what Hotmood got up to on his recent Rhodes Trip, but whatever it was, it was good enough to result in his latest EP on the mighty Editorial. Boasting four tracks, the EP features the freshest sounds from nu-disco world capital Mexico. "Can You Dig It" opens with smooth, jazzy and Latin-tinged poolside boogie, "Magic Touch" follows up with some looped saxy -fizz, whilst "Check This Out Yo!" veers into funky/disco house territory and "Soul Energy" wraps things up with a heady Fender-Rhodes-lead groover. Slick stuff.
Review: Following a superb outing on Whiskey Disco earlier in the year, Guillermo "Hotmood" Gonzalez returns to Editorial with his first EP for the label in almost two years. First up you'll find "Don't Care", a rolling and summery chunk of string-laden disco warmth with added house chops, before Gonzalez brilliantly reworks a hazy (un-credited) disco-funk classic by putting extra emphasis on the track's mazy saxophone solos. More disco sweetness is provided in the form of the head-in-the-clouds dancefloor bliss of "I Can Be You", before the producer doffs a cap to Tiger and Woods on the loopy Latin disco/deep house fusion of closer "You Can't Play That".
Review: Mexican combo Hotmood now has a sizeable discography under their belt, with releases on a clutch of well-regarded labels - think Editorial and Ganbette, for starters - offering proof of their 'rising star' status. This outing on Masterworks Music is predictably strong, too. Check, for example, the punchy Tijuana brass, lolloping beats and undulating disco bass of opener "Funjazoul", or the tasty edit action of "Hundred of Times", where a hustling disco-funk number, complete with rich electric piano chords, slick guitar riffs and rubbery bass, is expertly looped up and rearranged. They finish with a flourish, too, upping the ante on the bouncy, peak-time disco-funk pump of "Let Me Hear You Say Yeah", which sounds like a tried and tested party-starter.
Review: Having made his name with a string of fine rework releases on the acclaimed Tugboat Edits imprint, Guillermo "Hotmood" Gonzalez makes his first appearance on Whiskey Disco. Disco De Los Muertos ("Disco of the dead", if our Spanish is up to scratch) is predictably full of cheeky dancefloor moments that should appeal to both house and disco DJs alike. Our pick of the bunch is probably the low-slung "Playing The Groove For An Hour", where fizzing synth stabs ride a ridiculously rubbery slap bass riff and rolling house groove. That said, the deeper and dreamier "The Camel" is rather good, while the horror-tinged Mexican funk-goes-house fare stretched across the A-side is both rock solid and highly playable.
Review: Guillermo Gonzalez continues to churn out the hits at a furious rate. This tasty EP on Disco Fruit follows two other missives last month (one EP on Empire Studio, the other on Poetry in Motion) and marks the Hotmood man's sixth release of 2018. He begins with the loose and undulating, Herb Alpert-goes-house warmth of "Let's Ride", before turning a chunky Latino roller into a weighty slab of bass-heavy mid-tempo house on EP standout "Mr Funkyman". Elsewhere, "My Disco Collection" sees him re-cast an obscure disco-funk cut as a rolling disco-house loop jam, while "Clean Cuts" is a subtly beefed up take on a sweet and sultry soul cut from the 1960s.
Review: Hotmood's two-track edit missives on their Discoweey imprint have yet to disappoint. In fact, it could be argued that each successive release has been stronger than its predecessor. The imprint's 15th release is certainly special; opener "De-Cocktail", in particular, boasts exactly the right balance of infectiousness, heaviness and headiness. It's a largely instrumental affair that combines ear-catching disco orchestration with chunky drums and a synth bassline so squeezable you'll want to take it home to meet your parents. Virtual flipside "You Are My Baby", a swirling slab of rolling disco-house crafted from cut glass strings, looped vocal samples and bumpin' drums, is almost as impressive.
Review: Four months on from his last outing, Guillermo "Hotmood" Gonzalez returns to the Discoweey label he established in 2018 with another two-track treat. Opener "Disco Love" is a bouncy peak-time treat, with Gonzalez adding bumpin' house beats, mazy synth solos and lashings of production trickery to an on-point rework of Donna Summer classic "Love To Love You Baby". In contrast, virtual B-side "Four On The Floor" provides a rolling and locked-in interpretation of a fine slice of jazz-funk/disco fusion rich in evocative electric piano solos, Herbie Hancock style synthesizer wizardry and hazy spoken word samples.
