Review:
Sprechen's latest release is something of a doozy, all told. It comes from font-of-all-musical-knowledge and top notch DJ Bill Brewster, who shares four killer cuts from his personal stash of re-edits. It really is all killer, no filler, with "Love Hard" - a brilliant revision of a spacey, throbbing, tongue-in-cheek classic that dispenses with almost all of the most familiar bits and concentrates on the track's sleazy groove and intergalactic synths - hitting home particularly hard. Opener "Carpet Warehouse" offers more spacey synths, camp vocals and killer grooves, while "SOS" is a near perfect revision of a low-slung, post punk-era dub disco obscurity. Speaking of post-punk era goodness, we'd suggest checking out EP closer "Wide Awake Club", which could well be the strongest edit on a very strong collection of reworks.
Review:
By now, we should all know what to expect from each new album in Joey Negro's "Remixed With Love" series, namely fantastic new revisions of classic disco, boogie, soul, electro and jazz-funk classics created using the original multi-track tapes. This third volume naturally contains a few inspired revisions of well-known cuts - a riotous take on The Fatback Band's "Do The Bus Stop", an astonishing, dubbed-out version of the Temptations' "Law of the Land" and a soaring, life-affirming rearrangement of Patrice Rushen's "Never Give You Up" included - but also some suitably smart tweaks of lesser-known gems. These include a sublime revision of the APX's '80s gem "Loose Yourself To The Groove" and an insatiable take on Mass Production's "Shante" full of jammed-out electric piano solos and rubbery electric bass.
Review:
Last year, former Ovum and Crosstown Rebels sorts Dirty Channels showcased their disco chops by delivering a fine chunk of revivalist goodness on Athens of the North (Danny Russell collaboration "Watchin' Out"). Here they join the dots between their past and present via a decidedly party-hearty EP that combines chopped and looped classic disco samples with bombastic, driving and peak-time friendly house beats. First up is "Born In Doulala", a bouncy exercise in seriously tooling up what sounds like a Turkish disco-dunk jam, quickly followed by the Soundstream-esque hard-edited disco loops and slamming beats of "Those Days". Rounding things off is "The Lord", a deliciously bass-heavy, filter-fired bumper built around swirling orchestral samples from a well-loved disco classic.
Review:
Sometime Pole Position regular Slync pops up on Fingerman's Hot Digits label, and this time he's not foolin' around. The title track is a wonderfully breezy, melodious and kaleidoscopic chunk of nu-boogie rich in drum machine style beats, life-affirming chords, rubbery bass guitar and colourful synthesizer melodies. It comes accompanied by two solid bonus cuts - the boogie/deep house fusion of "Boogie Bells" and hazy dub disco workout "Lovely Dub" - plus two tasty revisions of "Foolin". There's a rushing synth-house revision by Pete Da Freq and a decidedly heavy rub by Cuz Electric that sits somewhere between nu-disco and mind-altering Italo-disco darkness.
Review:
Ben Smith and Paul Murphy return with US vocalist Quinn Lamont Luke in tow, and together they serve up as authentic a slice of blissed-out blue-eyed soul/yacht rock as you're likely to encounter in 2019. An unhurried, sumptuously produced affair, 'The Distance' is drenched in live instrumentation - including some very fine six-string action towards the end - and really needs to be blasted on huge Klipsch speakers from the verandah of your Laurel Canyon mansion for maximum effect! It comes supplied in Original and Instrumental mixes, while Ron Basejam discos things up with heftier kicks and a bassline redolent of Jackie Moore's 'This Time Baby'. Classy stuff all round.
Review:
Who doesn't love a fresh dosage of newschool garage? We think you would have to be mad to not indulge in this brand new four track selection from Karl Brown, Paul Benjamin and Lifford as they bring together the 4 Klubz EP. The lead single goes by the name of 'Deep Down Inside' and is an instant garage heater, dancing between skippy percussive layers and chilling atmospheric chord injections. This one comes complete with a collection of three top draw reworks, with Track of Time leading the way, flipping the original onto it's head for a smooth roller. Following this, Troy Brown refixes the recording into a punchier creation, with T & D running riot with their soulful overhaul.
