Review: The Canary Islands' own disco don Ilya Santana has never been afraid of wearing his love for all things 80s on his sleeve, with this new two-tracker on his own Astrolead Recordings being but the latest example. 'Doublecross' is a reworking of the 1980 track of the same name by South African disco-rock fusionists Hot RS, who were best known for a disco cover of 'House Of The Rising Sun', while the synth-tastic, sci-fi-esque 'Underwater' originally featured on the 1979 long-player 'American Express' by German producer Harry Thumann, a contemporary of Giorgio Moroder and Patrick Cowley... think 'Geoff Love at Studio 54' and you'll get the general idea!
Review: Born back in 2008, Rayko's Rare Wiri mark their 200th release with an album-length compilation featuring 12 brand new cuts from what the man himself describes simply as "some of my favourite artists out there". The album starts out in laidback, Balearic mode with Secret Soul Society's 'Draw Of The Cards' and ends up back there with Manolo's 'By The Moon', but in-between you'll find the looping, funked-up deep house of Fran Deeper's 'Lost Baby', the shape-throwing 80s Faltermeyer-isms of Kelton Prima's 'The Beggining', Ilya Santana's floor-friendly cover of Vangelis's 'Dervish D', the electro nouveau of From Beyond's 'Star Slip' and more besides. Here's to 200 more!
Review: Spanish don Ilya Santana returns to Rare Wiri and ropes in Scandinavian counterpart Rune Lindbaek on remix duties. In its Original form, 'Cosmos Rising' - as you can probably guess from the title alone - comes from that part of the musical spectrum where Italo/cosmic disco and progressive house/melodic techno collide, and as such should work on any floor where they like it big, bold and trippy. But it's the Rune Lindbaek Remix that nudges it for yours truly, being an even bigger, bolder and trippier pass with warehouse-friendly kicks and some added spoken vocal samples paying homage to the special magic of the mushroom.
Review: Stalwart of the nu-disco scene Ilya Santana is back this week with the sixth installment of his Edits series on his beloved Astrolead Recordings. It features the low slung Latin vibes of
"Yoruba" (Ilya Santana Extra instrumentation rework), some slo-mo balearica in the form of "Blackout" (Ilya Santana edit) through to a classic disco heater such as "Radiation" (Ilya Santana edit) and some Moroder-ish cosmic synth journeys like Magnifique".
Review: The trio of Ilya Santana, Rune Lindbaek and Rayko is surely a line-up to get any nu-disco lover's mouth watering, but do be aware that the clue's very much in the title here, with all three producers drawing heavily on Spanish/Latin influences - Lindbaek's 'Moonlight', in particular, may invoke memories of sangria-sozzled evenings on youthful package holidays. Conversely, if you're NOT a huge fan of Latin sounds generally, then Santana's 'Fresa' is probably the one to head for, operating as it does in slightly more typical nu-disco territory, with only the vocal and strings bringing a hint of Latin flava.
Review: Canary Islands-based producer Ilya Santana released his great full-length The Retrowave Album last year on his very own Astrolead Recordings. He's back with the second part of the album now; the first track being "Love Savior" a neon-lit Italo disco number with an impassioned vocal that is pure bliss. There's also an featured instrumental and a remix comes from Jason Core (Feverball/Boite) who injects more dancefloor dynamics into the track by way of the rhythm department, yet retaining that terrific guitar solo.
Review: With releases on Balihu, Permanent Vacation, Rare Wiri, Eskimo and Nang, disco producer from the Canary Islands Ilya Santana is back on his beloved Astrolead Recordings with a scorching four set of disco heaters. Whether it's the dark and brooding Giallo energy of "Lost in Philadelphia" (Ilya Santana re-work) or the low slung classic funk attack of "Cryptonite" (Ilya Santana edit) he proves there's much within his sonic repertoire. Elsewhere, he takes you on a neon-lit night drive down the coast on the breezy "Geronimo" (extra instrumentation edit).
Review: Perhaps the best way to describe these three cuts from Spanish disco don Ilya Santana is to say that we're only about 99% certain he's actually made them - 1% of our brains insists he must have broken into an Italian TV studios, found a load of incidental music from an early 80s sci-fi series that never actually aired, and cheekily snuck the tracks out under his own name! Well, that or he's just been listening to a lot of John Carpenter lately... either way, if you're in the market for some classically-styled, authentic-sounding cosmic disco bizniss this week, then look no further.
Review: Rare Wiri's 'Retro Future Disco' series, launched in 2016, reaches its third installment - and with 10 tracks on offer, many of them coming from scene big-hitters like Alkalino, Ilya Santana, C Da Afro, Andy Buchan and of course label boss Rayko, nu-disco lovers will be salivating already! Generally speaking it's synth-tastic grooves inspired by Italo and cosmic disco that lead the charge here - though, given the talent roster, you'd expect a certain degree of stylistic variety, and you'll find such in Buchan's rawer, more funk-leaning 'Family Kings' and the soulful vibes of The Beatbroker's 'Belong 2 Me'.
