Review: Listen up, cos this one's just a little bit confusing! Audaz released the first of their 'Lolita' re-edit EPs in October 2019; by February 2021 there were 32 volumes in the series, each packing 10 tracks. Now here comes a five-track 'best of' selection credited to label boss Alkalino, who presumably is finally owning up! Reworking obscure dancefloor cuts from AKB, Detroit Emeralds (okay, that one's not so obscure), Radiance, Catherine Miller and Johnny Taylor, the EP will serve as a useful introduction to the series for anyone who's yet to become familiar, even if long-term fans will own all these tracks already.
Review: The ever reliable Alkalino returns on his esteemed Audaz label with a new offering titled the Old Memories EP. As we"ve noticed from recent relases by the Munich-based artist, there's been more of a tech house influence creeping into his work, much to impressive effect. From the hypnotic and bass-driven main room groove of "Rumble", to the sensual late night mood music of the title track - which is top shelf deep house if we do say so ourselves. Finally, he channels that dusty Berlin hip-hop influenced sound, as popularised by Max Graef and Glenn Astro, on the urban vibe of "Pizza Minelli".
Review: Alkalino - aka Portuguese producer Lino Polonio - serves up a three-tracker on his own Munich-based Audaz label. Audaz's catalogue spans both nu-disco and deep house, but we're firmly in the latter camp this time out, with the squelchy, synth-y 'Mariposa' itself getting the ball rolling on a Detroit-y kinda tip before 'Ricochete' takes us on a dubbed-out excursion that'll be perfect for weary 4am floors which are already locked-on and deep in the zone. Completing the EP is 'Formel', which is more uptempo and urgent in feel, with lots of electro-y glitches and bassline nods to the rave daze (think Acen or early 4 Hero).
Review: Audaz boss Alkalino's productions regularly flit back and forth between disco/boogie and deep house, but on this latest three-tracker we find him firmly in the latter camp. 'Hope For The Future' is quite a tuff, pacey affair, and easily identifiable thanks to its familiar Cuba Gooding Jr/Acen vocal sample and warping 90s synth hook. The squelchy 'Kohra' then takes us into the jackin' zone with a spoken male vocal that's vaguely reminiscent of Logic's Strictly Rhythm classic 'The Warning', while finally 'Gimme Some' is a dark, urgently pulsing cut with a little more of a techno kinda feel.
Review: Alkalino is back on his Munich-based Audaz label, with some surefire tech infused grooves. There's the adrenaline-fuelled "Depp House" kicking off the new Warp Speed EP, with its razor sharp arpeggio cutting through syncopated rhythms and roaring gospel vocals. It's a little more familiar of the Portugese producer on the druggy nu-disco of "Ventilator" combined with a minimal techno influence and awash in lush melodies. Closing it out is the seething slow burner "Reproduction" taking things down a left hand path.
Review: Munich machine Alkalino returns on his esteemed Audaz label with the Matcha EP, which carries on with the prolific Portugal-born producer's new pusuit of minimal/tech-house sounds - all infused with his good ol' love of nu-disco grooves. From the slinky and hypnotic mood music of "Pythagoras" which is reminiscent of the Diynamic label's early output, or the aptly titled "Back To Minimal" which funnily enough has more of a dub influence (but still very much worth your while) and - proving that there's yet more in his sonic repertoire - he goes out all guns blazing on the fierce, Berlin-themed techno banger "Ice Cold" (version 2).
Review: Munich machine Alkalino is back, with a brand new piping-hot jam for his esteemed Audaz label. "Growth" is a surprising departure from what we have come to know from the Portugese producer; this sublime and hypnotic exploration in dancefloor drama has more in common with the sounds of Life & Death or Afterlife than disco - but the intermittent diva vocals throughout are a signal that it's still an integral part of his sound. "Growth" (part 2) takes a more sinister turn, going deeper and darker into the afterhours in tunnelling fashion. Finally, he gets his funky groove on with the White Isle tech house party vibe of "Stay Sane".