Review:
More from Scottish scene veteran Kevin McKay, who moved into production a few years back following decades spent running celebrated deep house imprint Glasgow Underground. As you might expect from someone of his experience, "Move Your Body (Elevation)" harks back to the halcyon days of British dance music. As the title suggests, it's a bustling four-to-the-floor house cover of X-Pansions' 1990 rave-era anthem of the same name. Wisely, McKay has included some of the most familiar elements of the original - most notably the vocal snippets and hands-in-the-air piano riff - while completing re-inventing the groove. Remixes come from U.S soulful house sort Rasmus Faber, who first delivers a warm and groovy classic house take before unfurling a sub-bass sporting, riff-heavy Club Dub.
Review:
Confusingly, Ladies On Mars isn't a collective of disco-loving Martian producers, but rather one chap from Argentina: Boom Zwapp Records founder Jonathan Braverman. He's released on a lot of labels over the years, but "Boogie On Time" marks his first outing on Midnight Riot. He begins with the title track, a heavily compressed chunk of celebratory disco-house cheeriness, before applying his trademark filter tracks to a punchier and more orchestral disco cut on "Ready To Go". Arguably even better is the sleazy, arpeggio-powered pump of EP standout "Sex Fantastic", while sparkling closing cut "Sexy Dancer" offers up an on-point revision of an electro-funk era disco workout.
Review:
In which the prolific Russian disco dinner ladies known as V's Edits serve up four more helpings of re-edit goodness. KC & The Sunshine's sax-tastic 'Black Water Gold' gets a little added Afro flava on 'Black Waters Hold' (without detracting from the original's superb jazzual musicality), Bob Marley's 'Is This Love' is reinvented as the party-starting 'Love And Treat You Right', Marvin Gaye gets the treatment on 'Funky Space' while 'Little Enough' (credited to Keith, source unknown) is an ultra-laidback jazz-funk groove built for warm-up or summer afternoon play.
Review:
Before heading into the studio, Anglo-Kiwi crew Flamingo Pier built their reputation by throwing celebrated parties that effortlessly joined the dots between a myriad of colourful, tropical-fired dancefloor styles. That's what you get on this fine EP, too. Check, for example, the ragged acid bass, tropical drums and jazzy guitars of standout "Find Your Way", the kaleidoscopic Italo-disco/boogie fusion of "Hold It" and the Fat Freddy's Drop horns, layered percussion, P-funk synths and sing-along vocals of cheery lead cut "Tell Me How". Also worth a spin is the densely percussive and suitably celebratory remix of "Find Your Way" by Leng Records regulars Earthboogie.
Review:
Since debuting a few years back, Oldchap has delivered some quietly impressive re-edits and original productions. Here he makes his bow on Slightly Transformed following previous outings on such labels as Editorial, Boutade Musique and Puro Music. First up is "What's The Use", a hustling swamp funk revision where dubbed-out, filtered instrumental sections make way for chunkier slow house passages in which Oldchap showcases the killer guitar, bass and electric piano solos featured on the disco-funk track that inspired it. Similarly impressive is "Watching You", which sees the self-proclaimed wrinkly gently tool up and dub-out a rasping chunk of Blaxploitation-era funk.
Review:
Having already proved their mettle as re-editors, Irish duo Get Down Edits have set their sights on becoming better known for their original productions. "Set Down", a bubbly, attractive and groovy chunk of nu-disco/piano house fusion featuring Italo-disco style bass and strong vocals by Cut Once, is a fine start. Their tasty vocal and instrumental versions are joined on the EP by a string of quietly impressive remixes. There's a throbbing, breathy Italo-disco take by Fairbanks and Balearic house rework by Fingerman, a head-nodding hip-hop-soul revision from Jay Ru and a smooth, melodious nu-disco version from Micko Roche. Best of all, though, is the pair's own glassy eyed, bass-heavy disco-house remix.
Review:
Bobby D'Ambrosia and Michelle Weeks' 1997 U.S garage cover of Inner Life disco classic "Moment of My Life" was an enormous club hit in 1997, spawning a swathe of remixes that variously re-cast the track as an early UK garage bumper and a German disco-house stomper. Here Joey Negro finally gets his chance to rework the track and takes it back to the source, re-imagining it as a turn-of-the-'80s disco-boogie cut closer in sound, feel and execution to Inner Life's superb original version. Alongside the sprightly, musically rich vocal version (the "Closer To The Source Take") the Z Records chief has also offered up a killer, NYC 1985 style proto-house dub smothered in echo-laden vocal snippets and wild organ solos.
