Review: Andrew Edward Brown has been around for a while, though his discography is a little thin. Given the quality of this single on Codek, that's something of a surprise. His version is available in both vocal and instrumental flavours, and it's the former that really stands out. Brown is a great songwriter and vocalist, and his lead vocal works perfectly with the warm and woozy backing track - a heady blend of deep house grooves, rich chords, squelchy nu-disco synth bass and a few nods towards '80s boogie. Label bosses In Flagranti handle remix duties, turning in vocal and instrumental takes that brilliantly re-imagine the track as a flash-fried chunk of guitar-laden dub disco goodness tailor made for peak-time dancefloors.
BTs Happiness (dub - feat Tina B) - (6:17) 120 BPM
Review: US legend Baker teams up with Cuban producer Casanova for a three-track, five-mix EP that operates largely in tribal/Afro territory. Opener 'Makossa' rides an insistent, stuttering tribal rhythm, topped with a chanted male vocal: as the track progresses, horns are added and the backbeat gets ever more electronic-sounding as they ramp up the FX. 'Dale!' is another tribal jam served with or without another male vocal chant, which leaves just 'BT's Happiness' to flip the script, being a full-phat disco-houser that borrows a snatch of vocal from Cuba Gooding classic 'Happiness Is Just Around The Bend', and that's available in vocal or dub form as you see fit.
Review: In some cases it's useful to name-check some of the labels a producer has released music on; in the case of re-edit scene stalwart C Da Afro, it's easier to name the handful of imprints he's not appeared on. Here the prolific Greek rework merchant returns to Midnight Riot for the first time in almost five months, which by his standards is an eternity. As usual there's plenty to set the pulse racing across the EP, from the lolloping, electric piano-sporting orchestral disco brilliance of "Party Purpose", to the dewy-eyed, slap-bass sporting goodness of "Get Happy" and the filter-smothered disco-house revision business of bouncy closing cut "The Love For The Music".
Review: Earthboogie is currently on a break, so it's likely that this fine single is the last we'll hear from them for a year or two. First up is "Creepy Steve", a previously unheard workout that wraps lashings of Latin style percussion, spacey synthesizer noises, fuzzy guitar solos and African style vocals around a mid-tempo dub disco influenced groove. Arguably even better is Joel Harrison's remix of the title track from the band's superb debut album "Human Call". He retains some of the Afro-centric elements and live instrumentation but also adds dreamy, Larry Heard style chords, thrusting drums and some suitably wide-eyed musical touches. The result is a spacey deep house gem that's as warm and comforting as it is dancefloor friendly.
Review: Ganbatte's latest affair may be all-star affair, but Fabiolous Barker rightly takes top billing thanks to delivering two takes on his latest track, "The Expert". He opens the EP with a hybrid electro/disco flavoured "Old Skool Re-Master" full of whispered vocals, crunchy guitars, throbbing synth-bass and tight horn blasts, before returning at the end with a "Funka-Masta-House" version that underpins the music with a head-nodding house style beat. In between you'll find the bouncy, Hi-NRG era Latin disco-house insanity of Dim Zach's "La Habernaro", the dreamy harmony vocals and ear-pleasing nu-disco grooves of Carlos Gatto's "Call It Love" and the alien funk masterclass that is Don Dayglow's "Gotta Say Yes", a suitably throbbing revision of an old Yello favourite.
Review: Earlier in the year Fahrland self-released his debut album "Oneness", an "electrified soul hybrid mixed with peaks of beats, hints of beats, interwoven in cloudy spaces". The Pachanga Boys certainly enjoyed it, because they decided to commission and release a swathe of dancefloor-focused remixes. Cherokee collaboration "All That I Need" is first to undergo a makeover, with Dave DK brilliantly joining the dots between languid tropical soul, lazy Balearic disco and shuffling deep house, before Fahrland re-imagines "In Oneness" as a jangling, sun-bright slab of glistening loop-house. Superpitcher delivers similar sounding "Magic Mix" and instrumental versions of "Spanish Castle Magic", underpinning Fahrland's glassy-eyed tropical guitar motifs and chiming synthesizer melodies with a slow motion dub disco groove.