Review: Audaz boss Alkalino serves up three quite different-sounding cuts on the label's latest EP. 'Anima' is up first, opening with a disco drum beat before bringing in a big ruff-edged bassline that's soon joined by a cascading, metallic synth hook and, eventually, a spoken vocal with a distinctly 80s feel. 'Sing The Blues' is up next, and features the unusual but surprisingly effective combination of house drums, a dub bassline and a nasal male country-blues vocal, while finally 'Watch Yourself' is a dark slab of vaguely disquieting electro-disco. Three cuts that are hard to pigeonhole, then, but thankfully nice n' easy to dance to!
Review: Munich-based Portuguese producer continues to move away from the re-edits with which he made his name, instead offering up regular missives of quietly impressive original productions. There's much to admire on his latest three-tracker, starting with the moody late-night house flex of "Upside Down". The track's addictive power derives mainly from a bold, faintly foreboding bassline and intricately programmed drums, though the hazy male vocal samples employed throughout also plays a significant role. Elsewhere, he updates hip-house via the tech-tinged deep house bustle of "The Password", before wrapping mind-altering electronic riffs and stabs around a booming bassline on "To Be Follow".
Review: Lino Pol?nio aka Alkalino returns to his Audaz imprint to deliver this superb EP. "Mad About Kelly" is a highly distinctive track; underpinned by a clanging bass and powered by rolling drums, it sees the label owner also weave in some infectious vocal snippets over its skipping rhythm. it's like a steel-plated, turbo-charged fusion of underground techno and 2-step. On "Less", Pol?nio changes tact; the rhythm is straighter and led by tribal drums and an ominous bass, but once again, he uses a hypnotic vocal sample that intones the term 'less is more'. In the case of both tracks, this sentiment proves to be correct.
Review: If you've not heard of Alkalino by now you've been living under a rock. The prolific disco house specialist of late has been dabbling in the beefer, more club ready, industrialised end of these genres, with EPs like Moonchild being a perfect example. Channeling warehouse dub vibes in "I Need Ya" an undeniable bassline produces both the melody and rhythm in both versions here while expect something more minimal and US house related in "All Lies In The Hands Of The People" that touches on classic strains of soul from Chicago and Detroit, with a touch of UK pop spirit.
Review: Audaz boss Alkalino's latest offering is a three-track EP that could find favour with house lovers from right across the spectrum. 'Blow Attack' is up first and sits somewhere between classic Heard-style deepness and Balearic prog, with lingering, string-like pads and a fluttering, euphoric topline that's almost guaranteed to see hands raised in Pavlovian response out on the dancefloor. 'Anker', although quite a pace-y affair, has a deeper, dubbier feel and hollow, almost whistle-like synth sounds that are oddly reminiscent of [classic UK kids' TV show] 'The Clangers', and finally 'Vulture' owes a debt of inspiration to 'French Kiss'.
Review: Audaz returns with this week's installment in their impressive Lolita series, taking the razor to the tape and presenting some respectful edits for maximum dancefloor impact. Munich-based Alkalino & Co. are up to number 30 in the series now, and it's jam packed full of disco goodies. Go deep into the outerzone (with bells on) with "291", then you'll definitely feel alright on the sexy vocal classic "293", or, you can get seriously cosmic (like a love machine) on "295". Elsewhere, feel the native love on the euphoric "297", or get low slung towards the end - with some good ol fashioned soul classics on "299" and "300" respectively.
Review: All time great Alkalino looks to the headlines for a Dark Room Scandal! Sending in deeper house vibes for this three-track release, there's a playful spirit to the dark side of this EP. "Orson Welles" sees the slightest of disco influences maintained in the track's percussion alongside deeper basslines, melodies and tripped out vocals. Dubby bassline house is paired with starry synths loops in "Dancing With Somebody", with the title-track doubling down on its clap-track, industrial atmospheres and suspenseful strings. Alkalino goes deep.
