Review: Nine years after volume one landed on Junodownload, Loshmi (AKA Serbian nu-disco scene stalwart Tonbe) is back with the series' 26th instalment. He begins with the thunderous, peak-time-ready assault of 'Swat', a tweak of a gnarly rock-guitar sporting OTT orchestral workout underpinned by thumping house drums, before offering up the rolling, synth-sporting pop-goes-house roll of 'Lady'. Loshmi dives into his collection of glossy '80s electrofunk/boogie jams on 'Knock It', a deliciously squelchy, colourful and soulful affair, before rounding off another rock-solid re-edit EP with the Balearic acoustic guitar solos, dreamy chords, Flamenco vocals and chunky house beats of 'Train Running'.
Review: Nine years on from the release of his first EP of 'Serious Edits', Loshmi adds a 25th volume to the popular series. As usual, what's on offer is a clutch of cuts that add beefed-up, house style beats and tidy effects to mostly under-celebrated disco jams. Basically, they're all tried-and-tested, house style re-edits aimed at peak-time dancefloors. Highlights include the Clavinet-heavy, arpeggio-driven stomp of 'Virgin Dance', the swirling strings, impassioned lead vocals and bouncy disco grooves of 'Mother Jackson', and the deliciously camp Italo-not-Italo throb of 'Sexy Sexy Girls'. File under: "guaranteed party starters".
Review: Serbian disco producer extraordinaire Tonbe once more teams up with his Montenegran counterpart Mitiko, as well as with himself in his Loshmi re-editor guise. Loshmi's uptempo rework of Dillinger's 'Cocaine' gets the ball rolling, after which come takes on Chaka Khan's 'I'm Every Woman', The Flirts' 'Passion' and The Salsoul Orchestra's 'Take Some Time Out For Love', plus a brace of unidentified Latin cuts. After that come three cuts from Mitiko, with 'In Your Soul' drawing heavily on Soul Children's 'Stir Up The Boogie' from 1978 and 'Morning Talkbox' bringing the Zapp-isms, before Tonbe plays us out with three tracks of his own, including the rumbustious 'Funkstar' and the Alpha Blondy-biting 'Sabari'.
Review: Ever-prolific Serbian disco don Tonbe once more assumes his Loshmi re-editor's mantle to bring us reworks of 11 dancefloor gems from days gone by. Opening with Chaka Khan's 'Every Woman' is a tad misleading, because he's mostly opted for slightly less obvious (and, for time reasons, largely unidentified) source material, drawing mostly on 80s boogie and electrofunk for inspiration - though there's time enough for some raw James Brown stompery (see 'Up Or Down'), and you just might hear a hint of his Princeness in there as well! There's a pleasing circularity, too, to the inclusion of 'I Feel', another Chaka rework, as the album approaches its end.
Review: Serbian nu-disco stalwart Tonbe once more assumes his Loshmi mantle to bring us five re-edits that draw largely on Latin sources. Opener 'Don't Know' revisits George McCrae's 'You Don't Know' from 1978, while 'Pasa' (source unknown) has a vaguely Fatback-esque feel. The originals of the other three, we have to confess, have our disco detectives well and truly beat, but suffice to say this EP would make a good companion piece to Rare Wiri's 'Spanish Delight' V/A, which packs three similarly styled jams and which is also out this week. So you should probably just buy both, hint hint hint!
Review: In which everyone's favourite Serbian disco don Tonbe reassumes his Loshmi re-editor's mantle and serves up six more reworks of vintage dancefloor nuggets. Somewhat frustratingly, the source for opener 'Bring Out' has us beat, but think late 70s/early 80s funk from the Cameo/Zapp school of thought. Elsewhere, we get Loshmi's take on (in order) George McCrae's 'I Get Lifted' from 1974, Salsoul Orchestra's 'Take Some Time Out For Love' from 1982, CC Catch's 1986 Euro hit 'Cause You Are Young', Gayle Adams' 'Don't Blame It On Me' from 1982 and lastly Kool & The Gang's 'Be My Lady' from 1981.