Review:
Just seeing the words 'Phenomenal Handclap Band' and 'Ray Mang' on the same release will be enough to get disco lovers' musical tastebuds tingling, and the results of this heavy-hitting hook-up - which rumour has it trails a new album - don't disappoint. Across four mixes (plus a Radio Edit) he variously pulls out the track's disco, gospel and house-y elements, with his Disco Mix the choice for straight-up disco floors, the Special Mix the pick for the Balearic crew and the Reprise the one for house clubs, with an Instrumental Mix also supplied to cater for anyone who finds the vox a little OTT.
Review:
Rebuke is an Irish DJ and producer who is on the ascent. He runs the night Outhouse in Kilterkenny and he has released EP's and singles on Saved, Toolroom and Mother with ones on DFTD to follow in the coming months. Most recently, his Rebuke/rave series has been causing a major stir with reimagined versions of rave era classics such as "Bombscare" and "The Tape" gaining glowing reviews from top DJs. Reuben Keeney serves up the tough rolling minimal funk of "Along Came Polly" - story has it that Keeney found it perhaps a bit too weird for Jamie Jones & Co. but the boss man by all accounts was loving it! Second offering "Rolo" does deep down and dirty disco loops for the late night in the vein or DJ Sneak or Phil Weeks in impressive fashion.
Review:
Given the success of their previous joint single on Z Records, "Grateful", we know that Yam Who, Jacqui George and Jaegerossa are natural collaborators. Predictably, they've hit the mark again with this heavy, peak-time ready cover of Francine McGhee disco classic "Delirium". They've replicated many of the original's most potent features - think jammed-out electric piano riffs, heady vocals and wild synth solos - whilst updating it a little for house-centric contemporary dancefloors. The accompanying remixes are rather good, too. First, '80s Child and Ruff Diamond offer up a warmer, looser and breezier disco revision that adds a little more synth-heavy electrofunk flabvour, before Danny Russell and Ronald Christoph brilliantly strip the track back and emphasize the killer bassline on a superb disco-house take.
Review:
The clue's in the name here, as Masterworks Music serve up another set of 21st Century makeovers of dancefoor delights from days gone by. Diana Ross's 'My Old Piano' gets reinvented as a rather classy disco-houser on opener 'Tinkling The Ivories', while getting similar treatment elsewhere are Maze's 'Running Away', Invisible Man's Band's 'All Night Thing', Donna Summer's 'Spring Affair' and more. Long throughout on sweeping strings, handclaps, fat funk basslines and soulful vocals, the whole EP is a must for contemporary disco floors, especially as the source/track selection isn't over-obvious.
Review:
We're not quite sure who's behind the More Lotion project, but this debut EP on Midnight Riot is packed with intriguing dancefloor treats. Check, for example, "Can't Get Enough", a mid-'80s sounding affair that wraps jaunty piano lines and breathy male vocals around a chunky, synth-heavy groove, and the alien disco-funk shuffle of "Rudy Wanna Dance", a cut rich in bustling acid bass and Chic style guitar riffs. This kind of hybrid re-edit-with-extra-synths-and-drums formula continues on the more nu-disco flavoured "Boogie To The Top" and the slap bass-wielding roll of "Dancabilitys", which contains more delay and reverb-laden drum hits than your average early '80s Boyd Jarvis dub.
Review:
Bologna based legend Luca Trevisi aka LTJ Xperience has been spinning around Italy since the '80s so we were convinced he knew his stuff already, but this album is truly testament to his years and knowledge. He re-edits a bunch of classic soul jams spanning, funk soul, disco and rare groove on a collection which is pure fire and a worthy addition to any DJs arsenal. The smooth groove of "Slow Fire" is the kind of thing Psychemagik could have got to first, while "You Will Know" and "Black Machine" sample some of the very best in the form of Gypsy Kings and Prince, respectively. There's a lot to get through, but it's all killer, no filler!
Review:
There's a Spaniard in the works at Midnight Riot, as James "Rod" Rodriguez makes his first appearance on Yam Who's erstwhile imprint for almost two years. The Rare Wiri regular naturally hits the ground running with "Joe Joe", where razor sharp disco string samples seemingly leap above a metronomic, analogue-ruch, arpeggio-driven groove, before brilliantly rearranging and reworking a jazz guitar-laden slab of '80s soul bliss ("Sweet Jones"). He steps further towards mid-tempo disco-house territory on the metronomic P-funk revision "You Want Love", while title track "Hot Flash" is a riotous fusion of crunchy Clavinet lines, alien synths and fizzing horn riffs underpinned by another seriously heavy groove.