Review: Headed up by Munich machine Alkalino, Audaz returns to bring the heat with another scorcher under the Lolita alias. Hot off last week's volume, '29' brings more respectful edits to the table, which are all expertly engineered for DJ use by the ever reliable label chief and his many associates. Go deep down into the cosmic hole on "281" which is sure to get your hands jiving, get down (and sporty) to the low slung funk of "283", enjoy the long hot sexy nights of summer from as far and wide as the Bavarian capital all the way to the 'Windy City' on "285", while elsewhere the timeless classic disco vibe of "287" will get you on the right track. But if that doesn't, the words of wisdom from a right music legend certainly will on "289"
Review: It's not for us to second-guess the motivations of others, but more recent installments in the Lolita series do seem to have eschewed the "anything goes" approach of earlier volumes in favour of curating more focused, stylistically cohesive collections. So '31' follows on nicely from last week's disco-oriented '30', as the Lolitas mine obscure early 80s boogie, Eurodisco, Italo and electrofunk nuggets including The Jammers' 'Be Mine Tonight' from 1982 ('274'), One Two Three's 'Runaway' (a 1983 Bobby O production that now gets reworked as '275'), Clive Davis & Brainchild's 'Mystery Man' from 1984 ('280') and more.
Review: Two very well-known samples lie at the heart of this latest EP from Audaz boss Alkalino, which should help ensure maximum dancefloor appeal. 'Nightmare Walking' borrows the "I am a nightmare walking" line from Ice-T's 'Colors' (as famously used on Kid Unknown's rave-era Warp classic 'Nightmare') and places it atop a solid, rolling house backdrop. Or at least, Version 1 does: the accompanying Version 2 is a more bottom-heavy, instrumental pass and perhaps better suited to deeper floors. 'Gimme A Fat Beat' also harks back to the rave days with its cavernous bass and reedy organs, while lifting the titular vocal snip from Kraze's much-sampled 'The Party'.
Review: Some of the Lolita EPs have covered a wide range of musical ground, others have focused more on a particular sound. We're in the latter camp here, with '27' sticking to disco and boogie territory, and thankfully eschewing more obvious jams. Sources we can identify include The Equals' 'Funky Like A Train' from 1976 (now reworked as '267'), The Duncan Sisters' 'Boys Will Be Boys' from 1979 ('263') and Modern Rocketry's 1983 Eurodisco take on Raiders/Monkees/Pistols classic '(I'm Not Your) Steppin' Stone' ('264'). Those we can't include the Moroder-esque throb that underpins '261', and the jazz-funk Rhodes workout that's become '269', but it's all good...
Review: Audaz boss Alkalino takes time out from curating the label's stream of 'Lolita' re-edit EPs to serve up three heavily sampled-based tracks of his own. 'Let You Go' purloins the vocal intro from On The House's early (1986) house gem 'Pleasure Control' and places it over clattering beats and warping, reversed-sounding synths, while on 'Ice Cold' a chugging, bass-y tech-house groove underpins a snatch from Frankie Bones' 1989 classic 'Call It Techno'. The inspiration for 'Another Generation' is harder to pinpoint, but that distorted 303 bassline is frustratingly familiar! Three very solid cuts that join the dots between past, present and future.
Review: Another ten more vintage nuggets get reworked by Audaz's ever-prolific Lolita. Source material this time out includes Mystic Merlin's 'Just Can't Give You Up' from 1980 ('252'), North End ft Michelle Wallace's 'Happy Days' from 1981 ('253'), Hypnotic Samba's 'Hypnotic Samba' from 1984 ('254'), Fat Larry's Band's 'Act Like You Know' from 1982 ('257') and Gazebo's 'Midnight Cocktail' from 1983 ('258', a particular standout thanks to its Rah Band-like vocal). The rest have us beat but are generally in keeping with the same early 80s Italo/disco/synth-pop theme, with a solitary excursion into Indian/psychedelic sounds on the tabla-heavy, raga-like '259'.