Review: On the whole, it might be better if Milos Djordjevic (Tonbe/Loshmi) and Sasha Mitich (Mitiko) weren't quite so talented - that way, yours truly wouldn't have written so many glowing reviews of their releases that it's getting quite embarrassing now. I should probably just buy a set of Tonbe pillowcases and have done with it! Anyway, here's another joint outing from the two Balkan boogie merchants, which - like previous installments - includes a mix of new and previously released material, spans funk, disco, boogie and soul, and features both original (albeit often sample-based) productions and Loshmi's masterly reworkings of cuts from Barbara Streisand, Mark Morrison and more. Sterling stuff all round - again, just like previous installments.
Review: Serbian nu disco don Tonbe reassumes his Loshmi re-edit disguise for this six-tracker on his own Disco Fruit. A cheeky refix of Barbara Streisand's early 80s soul classic 'Woman In Love' serves as the lead track and and is presented in vocal and dub flavas, followed closely by an endlessly looping instrumental take on 'Return Of The Mack' that'll have you running off to find an acapella pronto! Elsewhere, 'Going Home' and 'Drive Around' draw on unidentified sources from somewhere around the Kraftwerk/Yello region, while the squelchy 'Rock Baby' has an early 80s Euro/electro feel. But 'In Love' is the killer.
Review: Serbia's Disco Fruit bring us an EP packing one track apiece from some of the biggest names on the contemporary disco scene. 'My Dream Come True' from Mexican fave Hotmood is a hazy, looping affair with a soulful male vocal, while Montenegro's Mitiko reworks Fatback classic 'Do The Bus Stop' as 'Are You Ready'. We stay in re-edit mode as label boss Tonbe, in his Loshmi guise, revists Jimmy Bo Horne's 'Is It In?' on 'Yes It Is', before finally Brian SNR closes out the EP with 'Wanna Kiss You', which sports an almost punk-funk/new wave-style vocal and some glorlously cheesy 80s sax work.
Review: Last month saw two East European disco favourites, Serbia's Tonbe AKA Loshmi and Montenegro's Mitiko, joining forces for a split EP on the former's Disco Fruit label. Now the same imprint brings us this joint collection that gathers together the best of the two producers' 2021 output, in all three of their guises. The tracks involved are a mixture of re-edits, covers and original material; more importantly, both producers are ludicrously prolific, which means they had a huge catalogue to draw from. And that in turn means there's nary a track that puts a foot wrong here - making this an essential purchase for anyone who hasn't picked these cuts up on various EPs along the way.
Review: What we have here is arguably the first ever two-man disco threeway, as Serbian disco don Tonbe (Milo? Đorđević) teams up with his Montenegran oppo Mitiko (Sasha Mitich) and himself in his Loshmi guise. As for the album that's emerged from their joint efforts, well, the clue's in the title, as the two nu-disco stalwarts dive into a big cupboard full of flamenco guitars, marimbas and mariachi trumpets, and come out clutching 10 Latin-infused dancefloor shakers built for effortless grooving in the summer sunshine. Highlights, you ask? Check the low-slung funk of 'Con Sabrosura' or the jazzy shuffle of 'Portoriko'.
Review: The Serbian disco magician known as Tonbe once more dons his Loshmi guise to get busy on the re-edits tip, bringing us his reinventions of four classic cuts of yore. 'Automatik' doesn't actually differ too much from The Pointer Sisters' original, except for getting a bit wonkier and druggier in the breakdown; somewhat more radical in approach are his reworkings of David Bowie's 'Let's Dance' and Ray Parker Jr's 'Ghostbusters', but for sheer brass neck the prize goes to 'Dark Night', which somehow manages to drag Deep Purple's 'Black Night' kicking and screaming onto the disco dancefloor.
Review: The artist often known as Tonbe returns to regular home Disco Fruit with five more Serious Edits for those who like their disco colourful, synth-heavy and with a subtle house twist. After opening with the P-funk-influenced, cowbell-sporting swirl of 'Bomb on Me', the Serbian producer delivers two versions (vocal and dub) of 'Physic', a cheery, squelchy tweak of the Olivia Newton-John track of the same name with added house pianos. Elsewhere, 'Fantasy' is a low-slung revision of what sounds like a classic Talking Heads cut, while 'Waiting' is a slo-mo Balearic treat full of glistening guitars, tactile AOR grooves and sunset-ready synthesizer chords.