Review: Mexican producer Hotmood can usually be relied upon to bring the goods, and so it proves on this tasty new four-tracker for SFSB Recordings. We're particularly enjoying lolloping opener "Let's Get It", where jammed-out synthesizer and Clavinet motifs rise above a supple groove, though loopy, housed-up re-edit "Last Soul" is also rather tasty. "The G Groove" sees him reach for the filters and deliver a slinky, bass-heavy take on a lesser-known disco-funk cut, while "Keep on Dancing" chops and rearranges a punchy, horn-heavy cut previously re-edited by Todd Terje some years back. The edits and loops are quite short, leading to a version that feels more suitable for house dancefloors than straight-up disco ones.
Review: Even by the standards of the disco edit scene, where producers and scalpel fiends think nothing of chucking out new EPs left, right and centre, Hotmood Man Guillermo Gonzalez is impressively prolific. Unlike some of his contemporaries, though, his high standards never split. There's naturally plenty to admire on this return to Disco Fruit, from the baggy-but-bouncing brilliance of "Afro Vibrations" - all lolloping beats, Fela Kuti style sax solos, layered percussion and rich Afro-funk guitars - to the humid and sun-kissed chug of "Tropical", which appears to mix samples lifted from a cover of a well-known jazz-funk jam with warm and wozzy new instrumentation. Also impressive is "Shiny Stockings", a loopy, boogie-driven jam that sits somewhere between Tiger & Woods and Nang-style nu-disco.
Review: Our butts haven't stopped shaking since "Hotmood Volume 4" earlier this year and already the respected Mexican vibe maestro/edit king/groove sculptor Hotmood is teasing us with another sweet disco dispatch. As yet untitled, each of the four cuts sparkle and shimmy with his signature warm flare. From the belting vocal harmonies on "Track 1" to the loose-limbed percussive and wonked-out bassline of "Track 4", Hotmood has cooked up another superlative vibration fest. Start counting down the days...
Review: Hotmood may well be the hardest-working outfit in the nu-disco scene right now. The Mexican combo have already accrued a sizeable discography and show no signs of slowing down. Predictably, there's plenty to enjoy on their latest outing for Nomada. There are three tasty original cuts to choose from: the lolloping mid-tempo disco cheeriness of "Disco Flava", the sleazy and sweltering "Brazilian Groove" and the sublime, jazz-flecked summer sunshine that is "Psychomania". To complete another strong package, Felipe Gordon delivers a bouncy and loopy, peak-time disco-house rub of "Disco Flava", before Discoholycs invite us to bathe in sunshine via a deep but groovy, jazz-house-propelled tweak of "Psychomania".
Review: Since delivering the debut release on their Discoweey imprint last November, Hotmood has preferred to showcase the work of other like-minded producers, namely Selva, Hurlee and the amusingly named Monsieur Van Pratt. This return to their own label is, then, well overdue. They start in typically confident fashion via "Touch Me", a rubbery, synth-bass powered chunk of disco-house cheeriness rich in razor sharp string lines, Chic style guitars and dewy-eyed female vocal samples. It sounds like a tried-and-tested peak-time workout, and most likely is. Virtual B-side "Get It Baby", meanwhile, is a funky little wiggler that expertly chops and loops a quirky, solo-laden chunk of mid-tempo disco-funk silliness.
Review: Hotmood - known to his nearest and dearest as Guillermo Gonzalez - seems to be in a rich vein of form. This outing on Poetry In Motion follows hot on the heels of acclaimed outings on Editorial and Whiskey Disco. As usual, there's plenty of blurring the boundaries between re-editing, remixing and original composition, with opener "The Drum Beat" smothering a metronomic house groove in jazzy electric piano solos, lilting orchestration, heady female choral vocals and rubbery disco bass. The breezy, superior disco-house vibe continues on "Flying Sample", where looped and chopped strings and horns cluster around a rock solid mid-tempo groove, while "I Don't Want Nobody" is a bluesy and summery disco shuffler.