Review: If you've been following Audaz's "Lolita" edit series - thought, but not confirmed, to be the work of main man Alkalino - then you'll already know that you get a lot of bang for your buck, as well as some inspired reworks of unlikely, overlooked and lesser-celebrated tracks from across the musical spectrum. Volume 25 continues in a similar vein, with highlights including the rushing 130 BPM disco hedonism of "241", the colossal percussive builds and heavy dub-disco bass of "243" (a stripped-back, all-action revision of a leftfield NYC disco classic), the tactile wonder that is the loved-up disco niceness of "246" and the wild electric piano solos of "248", a largely instrumental revision of a breathy, sought-after disco classic that's been stripped of its' wide-eyed female lead vocal.
Review: Germany's Alkalino serves up a three-tracker on his own Audaz label. 'U Have To Understand' is up first, a throbbing, pulsing instrumental houser with something of an early prog feel - think Guerrilla Records circa 1993. 'Grey & Hot' marries more of those 90s synths to tuff percussion, Daft Punk-ish bleeps and a Hamilton Bohannon "New York is red hot" vocal loop, while completing the EP is 'Roda Da Sapateiro', a darker, slightly techier cut that's built for the small hours, with a barely-there snatch of disco vocal and a bassline that owes more than a little to 'Plastic Dreams'.
Review: Another week, another 10-tracker from Audaz's ever-prolific re-edit crew. The instant recognition factor is provided by '232' and '239', which rework Paul Hardcastle's '19' and Parliament's 'Chocolate City' - to devastating effect in the latter case, if perhaps slightly unnecessarily in the case of the former. The rest of the EP draws on more obscure sources, but largely coming from somewhere on the funk-disco continuum (in contrast to previous volumes that have looked to mainstream pop/rock or world music) - '237', for instance, bites Cela's 'I'm In Love' from 1979,while Modern Romance's rap-vocalled 'Can You Move' from 1981 provides the basis for '234'.
Review: These re-edit EPs from Audaz usually feature a mix of the familiar and the obscure, with forgotten disco nuggets or hidden Afro treasures nestling alongside reworkings of massive pop and rock hits. There have been volumes that kept things more resolutely underground, though, and so it is here, on a 10-track EP that seems to draw largely on late 70s/early 80s Eurodisco for inspiration. The precise source material has our disco detectives beat this time around - though the familiar-sounding jaunty piano riff that backbones '222' has been driving us mad all week - but disco- and boogie-loving floors will find much to enjoy here.
Review: With the Lolita re-edit series reaching its 22nd installment, you should be familiar with the general vibe/ethos/MO by now, so we'll dive straight in. For '212', read Skatt Brothers' 'Walk The Night' from 1979, while '214' bites L'Ectrique's 'Struck By Boogie Lightning' from the same year. '215' reworks Space's classic 'Magic Fly', '217' revisits Bionic Boogie's 'Risky Changes' (1977) while Shakatak's 'Easier Said Than Done' (1981) is reinvented on '219'. The rest of the EP draws on unidentified Eurodisco/Italo/coldwave sources, with the obligatory curveball coming in the form of '220' - Bob Dylan's 'Lay Lady Lay' as you've never heard it before.
Review: The prolific Lolita crew return with yet another 10-track remix EP. Where some volumes in the series have leaned heavily towards a particular sound (be it disco, African music or 80s rock/pop) in terms of source material, 'Vol 21' sees them casting their net far and wide, reworking cuts as diverse as CJ & Co's 1977 disco strutter 'We Got Our Own Thing' (now reinvented as '201'), Vanilla Ice's 1990 novelty rap hit 'Ice Ice Baby' ('206') and Jona Lewie's 1980 new wave/synth-pop nugget 'You'll Always Find Me In The Kitchen At Parties' ('210'), as well as an assortment of unidentified Italo, Eurodisco and coldwave obscurities.
Review: Audaz's re-edit series reaches its 20th installment, which is remarkable when you consider that they only kicked things off in October! This latest outing finds the mysterious Lolita digging deeper than ever, so much so that we can only identify the source material of three cuts here: '191' reworks Change's Jocelyn Brown-vocalled 'Angel In My Pocket' and '199' revisits Astrud Gilberto's 1972 Brazilian fave 'Take It Easy My Brother Charlie', while '200' is based on The Stranglers' 1986 hit 'Always The Sun'. Most of the rest of the EP appears to draw on African and Latin music for inspiration, but we venture back into disco territory on '194' and the excellent '198'.