Review: Kiwi nu-disco crew Flamingo Pier come to Miles Cleret's UK label Soundway with a track that just might take you by surprise. Sporting a somewhat 80s-sounding male pop vocal and served simply in Original and Radio Edit forms, on first hearing 'Indigo' can come across as mere froth, but give it another listen or two, give the wukka-wukking funk guitar and squelchy analogue synth doodles a chance to really drill themselves into your head, and you'll realise it's actually a very fine slab of contemporary Euro-leaning disco, redolent of both vintage Brit-funk and My Life With The Thrill Kill Kult circa 'Gay, Black And Married'.
Review: Two fine slabs of classic-style house music make up this EP from India's Houseferatu, coming on Greek label Chopshop. 'Call Me' is a looping, languid affair made up primarily of thumping 4/4s, warm, rounded bass and filtered string sweeps, with a soulful male "whenever you call me" vocal loop arriving around the halfway mark. The accompanying 'She Means A Lot' operates in a similar territory, but with more overt leanings towards late 90s filter disco. Both will keep house floors simmering nicely, though.
Fabio Me Llaman Soltero - "Rutina De Core" - (4:48) 115 BPM
Review: Mexican imprint Duro may have walked steadfast down the left hand path of late, with their knack for moody industrial influenced music, but the first installment in their new 'Muy' compilation series sees them celebrate their 4th birthday in fine fashion - with the label and its cohorts returning to their nu-disco roots in delightful fashion. Kubebe delves deep into lo-slung territory on the mesmerizing groove of "Lagomar", Lithuanian Roe Deers offers up some cut-up classic house shenanigans on "Florida", Wolfstram does deep into the exotic (Disco Halal style) on "Ritual Of Nothing" and Hanzo & Yaman deliver the neon-lit body music of "Supergeil".
Review: Given the label's historic links to Norway - not least their offshoot film division's brilliant "Northern Disco Lights" documentary on the country's space disco scene - it's perhaps not unsurprising that Paper Recordings continues to champion fresh Norwegian talent. Lakeshouse fit into this category. "Folkemusikk" marks the second time the collective of "DJs, artists and jazz musicians" has appeared on the imprint. They begin with the brilliant title track, where funky acid motifs, rushing synth solos and fluid electronics rise above a chugging electronic disco groove, before doffing a cap to early Norwegian house acts on the jaunty romp "Papaya". "NRK" is a drowsy and eccentric slo-mo head-nodder rich in tumbling electronic melodies, while "Lov" is a deliciously Scandolearic soundscape full of tipsy trumpets that's perfect for sofa-bound post-club moments.
Review: While Emilio Acevdeo hasn't put out many releases as Lesser Drakar alias, he's no musical newcomer and has even worked with Gary Numan and Egyptian Lover in the past. Given this history, it's unsurprising that "Piramide 1" - a collection of madcap electronic tunes that he made for his DJ sets over a decade ago - is really rather good. Musically, it joins the dots between New York electro, cheeky 80 synth-pop, freestyle and new wave, adding a healthy dose of tongue-in-cheek humour. There are tons of fine original cuts that include sneaky references to video game soundtracks, but it's his zany electro cover of Queen and David Bowie's "Another One Bites The Dust" that really set our pulses racing.
