Review: Brooklyn-based Washington DC native Jacques Renault, one of the team behind NYC's roving Let's Play House parties, comes to Future Disco with a five-track EP in the classic disco house mode. The Extended Mix, House Mix, House Instrumental, Disco Mix and Disco Instrumental shouldn't really take much explaining, but head for either of the latter two if you want something satisfyingly deep n' crunchy, either of the House mixes if you're after a dose of mid-90s podium nostalgia, or the Extended Mix if you've somehow found yourself about to drop a peaktime set at Glitterbox or Horse Meat Disco...
Review: Future Disco invites you poolside and guides you through the long hot summer days, where the parties begin early and finish late. Taking you from lounging by the pool under the clear blue sky to sunset house, this is perfect for any laidback occasion. an essential summer soundtrack that features key artists such as: Dutch trio Kraak & Smaak who present the sensual lo-slung disco of "Don't Want This To Be Over" (Jean Tonique Remix), U.S. artists David Marston & Life On Planets who team up for the evocative deep house groove of "Contortions" feat. Hannah Noelle & Dan Izco, and Berlin-by-way-of Vancouver artist Jayda G who serves up the hypnotic Detroit vibe of "Rishikesh". Elsewhere, the ever reliable Butch delivers the main room dancefloor drama of "Lale", and Brazilian techno legend Renato Cohen makes his comeback on "Sweet Nightmare" but makes a departure from what we're used to on this funky house anthem. Also comes with a continuous DJ mix.
Review: Three synth-tastic, disco-driven cuts make up this latest EP from Brazilian stalwart Renato Cohen. 'Sweet Nightmare' itself combines elements of Balearica and Joey Negro-esque lounge-y disco with a bassline that's straight outta Chicaco circa 1988. 'Synth Queen' is a throbbing, Italo-inspired cut whose heavy electronic feel is smoothed out somewhat by a the arrival, nearly five minutes in, of a bassline that nods - whether intentionally or not! - to Imagination's 80s classic 'Music And Lights', while finally 'Saturate' is a looping, glitched-out disco-houser that recalls the very earliest work of Basement Jaxx or Daft Punk.
Review: Future Disco has recruited man of the moment Alan Dixon to rework their latest single, a warm and woozy slice of deep disco-pop/synth-pop fusion from female duo Ekkah. The sometime Lumberjacks In Hell, Midnight Riot and Running Back artist has predictably done a bang-up job, too, successfully re-imagining the cut as an arpeggio-propelled slab of Italo-influenced 1980s synth-pop that reminded us a little of some of the Pet Shop Boys best work during that period (think unfussy drum machine beats, emotive chord sequences and a bassline straight out of the Bobby Orlando school of high-NRG). We're particularly enjoying the full vocal version, though Dixon's accompanying instrumental mix is also suitably strong.
Review: After taking some time out to be a Dad, Germany's Daniel Klein - a 30-year scene veteran who's played everywhere from Manumission to Tresor - returned last year as SIRS, in which guise he's been peddling some very classy contemporary funk and disco grooves. Taken from November's debut SIRS long-player 'Banana Hard & Disco Kisses', 'Night Wind' features a Lisa Shaw-esque female vocal from Hava Izmailova, and comes in four mixes: the album version and an instrumental, plus an Austin Ato Remix that sits somewhere between nu-disco and melodic house, and an altogether sleazier, squelchier Future Disco Dub.
Review: Three slices of heavily electronic, house-leaning disco here from Vhyce, a Portuguese-Italian producer who's currently based in Belgium. 'Amour Cru' starts out as a perfectly serviceable Italo-esque chugger, then slowly develops into a sultry, sweaty affair that's got a mid-90s house feel, complete with a (presumably sampled, but unidentified) diva vocal. The far pacier, more urgent-sounding 'Rainbow Overdrive' is a pretty faithful homage to European disco of the early 80s (vaguely new wave-ish female vocal and all) and has some fine space disco stabs, while 'L.O.W' invites the throwing of dancefloor shapes with its jaunty, proto-electro synth riff.
Review: If you're going to go around calling a track 'Italo Disco', you'd better have an understanding of the genre, and the production chops, to back it up. Don't worry though, because Lifelike - AKA Laurent ASH, a veteran of the French disco scene since the early 00s - certainly does, and while the meaty drums and bass on the track in question sound thoroughly contemporary, he's captured that synth-y early 80s Italo vibe rather well. Although not as well, perhaps, as on the accompanying 'Roma', an even more faithful pastiche that's probably the better bet if you're hoping to catch any Italo snobs out!