Review: Like its predecessors, Re-Loved's fifth "All Stars" EP is packed to the rafters with peak-time ready fare provided by some of the re-edit scene's most reliable producers. Leading the charge is Discoweey chiefs Hotmood, whose EP opener "We Got It" is an infectious chunk of orchestrated disco whose wild synth solos and rolling groove make it a tried and tested treat. Elsewhere, C Da Afro's "With You" is a loopy, nu-disco tinged disco-house bumper, Da Lukas's slap bass propelled "Be Freak" sounds a little like one of Todd Terje's classic dub disco reworks, and Di Saronno's "Mademoiselle" is a French Touch style re-edit full of rich horn lines, dewy-eyed female vocals and energy creating filter sweeps.
Review: This fourth audio missive from the Wonderful Times stable has been picking up plays from some of the digital re-edit scene's most revered names. Given that all four tracks are tried-and-tested disco-house treats, it's easy to see why the EP has proved popular thus far. Highlights include the sexy sax cut-ups, colossal builds, swirling effects and bumping beats of Rafael Fernandez's "Ode To A.J", the fuzzy electronics, densely layered percussion and whistling melody lines of Sould Out's "Doctor Kongas", and the celebratory disco-funk rush of The Funk District's "Time Will Tell". Hotmood's loopy but essential opener, "In A Disco", is also well worth regular rotations.
Review: The latest missive from the Editorial camp is something of a summery treat, with a sextet of producers taking it turns to lay down warm and inviting dancefloor treats, First up is Matt Hughes, whose "Lonestar" joins the dots between eyes-closed deep house and rich, bass-heavy Balearic disco. Hotmood lays down a chunk of horn-heavy, party-hearty disco house, while Massimo Vanoni marinades a sweet, sun-kissed disco cut in several gallons of tasty rum punch. Elsewhere, Sunner Soul works the filters hard on the low-slung disco house shuffler "Good Parts", I Gemin gets all sweaty and loopy on "Disco Fevah", and Andy Buchan does a great job reinventing an 80s synth-pop cut as a saucer-eyed slab of peak-time goodness.
Review: Mexico's Deep Sense serve up a six-track EP that shows there's more than one way to go about repurposing a classic. Rather than simply looping up chunks of the original, the edits here get a little more creative - Sauco & Manuel Costela's 'Are We Ready?', for instance, takes the vocal from Fatback's 'Bus Stop' vocal and places it over a fresh (and utterly irresistible) funk backing, while on 'Last Nite' Tony Disco uses a similar trick to reinvent an InDeep classic in altogether sultrier, jazzier form. An equally well-known chanted vocal tops the brass-tastic 'Flamingo' from Hot Mood, and there are three more very playable nuggets where those came from!
Review: Two years ago, our fancy was suitably tickled by the second "Vanguardia" compilation from Mexican edits outlet Deep Sense. Predictably, this delayed eight-track follow-up is also rather good. It kicks off with a spacey, synth-heavy chunk of Brazilian boogie, lightly beefed up by reliable sorts Hotmood, before sprinting through chunky, hip-wigglin' deep disco-soul (the Funk District's "Soul Dose"), bustling peak-time disco-house (Levantine's "Be Myself"), groovy, horn-toting disco sing-alongs (Sould Out's lolloping, mid-tempo rub "Midnite Ride"), sparkling, Jam and Lewis style '80s soul ("Watch Out" by Monsieur Von Pratt) and sun-kissed, sllo-mo Balearic/synth-funk fusion (Flodz's brilliant "Governor's Ball").
Review: Reliable jams from a reliable bunch on this reliable compilation from the reliable Deep Sense. Mr Absolutt opens with the P-funky, cosmic number "The Road Club" - perfect for cruising - while Alex Harrington goes a little techier, white noise build up filter house in "Tanlines". FabioLous Barker takes huge inspirations from Ray Parker Jr in his poppy hit "Girls Are More Fun" while Latin guitars are introduced into Situations' "Flying With Wings". Sould Out slows things down in "Feelin' Moody" leaving Delicious to liven things up with a MJ number in "Let's Get Back". Quality productions abound!
Review: New Mexican disco edits label Deep Sense throws its first release in our direction. A various artist compilation showcasing their new found roster of talent. There's so much to choose from on here but for our money, we'd put a wager on Monsieur Van Pratt's Ghostbusters referencing nu-disco floor filler "Ecto 1", the throwback deep house vibes of Perfect Straight's "Sundaze" which sounds like a lost tape off of Prescription or Alleviated while The Funk District's "Bodyshaker" gos for the tightly looped disco DJ tool vibe like early Nick Holder or Moodymann and thats right up our alley!