Review: Shady scalpel field Lolita clearly has a vast archive of edits just waiting to be unleashed, as this bumper collection of tried-and-tested reworks follows hot on the heels from several other seemingly expansive volumes. So what you we expect this time round? It begins with a warm, drowsy and sun-kissed slab of soft focus soul ("051") and ends with a decidedly Balearic shuffler full of glistening, delay-laden guitars ("060"); in between, you'll find a mix of re-tooled classics (the piano-heavy disco stomp of "059", the slap-bass propelled brilliance of peak-time workout "056" and the party-starting goodness of "055") and rearranged obscurities (the Italo-disco/new wave throb of "057" and the deep disco bliss of "053"). From start to finish, it's an excellent collection of tasty, floor-focused revisions.
Review: Astonishingly, Loshmi's long-running "Serious Edits" series is now 15 volumes deep. We can happily confirm that he's not run out of steam yet with the seven-track selection featuring some suitably playable, floor-friendly revisions that are well worth your hard-earned cash. Our highlights include the gently housed-up 80s disco goodness of "Delightful", the heavy disco-funk/proto-rap fusion of "Funky Animals" - all eccentric mic flow, mazy organ lines and beefed-up disco grooves - and the languid, glassy-eyed loveliness of head-nodding warm up gem "Soul Food". There's naturally plenty to set the pulse elsewhere across the EP, too, so give all of the clips a listen if you have time.
Review: Following a long series of EPs dating back to the early 2010s, UK duo Psychemagik step up with their much-anticipated debut album. Opener 'We Can Be One' (featuring Quinn Lamont Duke) is a dreamy Balearic-pop-soul nugget and sets the tone nicely, with the album as a whole veering between Zero 7/Lemon Jelly-style leftfield pop (check out the cinematic 'Chimera', or 'Valley Of Paradise', which is like finding Simon & Garfunkel jamming with Nils Frahm in the chill-out room) and soaring, disco-fied deep house reminiscent of Faze Action (see 'Triumph Of The Gods' or 'Above The Clouds'). It's a little 'polite' at times, but an engaging listen all the same.
Review: Thunder Jam's latest EP comes from a producer yet to make his (or her) mark in music, the capital letter loving REZ. The artist has another EP due out on Hatched soon; if this debut EP is anything to go by, that will be well worth a listen. We're particularly enjoying the chugging, slow-motion disco-rock head-nod that is opener "Too Cool To Be Careless", a revision of a well-known 1980s AM radio hit that will have your dancefloors singing along when the chorus eventually drops. Elsewhere, "Believe In Magicians" re-imagines a quirky and bluesy swing number into a locked-in chunk of hip-house, while "It Was All A Dream" successfully rearranges a slap-bass sporting chunk of "juicy", 80s-inspired 1990s hip-hop/R&B.
Any Way You Wanna (Hifi Sean remix) - (5:30) 125 BPM
Any Way You Wanna - (6:06) 116 BPM
Review: The occasional Las Vegas-based duo of Peter Shalvoy and Milo Berger join forces once more for this two-tracker on Midnight Riot. In its original form, 'Any Way You Want' is a laidback funk groove comprised of shuffling drums, a fast-fingered walking bassline and gloriously cheesy keys, all topped with a spoken/sung "do it any way you want to, do it any way you wanna" male vocal, the overall vibe recalling 70s barrio funk. Hi-Fi Sean then supplies a predictably well-crafted remix that ups the pace to a housier tempo while adding spy thriller horns and a much fatter, rumbling b-line.
Review: Previously best known for offering up a handful of tasty singles on Sleazy Deep, Skeleton Keys pops up on Bandolier with a first solo single in almost 12 months. First up is "Barrio Fever", a wonderfully dubbed-out, bass-heavy and dancefloor-friendly revision of a much-loved disco-era chunk of Latin funk headiness. Skeleton keys has wisely retained many of the key original elements - think glistening guitar riffs, layered percussion and ear-catching horn motifs - while beefing up the bass and adding plenty of delay effects. "Not Whom You Seem" gives a similar sonic treatment to what sounds like an early 80s synth pop/AOR disco workout. It's good, though we still prefer "Barrio Fever".