Review: No 19 in the series and Audaz's team of hard-working re-edit elves show no signs of slacking off just yet! This latest instalment is very much the proverbial game of two halves, with the first four tracks looking to 80s synth-pop and Italo sources for inspiration: Visage's 'Move Up' provides the basis for '181' and '183' is all Moroder throb and vocodered vocal, while '184' throws us a Dire Straits-shaped curveball that leads nicely into a second half drawing on some very eclectic source material, including Johnny Cash ('189'), Roisin Murphy ('190') and Cheri's 1982 disco/boogie hit 'Murphy's Law'.
Review: The latest in Audaz's prolific re-edit series is very much the proverbial game of two halves. The first four cuts all draw on early-mid 80s dancefloor sources, including P-Funk All Stars' 'Hydraulic Pump' ('162') and the Ronnie Laws version of 'Always There' ('164'), but the rest of the EP looks to classic rock and pop for inspiration, presenting us with Lolita'd up takes on The Byrds' 'Time Of The Season' ('165'), David Bowie's 'Starman' ('166'), Nik Kershaw's 'I Won't Let The Sun Go Down On Me' ('167'), The Cure's 'The Walk' ('168') and The Stranglers' 'Always The Sun' ('169'). If you play multi-genre DJ sets, there's some useful ammunition here!
Review: Hidden away below the streets of Munich is a top secret workshop where dozens of Ableton-trained monkeys beaver away 24/7 producing re-edits for the 'Lolita' series - there has to be, because nothing else could explain the rate at which these ten-track EPs have been landing! Classic cuts getting the treatment this time out include MJ's 'Don't Stop Till You Get Enough' ('151'), The Trammps' 'Rubber Band' from 1975 ('152'), Strafe's 1984 electro-disco nugget 'Set It Off' ('155') and Brit-funkers Central Line's 'Walking Into Sunshine' from 1981 ('158'), while if anyone cares to ID the infuriatingly familiar "come back lover come back" vocal on '156' they just might stop one Juno reviewer from going round the twist...
Review: This is Volume 15 in Audaz's 'Lolita' series, so you should have some idea what to expect by now! But for newbies, the 'Lolita' EPs are made up re-edits of classic disco, funk and pop cuts, largely from the 70s and 80s, with this latest outing including the Lolita take on tracks such as First Choice's 'Dr Love' (now known as '144'), Gene Chandler's 'When You're #1' ('148') and Tommy Tate's 'For The Dollar Bill' (or '149'). And yes, okay, those are the only three whose original source we can name off the top of our heads... but with earlier installments having leaned perhaps a little too heavily on the well-known and familiar, that's a good thing.
Review: The juggernaut that Audaz's 'Lolita' series of re-edit EPs has become lurches on remorselessly, with two more 10-track collections landing in stores this week alone. With the series now comprising a whopping 150 tracks, it's not suprising that this latest installment sees 'Lolita' digging deeper than ever for source material: '137' reworks Syreeta's 'Can't Shake Your Love' from 1981 (a Larry Levan classic) while '139' loops up Lowrell's 1979 soul jam 'Mellow Mellow (Right On)' to devastating effet, but that's about as much as we can tell you! Still, if its party-starting disco, boogie and 80s pop flavas you're after, you'll find them in abundance here.
Review: Having spent the last couple of months offering up weekly compilations from mystery re-editor "Lolita", Audaz boss Alkalino has decided the time is right for him to return to the long-running imprint. The four tracks are all original productions, too, with the Portuguese producer fusing a few choice samples with tech-tinged house grooves, darkroom rhythms and evocative electronics. Our picks of the bunch are hypnotic closer "I Can Tell You", where opaque, echo-laden stabs rise above a locked-in groove, the warm and trippy goodness of "Straight On & On" and "Somewhere", a deliciously sleazy late night workout rich in bouncy beats, stabbing analogue bass and - more surprisingly - a classic vocal sample from the KLF's "Chill Out" album.
