LUXXURY (Kitsune, Future Disco, Boogie Angst, Eskimo) makes dance music for adults. Raw, funky bass-lines plucked with grown- man finesse. A mastery of synth native only to those who lived through the late '70s/early '80s. Dust in the glitter that vibrates in the space between string stabs and guitar jabs while the steady pulse and astral effects are beamed in from a cybernetic future Los Angeles.
Review: After releases by DoctorSoul, Dave Mathmos and Vibes4YourSoul, Berlin-based Too Slow To Disco are back with number six in their edits series. This one comes courtesy of Los Angeles nu-disco wizard Blake Robin aka LUXXURY, who has built up a solid reputation via his method of using the multi-tracks of classic hits to create dubby/slow-mo versions of classics. On TSTD06, we have "Hello My Love" which is a loved-up and low slung slow burner that's worthy tackle for the late night, followed by the romantic '70s swagger of a well known AOR classic on "Baby Please Don't Go (Oooh No)".
Review: Los Angeles' LUXXURY has long been a masterful creator of the kind of warming, sun-splashed fusions of disco, boogie, yacht-rock and synth-pop that sound like they were tailor-made for soundtracking long drives down the Pacific Highway at dusk. That vibe once again comes to the fore on his glossy, impeccably produced new album, Ambiance, which offers a largely vocal-free, DJ-friendly version of the simultaneously released, radio-friendly 'Alright'. What we get is pretty much the same tracks as that set, expanded to include takes on previous singles and unheard workouts. There's much more reliance on groove and instrumentation, allowing us to marvel at his mid-80s style FM synths, Hall & Oates-esque electric piano motifs, rubbery bass guitars, colourful electronic flourishes and undeniably dancefloor-ready drums. Retro-futurist nu-disco at its finest!
Review: Los Angeles-based producer LUXXURY returns with a new full-length album. Alright sees the talented producer (real name Blake Robin) experimenting with funk, synthpop and instrumentals across 11 songs which "are are all infectiously rhythmically-oriented while exploring new disco directions". Highlights include the neon-lit seduction of opening cut "What Are We Gonna Do?", the low slung and hypnotic dancefloor heater "Somebody Tonight", as well as the late-night boogie-down vibe of "Midnight Special" and the sunny and uplifting, open-air feels of "Set Me Free" (Song for a Person Walking Away) that's just perfect for this summer season.
Review: With 23 tracks to choose from, there's no faulting the value for money offered by this summer compilation from London's Slightly Transformed label. Such an extensive tracklist also offers plenty of scope for stylistic variety, with tracks ranging from laidback, groovesome boogie/soul jams like opener 'What Are We Gonna Do' to the mellow Balearic haze of 'Summer In The City', via the strident 80s attitude of 'Edgy', the looping filter disco of 'Something About Love', the authentic-sounding Blaxploitation funk of 'Mac And Carly Go Uptown', the Zapp/Cameo-isms of 'Firebabe' and even a bossa nova cover of Bill Withers. Serve poolside, accompanied by several mojitos, for maximum impact!
Review: Album number three from Luxxury here. But where their 2006 debut was an electro/indie-dance affair and 2014's 'Luxxury Edits' compiled a load of the hazy, dropped-tempo re-edits they're best known for, 'It's Not Funny' finds them turning in 10 tracks that operate in Nang-esque nu-disco territory... complete with all the glistening 80s pop sheen, analogue synth sounds and yacht rock-ish overtones that description implies! There's nothing especially innovative or ground-breaking going on but fans of the style will find much to enjoy here (even if the falsetto vox can get a little relentless), with standouts including the dreamy, mid-paced 'Hold On' and Scissor Sisters-esque closer 'I Wanna Be Everything'.
Review: Having previously released Orange, Blue, Green and Pink "collections", Eskimo Recordings continues its' colour-coordinated theme with a Yellow compilation. As usual, the collection draws on material from both established names and lesser-known talents, and does a bang-up job joining the dots between hazy Balearic pop, nu-disco, indie-dance and colourful, soft-focus house. While it's all of a high standard, we're particularly enjoying the sparkling dub disco-goes-Balearic flex of Satin Jackets' dub of Du Tonc's "We Can Hold On", the trippy analogue bump of Man Power's "Fisky", the splendid rush of Luxury's baggy disco groover "Breathe", and the camp, Italo-disco thrust of "El Wild" by the brilliantly named Zombies In Miami.
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