Review: With "Rhythm & Waves", Russian producer Sunner Soul seems to be daydreaming of sunnier and warmer times. There's certainly something suitably sun-kissed about the title track, which gently beefs up and re-arranges a bouncy, Clavinet-heavy chunk of groovy disco-funk that comes smothered in atmospheric party sounds. The tighter, slap bass-sporting "Universal Disco" explores similar sonic territory, while "Red Hot Disco" sees him layer up the percussion and filter sweeps on a joyful, mid-set workout. Elsewhere, "Let's Somebody Love" is a soaring slice up tooled-up disco-soul and "Get ready With Me" is a fine slab of string-laden boogie brilliance that sounds like it was beamed down from a distant disco planet.
Hotmood - "Only Your Mom Calls Me Daddy" - (5:44) 120 BPM
The Owl - "Shake" - (5:39) 113 BPM
Frank Virgilio - "Out Here" - (5:01) 105 BPM
Labour Of Love - "Good Feelin'" - (9:52) 123 BPM
NFC & Key Sokur - "City Affair" - (5:52) 106 BPM
Woodhead - "Pleasure Departure" - (6:30) 104 BPM
Review: Gather round: Editorial is revealing the contents of the mythical "Disco Scrolls", a sacred document for all those who kneel at the altar of the Church of Nu-Disco. It contains eight audio commandments, all of which should be listened to intently. Salvation comes first via the fluid nu-disco positivity of Bica's "Endless Rhodes" and the disco-house grooves of the soulful and musically expansive "Because I'm Black" by Old Chap. Elsewhere, you'll find righteous testimony from Hotmood (via the deep disco-funk of "Only Your Mom Calls Me Daddy"), The Owl (the boisterous horns and filter tricks of "Shake"), Frank Virgilio (the lolloping party disco-funk of "Out Here"), Labour Of Love (the bassline-driven percussion-fest that is "Good Feelin") and NFC and Key Sokur (the rubbery and down-low disco fun of "City Affair").
Review: This excellent collection from Z Records draws together some of boss man Joey Negro's favourite label cuts of 2019, many of which he of course had a hand in either producing or remixing. There are naturally tons of superb multi-track remixes of disco gems old and new (see the versions of the O'Jays, Delia Renee, Tamiko Jones and Double Exposure), as well as fresh revisions of vintage Joey Negro house productions under other aliases (Doug Willis, Z Factor, Foreal People) and a swathe of killer cuts that join the dots between disco and house (Sunkids and Chance, Four80 East and CeCe Peniston, Bobby D'Ambrosia and Michelle Weeks). Throw in tracks and remixes from the likes of Fouk, Crackazat and Lay-Far and you have a superb collection of peak-time-ready workouts.
Review: Fresh from a surprise appearance on Reptile Disfunction, Vaudafunk returns to regular home Chopshop with two more reasons to be cheerful. He opens with "Love Alone", a deliciously pie-eyed disco through peak-time disco pastures rich in undulating strings, toasty bass, echoing female vocal samples and bouncy house drums. He changes focus a little on "My Hoodies", peppering a locked-in disco-house groove with suspenseful string samples, looped hip-hop vocal snippets and ear-catching synth solos seemingly lifted from a stone cold classic. It's heaps of fun and, like the track that precedes it, sounds like a genuine scene anthem in waiting.
Review: Four very serviceable slices of contemporary disco/disco-house make up this latest from the Whiskey Disco camp. '21212' is an understated, shufflin' affair with Latin and lounge overtones, then bursts into life with some proper hands-in-the-air piano action. 'Touch Down' then takes us into deeper, mellow territory before 'Make Your Move' brings the good-time disco vibes, with a vaguely 'Disco Inferno'-ish bassline and a looping female "hey babe..." vocal. The EP's completed by the Sleazy McQueen 6am Mix of 'Harmony', a housier jam featuring a microsnip of a Whitney vocal that was famously pilfered by Brothers In Rhythm in the rave days.