Review:
Designed as a partner piece to last week's decidedly muscular, Italo-disco and early European house inspired "Solid Rocks EP", "Vintage Girls" sees Audaz ace Alkalino serve up two complimentary reworks from his private stash of re-edits. We're particularly enjoying "Hot Wall", a throbbing chunk of late Italo-disco/early Italian house rich in dreamy, Pet Shop Boys style chord sequences, sweeping synth-strings, arpeggio style bass, odd but addictive vocal sounds and Balearic style riffs. In contrast "Let's Do It Again" is a fine revision of a quirky chunk of leftfield electrofunk/jazz-funk/rock fusion that contains a seriously rubbery bassline and some scintillating synthesizer doodles.
Review:
In the words of Paper Disco, episode six of their floor-friendly "Trash The Wax" series delivers "plenty of party pumping offerings". Predictably, proof of the set's club-ready status arrives via Hi-FI Sean's compilation opening remix of IPG v Hot Toddy's "Slow Motion Cowboy", which delivers a funk-fuelled riot of delay-laden guitars, funk rock attitude and sizzling dub disco grooves. Naturally, the rest of the collection is similarly strong. Highlights include a rare production outing from Bill Brewster (the throbbing, off-kilter Italo-disco him of "4 U Blue"), the Balearic Italo-disco bliss of Richard Norris's "Glow", the dreamy, arpeggio-driven nu-disco warmth of Kooky and Damoon's "Walk Back Into My Life" and Sheffield stalwart Solid State's deep, epic revision of "Remnants" by Speed For Lovers.
Review:
Disko's latest digital-only release is a meeting of musical minds. It features two groovy, musically rich disco-house collaborations co-produced by sometime Large Music contributor Paul Rudder and fast-rising talent Tete de la Course. While "Cadillac Disco" - a tasty fusion of rolling, bass-propelled grooves, wild flute solos, punchy horns and cheeky vocal samples - is rather good, it's opener "Makin' The Magic" that hits home hardest. A smooth but bumpin' dancefloor shuffler with bold organs, jangling acoustic guitars and eyes-closed vocal samples, it sounds like the kind of track that will easily slip into both house or disco sets. Roberto Rodriguez provides the obligatory remix, gently tugging the track further towards disco-tinged deep house territory.
Review:
Snatch! head honcho Riva Starr reckons that If you've been at one of his gigs over the last six months, chances are you've heard this absolute belter of a tune. The Deepshakerz are comprised of Bari-based Mirco Sonatore & Domenico Berardino who return to the label after last year's debut "Rush" with Mikey V - and following up killer jams on DFTD, Simma Black and Cajual. Features the deep and sleazy tribal funk of "I'm Burnt" and the sexy dancelolor raindance of "Try" led by its sultry vocals. Both cuts are reminiscent of that golden era at the turn of the millenium: when Junior Vasquez reigned supreme at his legendary residency at Twilo, right before Steve Lawler discovered it and took the sound back to the UK - and making history.
Review:
Thanks to spins from Ben UFO, amongst others, hype has been building around this release for a few months. It comes from Glaswegian debutant Adam Zarecki, who has conjured up one of the most blissful, life affirming and effortlessly funky chunks of deep house/disco fusion we've heard for some time. Lead cut "Yesterday's" is superb; a breezy, sunshine-friendly blend of undulating bass guitar, jazzy electric guitar riffs, bluesy vocal samples and swinging dancefloor drums. It's utterly ace and could well turn out to be one of the runaway underground hits of 2019. Virtual flipside "Pretending", a slightly busier chunk of string-laden disco house smothered in Jimmy Smith style jazz-funk organ solos, is also rather good.
Review:
It's billed as an EP, but with 12 tracks and at over an hour in length, you could just as well call this an album. It's the third collection of works put together by pupils at Karl 'Tuff Enuff' Brown's music school, so it's no surprise that UK/speed garage influences are to the fore: cuts like 'Bass Scat' and 'On My Mind' could have beamed straight in from the late 90s, and skippy beats, chopped-up vox and organ snips abound throughout, with tracks ranging from the Todd Edwards-isms of 'Frisky' to the dark, ominous 'The Step', which harks back to the birth of dubstep and grime.