Review: What better way to revisit the golden age of '80s action cinema that today could inspire remakes of classics like Cobra, Commando or Beverly Hills Cop than Ilya Santana's B Movie 1984! Taking in night driving titles like "Chase On Ocean Drive" to this album's kick starter, "Undercover Girl", here's an album that does away with any bells, whistles and effects by keeping it John Carpenter style with a touch of Gallo Italo through some inspired renditions of what made movies back then so good, product placement or not. Freezeframe!
Review: Canary Islands disco legend Ilya Santana hooks up with the voice of a generation, Woolfy, for another pioneering release on the Spaniard's label, Astrolead Recordings. Combining an '80s electro vibe with touches of funk and cosmic Italo, the single brings with it a bonus instrumental version and classy uptempo remix for a heavier, industrial tip. Youch! This one's hot.
Review: After 12 years in the game, Spanish nu-disco stable have reached the 100-release milestone, and they're celebrating with an imaginatively titled compilation packing eight brand new tracks that have been handpicked by label boss Rayko. Obviously, with eight tracks from as many artists there's a fair degree of stylistic variety on offer, but the emphasis generally is on heavily electronic grooves - sometimes veering into Balearic/coffee table pastures, sometimes served with a darker, more leftfield twist. It's really more of a home listening album than a collection of club cuts, but for dancefloor purposes start with the contributions from Ilya Santana and Sauco...
Review: Spanish nu-disco don Ilya Santana serves up four typically luxuriant, synth-drenched jams on his own Astrolead Recordings label. 'A. Lear_New York' is a slow-grinding shimmer-athon augmented by some plangent rock guitar in the mid-section, 'Going Home' goes full-on Italo/cosmic and gets seriously tripped-out as it progresses, 'Swing Africa' has the chanted Afro-style vocal you probably expect and jazz horns you might not, and finally 'Gone Rock' pushes into that under-explored territory where funk, rock and disco collide. 'Going Home' with its Levan-esque wonkery is the standout, but it's a strong EP all round from this master of the nu-disco game.
Review: Legendary Canary Islands producer Ilya Santana recognised for his constant stream of releases on labels like Nang, Porn Wax and Eskimo returns to Astrolead Recordings for a second release in "Won't Look Back". Merging Italo and baerlic themes with a touch new wave and madchester guitars, Santana sends in a star-sailing synth progression graced by the slightest touches of a cosmic disco, slowed down, made lo-fi and chugged out New Order style by Throne Of Bloods always solid Hardway Brothers.
Review: Hailing from the Canary Islands, disco producer Ilya Santana is the owner of Astrolead Recordings. He has also released on labels as diverse as Nang, Permanent Vacation, Eskimo and even Daniel Wang's Balihu over the years. On the first edition of 'Astrolead Edits Hits' he selects his best re-rubs of disco, funk and rare groove from his back catalogue. There's a Frank Farian vibe on the sensual "Astromachine" taken from last year's Space Delights EP, a neon-lit boogie down vibe on the slo-mo groove of "Fog" and a rather familiar hook on the powerful disco inferno of "Running".
Juan Soto - "Oh Ziggy, Wil You Ever Win?" - (6:44) 113 BPM
Ilya Santana - "Obscure" - (5:08) 109 BPM
Alex Arcocha - "Take Me Out" - (6:57) 126 BPM
Aimes - "Cafe Disco" - (6:55) 118 BPM
Review: As the title suggests, Spa In Disco's latest multi-artist extravaganza is aimed aquarely at dancefloors, though in these times is more likely to inspire bedroom DJs to dance around their kitchens or living rooms. There's plenty to get the juices flowing amongst the eight tracks on show. Check first the rubbery bass, sparkling pianos and summery nu-disco vibes of Future Feelings' rushing "Bold Drink", before turning your attention to the revivalist Italo-disco chug of Sauco's "Orion" and the hard-wired, acid-flecked analogue chug of Ilya Santana's superb "Obscure". Highlights elsewhere on the EP include the revivalist electrofunk chunkiness of Juan Soto's "Oh Ziggy, Will You Ever Win", the dreamy Balearic breakdowns of Rayko's "Jungle" and the up-beat nu-disco cheeriness of Aimes' "Caf? Disco".
Review: For their latest tidy trip into re-edit territory, Rare Wiri has turned to the undisputed talents of synthesizer-loving nu-disco don Ilya Santana and label founder Rayko. The latter offers up some chunky, delay-laden P-funk thrills in the shape of "Revenge of the Rare Wiri", before returning later in the EP with the eyes-closed rock style guitar solos, thickset synth bass and swirling female backing vocals of poodle perm-sporting mid-80s MTV wig-out "Demons". Santana charges off on an Italo-disco flex on the arpeggio-driven, synth-sporting sleaziness of "Angie", while closing cut "Dreams" is a pitched-down shuffler laden with robotic vocoder vocals, bold synthesizer riffs and more pulsating, arpeggio style bass.