Review: Futureboogie's annual multi-artist EP has become as big a part of our summer as tedious festival queues, soggy outdoor parties and complaining about the British weather. Label stalwart Christophe kicks off this sixth edition via the clattering machine drums, glistening Balearic flourishes and thrillingly psychedelic acid lines of "West Side Critters", before Zombies in Miami go all Eastern on the sitar-sporting house exotica of "The Legends of the Hidden Temple". There's more of a sun-warmed Balearic feel to the shuffling beats, tumbling chords and jangling pianos of Forriner's tasty "Spero", while Yuki Tosaya steals the show with "Acid Dawn Breaks", which is the kind of saucer-eyed, sunrise thriller that was all the range back at the turn of the '90s.
Review: The latest missive from the Pachanga Boys' consistently impressive Hippie Dance label is an expansive affair. It gathers together a quintet of tried-and-tested dancefloor workouts, beginning with the dark and woozy, post-punk house throb of Paulor's "La Race". The Pachanga Boys weigh I with a previously unheard edit of Roman Flugel's wonky, bass-heavy box-jam "Deo", before Julia Dessagne dons the Fantastic Twins alias on the creepy, organ-heavy pulse of "Holiday". Elsewhere, Kaspar Bjork delivers a slick but atmospheric chunk of synth-heavy house ("Choir of Young Ravers"), and Zombies In Miami get all trippy and hypnotic on the mystical house of "Flashback Mantra".
Review: Bizarrely, Running Back boss Gerd Janson describes this multi-artist EP as "a sampler for a hypothetical mixtape". Perhaps he should make that imaginary mix a reality, because all four cuts are quality. Check first the throbbing and pulsating brilliance of Storken's "Lille Vals", which sounds like an Italo-disco obsessive's take on Bobby Orlando's mid-1980s work (with a little NYC freestyle thrown in) before donning your extra-special dancing shoes to shuffle along to Alan Dixon's new dancefloor "Drums Mix" of his synthesizer soundscape "Ambient Braindisk". Zombies In Miami predictably deliver the goods on bleeping, synth-laden nu-disco throb-job "Panoramica", while Hokaiido's "Talisman" offers the perfect combination of delay-laden proto-house drums on steroids, bold freestyle bass and cheery synthesizer melodies.
Review: Having recently dabbled in the artist album format, Comeme turn to matters of a compiled nature with this fine collection of tracks presented under the banner Gasoline. Fans of the label will be pleased to see that Ana Helder contributes the title track, whilst Argentinean selectors Djs Pareja appear twice with one track a collaboration with fellow Comeme mainstay Alejandro Paz. It's also great to see the label introduce a few new names, with the self-styled GlasGoan Auntie Flo a perfect fit for Comeme given his previous output for Huntleys & Palmers, Permanent Vacation, Mule and Kompakt Extra. The presence of Mexican duo Zombies In Miami, Portuguese 'Bachelor House' advocates Voxels and Chileans Vaskular and Valesuchi suggests Comeme's A&R skills for uncovering new talent remains as keen as ever.
Review: It seems that we're not the only ones to have noticed the recent rise of Mexican disco-not-disco, and more specifically the anything-goes fusion antics of the Electrique Musique label. ISM head honcho Yam Who has been paying close attention, and here compiles a showcase featuring tracks the label and related Mexican artists. There's much to admire, from the wide-eyed Balearic disco shuffle of Zombies in Miami and the head-nodding, toe-tapping house shuffle of Mr Jones, to the post-punk electrofunk of Avanti and dayglo Prince grooves of Thomass Jackson. Listing all the highlights is near impossible, so just dive in - you won't be disappointed.
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.
Review: Mexican duo Canibal and Jenice have been performing their brand of electro-disco under the Zombies in Miami name since the turn of the decade and arrive on Bordello A Parigi following turns on the like-mined Correspondent and Love On The Rocks. This two-track single, Turquoise, sounds tailor-made for the Bordello cause - especially the title track! One of those crisp modern Italo dramas to grab you immediately, "Turquoise" thrusts forth with thrilling arpeggiated synths, icy key stabs and Jenice's deep set vocals. Underpinning all this is a wondrous electro-disco groove. 'Hipodromo' is a fine retro-groove B-side, expertly programmed to feel like an extended swirl of a mirror ball.
Review: Over the last few years, Mexican producers have delivered some of the sleaziest and most hedonistic nu-disco and revivalist Italo-disco around. Zombies in Miami have been responsible for more than many of their contemporaries, chiefly via killer EPs on Love on the Rocks, Correspondant and Bordello a Parigi. They're at it again here, too. You'll struggle to find a better combination of druggy Italo-style arepeggio lines and sun-kissed, head-in-the-clouds Balearic influences than that heard on "Primitive", while the thrillingly dubby and surprisingly foreboding "Tazane" is the aural equivalent of stumbling into a pitch-black after-party while vividly hallucinating. Jonathan Kasuma does a good job re-casting the latter track as a low-slung, post-punk influenced chugger, while Mijo's remix of "Primitive" is a cheekily lo-fi, off-kilter Italo-disco affair.
Review: Synthy, suitably spaced-out nu-disco is the order of the day on this three-tracker from Mexican duo Zombies In Miami, which is brought to you by Norway's Internasjonal label. 'Real De Catorce' opens proceedings, underpinned throughout by panned percussion and a pulsing two-note bassline while six-string flutterings and space-y 'Love Will Tear Us Apart'-like pads play on top. 'Space Is The Place' itself is a breakbeat-led concoction with more sci-fi synths and a rave-y buzz bassline, while completing the EP is 'Walking To Xilita', which brings yet more synth-bass and cinematic 'space' FX.
Review: This is Mexican pair Zombies In Miami's second release on Correspondant, and it sees them get the balance just right between moody bass grooves and eerie melodies. The title track, with its powerful, prowling low end, rolling percussion and bleakly atmospheric synths underpinning robotic vocals, is exactly the kind of track that label owner Jennifer Cardini would play out. On "Last Gun", a more tripped out sound prevails, with a pulsating bass supporting a dubbed out guitar and synth combination. There is an alternate remix of the title track from Simple Symmetry, led by cowbells, a low-slung bass and mysterious guitar playing, but it's all about the original material on this dark, classy release.
Where Is The Voice Of That Man On Acid - (6:41) 121 BPM
Where Is The Voice Of That Man On Acid (Jackie House remix) - (5:46) 124 BPM
Review: The latest release on Mike Simonetti's label comes from Mexican duo Zombies In Miami. Over the course of the EP, they show that they are adept at creating different moods and styles, while working in the general deep house sound. The title track resounds to tough, gritty drums and a chugging groove that veers into dramatic chord stabs, while on "New Odisea", they opt for a different tact; the track features a pulsing bass underpinning eerie synth lines and dramatic, swirling woodwind. Shifting focus again, "Where is the Voice of that Man on Acid" sees the up the ante and deliver a pulsating, peak time groover, peppered with key stabs and jittery piano lines.
Review: Last seen operating on Internasjonal with the delay-laden nu-disco drugginess of "Space Is The Place", Zombies In Miami pitch up on Permanent Vacation for the very first time. "Frodo" sees the long-serving Mexican duo charging off in a different direction, one that sits somewhere between vintage Inner City, the more crystalline end of the Italo-disco spectrum and the piano-heavy Balearic house revivalism of Tuff City Kids. The edited version packs a punch of course, but we'd suggest checking the full-length mix (track two), where the track's cascading synthesizer lead lines, rushing piano house riffs and bubbly, arpeggio-driven groove rise and fall throughout. The result is a giddy, loved-up workout of epic proportions.