Review: "Soul Train" marks the debut of newcomer Pato Watson, a producer who resides in Mexico. With only one track, it's a skinny offering, but don't let that put you off. "Soul Train" itself is pleasingly atmospheric, chugging along on a wave of nagging synth hooks, loose, snare-heavy disco beats, echo-laden percussion and long, drawn-out chords. Crucially, there are also some glistening synth melodies that sound like they've been beamed down from the stars. Killer.
Review: Mexico City's hyped Electrique Music label regular send out cheeky bootlegs and promo-only remixes via their Saturday Night Delight E-Newsletter. Here, they give a taste of what to expect via a new track from La Royale and Yesco that bites Frankie Goes To Hollywood's infamous '80s smash. To be honest, there's little of the original included bar a few of Holly Johnson's vocal yelps, and for all intents and purposes it's a new track. Said track sounds like a cross between The Flirts' Bobby 'O' produced "Passion", Discovery-era Daft Punk and chugging, Italo-style nu-disco. It's actually quite good, regardless of the famous 'Frankie' vocal.
Review: Along with the likes of Daniel Maloso, Bufi and La Royale are leading a very healthy Mexican scene that's heavily indebted to 80s disco and proto-house. This isn't the first time these two have collaborated and you can hear why - they have a genuine chemistry that results in some excellent retro dance bangers. "Paris" sees lean, mean, neon bass notes lock over 4/4 nu-disco drums in an intense mechanical groove. Hazy vocals and heavy breathing jostle for position with high drama cosmic synthlines in what's basically a dubbed-out Italo winner.
Review: For the third volume in Electrique Music's Late Night Songs series, Bufli and La Royale join forces. "Michael" is an interesting cut, mixing elements from punk funk (the low-slung bassline), disco (the unfussy percussion), garage (cut-up vocal hits and New Jersey-ish organs), boogie (twiddly, Prelude-ish synths) and nu-disco (everything else) to create a beguiling midtempo groover. The addition of some sparse, reverb-laden vocals gives the whole thing a distinctly laidback late night vibe, though there's enough oomph to proceedings to suggest a positive dancefloor response. It's arguably the strongest track in the series to date, and well worth a listen.
Review: To date, Mexico-based producer Future Feelings has tiptoed the fine line between deep house and nu-disco. "Stay On The Scene", though, is an altogether murkier affair, with pulsating, Jaydee style Belgian bass and trippy electronics underpinning a gnarled spoken vocal. It's more akin to something that you'd find on Hot Creations or Crosstown Rebels than Electrique, but that's no criticism. The strangely titled "Eddie Mercury (Mike Dub)" version is, if anything, even more intense, with darker textures and some twisted acid touches. It's a real late night, heads-down hip-wiggler. It's probably the pick of the two tracks, which is some compliment given the qualities of the original version.
Review: Bufi is arguably one of the most productive - not to mention successful - producers in the Mexican electronic music scene. Along with others from the Electrique Music imprint, he's been responsible for defining the Mexican nu-disco sound - a kind of fuzzy blend of vintage electronics, new-wave attitude, house sassiness, indie-dance posturing and electrofunk squelch. Here he returns with another double dose of stylish goodness. "Bees" is pleasingly sparse, creating an attractive dancefloor proposition from a handful of (excellent) elements (wide-eyed Balearic melodies, synth bass, fuzzy guitar, crusty live beats and baggy vocals). "El Techno En Tu Idoma" substitutes tactile dreaminess for the hedonistic delights of a stripped-back groove, punk-funk vocals and proto-house attitude.