Review: What you get here are two BIG house cuts, made to be heard on big speakers in big rooms. 'Mirage' has a hazy, pulsing, almost proggy feel, and underpins a chanted, African-style female vocal not with the complex tribal drum patterns you might expect but with warm, surging 4/4s and wibbly-wobbly synths, while 'Devil's Reflection' opens with 80s sounding drums which it soon underpins with a slamming techno kick before introducing layer upon layer of synths. The latter has peaktime energy to spare, but it's the subtler, groovier charms of the title track that stand out.
Review: An engineer at Watergate by "day" (ie night), in his spare time Berlin's Joris Biesman does a neat line in nu-disco, as exemplified by this two-tracker for Sean Brosnan's Future Disco. 'Risky Business' has derived more than its title from the 1980s: the whole track pays homage to the boogie and electrofunk of that era with its crystalline synths and throbbing synth-bass. If unabashed nostalgia is what you're after then 'Risky Business' will do the job, but the accompanying 'SX Theme' is the standout: it's in a similar vein but with a sci-fi, John Carpenter-esque twist that helps keep the fromage factor to a minimum.
Review: If you're in the mood for some sun-kissed sounds tailor-made for sun-kissed pool parties and lazy afternoons on the beach, Future Disco's latest compilation could be just the ticket. You get 18 unmixed tracks for your DJ sets, plus a non-stop mix to help while away the hours while your skin turns a lovely shade of red. Musically, it's a mixture of baggy Balearic disco-pop (Luxxury, Stavanger Hunt and Future Disco's "Another Lifetime", dub disco influenced grooves (Soulwax remixing Tendts, the low slung strut of Lowheads' "Seven Afro Mood"), dreamy deep house sexiness (Henrik Vilard, Moon Boots) and evocative nu-disco haziness (the Italo-influenced thrust of 16BL's ace "You Are High"). More importantly, the quality threshold remains high throughout.
Review: Two tracks of 90s-tastic filter disco here from Alfa Cornae, a newcomer whose identity is shrouded in mystery, although we do know that he/she/they hail from Italy. 'U (I Got It)' chops and loops an indeciperable snatch of female vocal and places it atop a similarly looping backdrop, with filters applied heavily to both, while heavily effected strings help to maintain interest as the track progresses. 'Cocchetti' is essentially similar in MO, but with a gentler touch on the filter knobs, which it has to be said pays dividends. It's all solid stuff, but will need to be served to already warmed-up dancefloors for maximum impact.
Review: Brazilian techno master Cohen flexes his funk and disco muscles to great effect here. A fat, throbbing synth bassline underpins the echoing one-line female vocal of the uptempo title track, while another nagging synth, more electro-sounding this time, pulsates its way through most of the instrumental 'Cinderella'. 'Freno' is another looping, hypnotic affair with sci-fi stabs and just a hint of acid, before 'Cleverworld' plays us out on a more cut-up and vaguely experimental tip, though don't worry: it's glitchy, but not enough to scare the horses! If all you know Cohen for is techno, then checking this EP out with open ears and mind is highly recommended.
Review: A decade has now passed since Future Disco's debut compilation of colourful nu-disco treats and disco-fired house grooves first hit record stores. To celebrate that fact, they've given their distinctive design a makeover and asked chief compiler Sean Brosnan to serve up another hot-to-trot collection of cuts in their usual style. As you'd expect, Brosnan has picked some belters, with highlights including Darshan Jesrani's sublime, mid-'80s NYC style revision of Galaxians' "How Do U Feel", the D-Train inspired synth shuffle of Flamingo Pier's "Hold It", the sun-kissed '80s soul/Whispers style warmth of Kiwi's "Midnight Driver" and the dreamy, synth bass-propelled deepness of Force of Nature's loved-up rework of Khotin's "Aloe Drink".
Review: In its original form, "Pulsar" was the life-affirming lead track on DJ Mo Reese's sought-after 2017 EP on Intangible Records & Soundworks. That gem - a life-affirming, retro-futurist piano house jam propelled forwards by crunchy machine drums and a funky-as-hell bassline - is naturally featured on this Future Disco reissue, alongside two fresh revisions. First, Merachka seductively flits between speaking and singing on the "Vogue"-inspired "Vocal Mix", before Garrett David does his best to conjure up memories of classic Shep Pettibone and David Morales mixes of old on a surprisingly deep, warm and synth-heavy remix. It's rather good, all told, just like the rest of the EP.
Review: A very left-of-centre EP here from Australian producer North Pollard. In its Original form, 'Thief & The Forger' tops stuttering, glitchy, at times almost broken beats with all manner of odd synth sounds that slowly bed down into something a little smoother and more coherent as the track progresses. The Revenge then supplies a not dissimilar-sounding Edit, plus a Remix that ditches the wonk and opts for straight-up 4/4s instead. His Remix is probably the one for Saturday night dancefloor action but the more off-the-wall antics of the other two rubs will work for longer sets, Sunday bar sessions and the like.