Review: Mexican producer Guillermo Gonzalez, better known to disco lovers as Hotmood, serves up two very serviceable jams on his own Discoweey label (launched in 2018 as the successor to Hotmood Records). Whether these are original productions or re-edits isn't entirely clear, but no matter because either way, 'Makin' Love' is a smooth n' sexy affair with funky guitar licks, brass parps, a breathy female "makin' love" vocal and an authentically late 70s/early 80s feel overall, while 'You Got The Magic' is an epic, rolling, string-drenched disco-house groove that's not dissimilar in feel to Groovejet's 'Spiller' before they put the vocal on it.
Review: Based in Guadalajara, Mexico, Hotmood made his name on the re-edits scene but has been turning out more original productions of late, two fine examples of which can be found on this new EP for his own Discoweey imprint. 'Dance With Me' is a sprightly, string-led slice of disco euphoria that's got dancefloor energy by the bucketload, if you can handle the slightly cheesy, Euro-style harmonised vocal. The killer, though, is 'What's Going On Here', a low-slung funk bass workout topped with snatches of spoken vocal - a track that speaks directly to the hips and ass, and will drag both onto the dancefloor in 30 seconds flat!
Review: This tidy two-tracker marks sometime Midnight Riot, Tropical Disco and Re-Loved artist Da Lukas's first appearance on Hotmood's fast-rising Discoweey label. Check first the vibrant and funk-fuelled opener "Hot Sensation", a hot-to-trot disco-house number that utilizes ear-catching, horn, vocal, synth and bass samples from a bona-fide party-starting disco-funk jam. Energetic, groovy and ear-catching, it sounds like a peak-time anthem in the making. He changes tack on "Disco In Space", promoting the twin attractions of low-slung bass guitar and squelchy, acid-style motifs on an suitably intergalactic chunk of deep space nu-disco pleasure. While not as instantly attractive as its predecessor, it's similarly as impressive in its own way.
Review: Hotmood's two-track edit missives on their Discoweey imprint have yet to disappoint. In fact, it could be argued that each successive release has been stronger than its predecessor. The imprint's 15th release is certainly special; opener "De-Cocktail", in particular, boasts exactly the right balance of infectiousness, heaviness and headiness. It's a largely instrumental affair that combines ear-catching disco orchestration with chunky drums and a synth bassline so squeezable you'll want to take it home to meet your parents. Virtual flipside "You Are My Baby", a swirling slab of rolling disco-house crafted from cut glass strings, looped vocal samples and bumpin' drums, is almost as impressive.
Review: Igor Gonya has enjoyed a productive year so far, delivering EPs on Moodyhouse, Moiss Music, Moulton Music, Gents & Dandys and Good Luck Penny. Now the Russian producer can add Discoweey to that list, too. As you'd expect, he's in a chunky disco-house kind of mood on virtual A-side "To Make Your Heels Sparkle", a bouncy and entertaining affair in which bustling new beats underpin groovy and occasionally spaced-out sections of a tried-and-tested disco classic. Gonya shakes things up on sax-laden second cut "Mel Brooks", which sees him conjure up a head-nodding house cut crafted from hard-wired funk loops.
Review: Four months on from his last outing, Guillermo "Hotmood" Gonzalez returns to the Discoweey label he established in 2018 with another two-track treat. Opener "Disco Love" is a bouncy peak-time treat, with Gonzalez adding bumpin' house beats, mazy synth solos and lashings of production trickery to an on-point rework of Donna Summer classic "Love To Love You Baby". In contrast, virtual B-side "Four On The Floor" provides a rolling and locked-in interpretation of a fine slice of jazz-funk/disco fusion rich in evocative electric piano solos, Herbie Hancock style synthesizer wizardry and hazy spoken word samples.
Review: Last seen over a year ago on Editorial, Rafael Fernandez returns to action via a two-track salvo on Hotmood's consistent Discoweey imprint. He hits the ground running with "Boogie Del Mireyver", a tasty, slightly tooled-up revision of what sounds like an obscure South American disco-boogie cut rich in Spanish spoken word vocals, low-slung dub disco style bass, bouncy drums and sweet synthesizer flourishes. Arguably even better is "Henderson's Sunburst", a jazz-break propelled chunk of P-funk/disco-house fusion that would have jazz dancers busting athletic moves faster than a secret gig featuring Chick Correa, Tito Puente, Herbie Hancock and Wayne Shorter from Weather Report.
Review: Since delivering the debut release on their Discoweey imprint last November, Hotmood has preferred to showcase the work of other like-minded producers, namely Selva, Hurlee and the amusingly named Monsieur Van Pratt. This return to their own label is, then, well overdue. They start in typically confident fashion via "Touch Me", a rubbery, synth-bass powered chunk of disco-house cheeriness rich in razor sharp string lines, Chic style guitars and dewy-eyed female vocal samples. It sounds like a tried-and-tested peak-time workout, and most likely is. Virtual B-side "Get It Baby", meanwhile, is a funky little wiggler that expertly chops and loops a quirky, solo-laden chunk of mid-tempo disco-funk silliness.
Review: Two tracks here aimed fair and square at floors that like it on the Balearic/leftfield side. 'Floor Shakers' centres around a looped woodwind riff and distorted, indecipherable vocal sample, while crowd noise, shakers and brass stabs and other spoken snatches of vocal float in and out of the mix. The track doesn't go anywhere much, but just trying to decipher the many, densely layered sounds should keep the dancers happy for a while! 'The Move' is a more sedate, dusty affair reminiscent of the likes of Lemon Jelly or Bent, with tinkling ivories, a mournful sax going on in the background and the occasional ringing telephone.