Review: One of the most attractive aspects of Audaz's mysterious "Lolita" re-edit series is the consistently surprising choice of source material. This 13th ten-track collection is a great example. While other editors often focus on sprawling New York disco and well-known anthems, this 13th Lolita collection giddily skips between versions of obscure Italo-disco jams, all-instrumental revisions of skewed synth-pop cuts, sweaty tweaks of muscular high-NRG tracks and throbbing John Carpenter horror fare (see "126", which plays around with the "disco version" of "End" from "Assault on Precinct 13"). It's refreshing stylistically, but it's the tightness and consistently on-point nature of the re-edits that hits home hardest. Well worth a listen.
Review: This latest installment in Audaz's re-edit series gets off to a flying start, with '101' reworking King's 1984 pop smash 'Love And Pride' into a Brit-funk workout that'd be worthy of contemporaneous acts like Cymande or Central Line. Buy the EP for that track alone and you'll be getting your money's worth, because it really is a killer - in which case the other nine high-quality reimaginings of Gwen McCrae's 'Funky Sensation' ('117'), The Escorts' 1981 boogie jam 'Make Me Over' ('115') and assorted unidentified boogie, funk and Afro cuts are merely a bonus!
Review: This latest installment in Audaz's 'Lolita' re-edit series opens with the Soul II Soul-biting '101', and also reworks cuts from reggae legend Little Roy (his take on Nirvana's 'Come As You Are' provides the basis for '107'), electro pioneers Freestyle (1985's 'Don't Stop The Rock' becomes '108') and 70s soul outfit The Moments ('110' revisits 1974 jam 'Girls'). The source material for most of the rest of the EP has us beat, but this time out it's mostly actual soul, funk and disco tracks that have come in for re-editing (rather than rock or pop classics), which means that while that fuzzy warm feeling that comes with the familiar may be in short supply, dancefloor appeal certainly isn't!
Review: We have a grudging admiration for Audaz's Lolita series, which offers up untitled, numbered re-edits with little fanfare or fuss. While track titles wouldn't go amiss, there's no denying the high quality of the cut-jobs on show. Predictably, volume 10 in the ongoing series boasts another swathe of must-have edits. These include a gently sped up and tooled-up take on Cymande classic "The Message" ("091"), a shirtless skip through one of the Pet Shop Boys' most Italo-disco influenced early cuts ("092", which bites 1986 single "Love Comes Quickly"), an electric piano-solo-laden Euro-disco bounce-along ("094) and a disco-house revision of what sounds like a classic disco cut ("096"). In a word: superb.
Review: It's a good time to be fan of Audaz's Lolita edits series, with volumes eight and nine dropping in a single week! Sources for this latest installment identified by our disco detectives include Sylvester's 'Over And Over' ('081'), Dynasty's 'I Don't Want To Be A Freak' ('085), La She Ba's 'Hunching All Night' ('087'), George Benson's 'Turn Your Love Around' ('088') and Eunice Collins' 'At The Hotel' ('089'), while special mention must be made of '083', which reworks Sequence's classic 1979 Sugarhill jam 'Funk You Up' (often cited as the first ever female rap record) to devastating effect.
Review: Ten more re-edits from Audaz's mysterious Lolita here. No idea what the source for opener '071' was but it's ended up as bluesy, organ- and harmonica-driven house stomper in the vein of Lemon Interrupt's classic 'Big Mouth', and sets the tone nicely for an EP that packs some killer dancefloor grooves, including a sterling re-edit of Geraldine Hunt's 1980 disco gem 'Can't Fake The Feeling' ('076'), a throbbing, Balearic take on 'Another Brick In The Wall' ('073'), the white-socked boogie of '077' and the driftaway space-lounge loveliness of '078' - though a beefed-up take on 'Oh What A Night' ('075') is probably one for the wedding jocks...