Review: Amazingly, it's taken Mullet Records just seven years to notch up a century of releases. Fittingly, they've chosen to mark the occasion by commissioning new remixes of their very first single, label boss Casio Social Club's "Count Your Lucky Stars". The man himself kicks things off, delivering a typically bouncy, synth-heavy '80s boogie interpretation of his '08 original, before Brazilian boogie boy Joeblack weighs in with a sumptuous '80s soul tweak. Elsewhere, Tad Wily fixes Balearic attitude and deep house nous to tactile grooves and melodious synths, Dragon Suplex go all nu-disco, and longtime friend of the family The Diogenese Club drops a typically cheery deep house version.
Review: It's been two years since the last installment of Justin 'Casio Social Club' Winks's Remix Collection series. This third installment focuses largely on reworks from the last couple of years - mostly for material on his own Mullet Records imprint - and sees him joining the dots between vintage electrofunk, nu-disco, synth-pop and organ-laden '90s house. Highlights are plentiful, and include a superb, synth-laden dub of Tad Wily's "Go Ahead" (complete with percussion borrowed from a BB&Q classic), a freestyle revision of Timmy Vegas's "Don't Stop", and a radio-friendly '90s house re-fix of Muddyloop's "If This Isn't Love". Oh, and two stellar versions of cuts from fast-rising Brazilian nu-disco starlet Joeblack.
Review: Brazilian producer Joeblack has previously proved adept at creating warm, synth-laden, sun-kissed boogie packed with authentic stylistic touches (Shalamar style guitars, D-Train synth flashes, bubbling analogue basslines, and so on). "Can't Let You Go" contains many of these stylistic traits, with the addition of some subtle horns and a terrifically soulful bi-lingual vocal (Portuguese and English). It's terrifically breezy and well produced, and arguably his strongest single to date. Remix-wise, he delivers a chunky, largely instrumental dub with just the right amount of vocal, while label owners Casio Social Club provide a deeper, slower nu-disco take that's suitably reverential to the Brazilian's excellent original.
Review: Astonishingly, it's some 13 years since Greek duo Muddyloop made their debut on legendary deep house label Chez. These days, they're more interested in making Balearic disco, revivalist boogie and radio-friendly synth pop. "Sentimental" falls into the latter category, taking the form of a bubbling chunk of synthesizer-heavy, slo-mo pop. It features a superb vocal from Marvin Ambrosious, whose treacle-thick delivery perfectly suits the duo's 1980s-inspired grooves. Three members of the extended Mullet family deliver remixes, with Brazilian producer Joeblack's thickset electrofunk version - laden with vintage synthesizers, as usual - standing out.
Review: Hailing from Brazil, Joeblack is on a mission to bring back the good time vibes of 80s electro boogie, and Mullet boss Casio Social Club has now given him the go ahead to continue his campaign with another Mundo Paralelo installment. Although the six tracks here could be accused of pastiche (he even lifts a chorus from Hall & Oates on "Nao Vou Parar"), the excellent production, playing and gifted vocals (made even better by being sung in his native tongue) make these chrome-plated digi-soul jams all his own.
Review: Sounding like a killer death move in an '80s 8-bit wrestling game, Dragon Suplex immediately fits right in with the Mullet aesthetic, even before we've heard the music. Speaking of which we get four retro tinged jams, just the way label boss Casio Social Club likes it. Highlights include the smooth but tough electro-house groover, "Something Something", the Shannon-esque "Playing With Me" and the vapour trail synth-washed "Proud".
Review: Casio Social Club's Mullet label has always treaded the fine line between revivalist electrofunk, smooth nu-disco and radio-friendly '80s pop. This latest missive from the Mullet camp - from experienced producers Muddyloop - fits into the latter category. It's the kind of breezy vocal cut you'd expect to hear on Radio 1 sometime around 1989. There are various remixes - a cheeky 1992 radio-friendly pop-house revision from Casio Social Club, a bouncy nu-disco take from Dragon Suplex - with JoeBlack's 'Boogie' rub being the standout. Bristling with vintage synths, crispy guitars and machine drum hits, it's the EP's standout moment by some distance.
Review: "Voltar" was a standout track on Mundo Paralelo Vol 1, the debut album by Brazlian producer Joeblack, released back in July. Here as a single, it takes centre stage and rightly so - it's a seductive slice of mid-80s neon tinted soul like Princess meets Haywood. Bumper takes a cue from Zapp's electro-funk for his mix, and label boss Casio Social Club also provides an electro-fying hi-NRG electro disco bomb.
Review: Mullet Records make absolutely no pretence about their love of late '80s chrome and carpet synth-soul, and why should they? That stuff was immaculately produced digi soul at its finest. Of that era none was arguably finer than the work of Janet Jackson and Jam & Lewis, and here Sterling has sampled Miss Jackson's "Control" to devastating effect. Elsewhere we get some cool remixes by Timmy Vegas (bonkers electro freestyle) and Joeblack (quirky electrofunk), but it's the full vocal mix that's in control here.
Review: Brazilian producer Joeblack recently hit the headlines by turning Robin S's '90s classic "Show Me Love" into an '80s boogie smasher. Here he changes tack, releasing a debut EP of original material shot through with authentic '80s soul melodies, jaunty synth basslines, clocking Linn drum percussion and smooth vocals, mostly delivered in his native Portuguese. Mundo Paralelo Vol 1 variously touches on sinewy R&B and tasty electrofunk (see the excellent "Agora Vai"), but for the most part it sits somewhere between revivalist, radio-friendly synth-pop and authentic '80s soul. It might be retro-futurist in outlook, but it's brilliantly played and produced, making it feel like a lost relic of the era of big hair, garish clothes and fluorescent cocktails.
Review: Shena is a UK disco singer with 20 years of releases under her belt. Here her 2011 tune "Homewrecka" (originally recorded with Stereobrain and Sheriff), gets dusted down and reworked by Mullet main man Casio Social Club. Unsurprisingly he takes the song deep into the mid '80s, delivering some crisp electro-funk production, the kind heard on records by the likes of Haywood. What stands out here thought, aside from the strong emotive vocals, is quality of songwriting, rounded off with a great big chorus that will stick in your brain.
Review: Last year's First Kiss EP from Zurich-based Dragon Suplex was one of Mullet's biggest hits to date, so it's little surprise to see the picturesque title track getting the remix treatment. The Swiss duo steps up first, transforming their nu-disco and boogie influenced original into a booming but baggy, garage-influenced synth-house anthem. Label owners Casio Social Club reach for the organs on their vintage '92 US garage-inspired rework, while Odahl's strobe-friendly house refix benefits greatly from tons of cut-up organs, synths and vocals. Fishing Vest go deeper, offering up a mix that sounds like the Pet Shop Boys after a fist full of happy pills, while Joeblack drops the stand-out version: a total boogie overhaul that sounds like it could have been produced in 1983.
Review: Justin Winks, aka Casio Social Club, runs his Miami Vice style church of 1980s worship, Mullet Recordings, as a tight ship (a yacht to be precise). Such a tight ship in fact, that lately after ages of putting out other folk's stuff, he's been hogging the release schedule...and why not eh? "Bass Face" is basically Winks riffing on Freeze's classic A.E.I.O.U. adding some more freestyle and early Chicago house vibes for fun. However it's his own dub mix, a stripped down excursion into sleek electro-disco, that wins our vote.
Review: There's never been any real question as to what era Mullet Records boss Casio Social Club is obsessed with, but he's decided to release 'best of' compilation full of '80s goodness just in case. All his classics are here, from the sweet "Little French Girl", to his killer rework of Imagination's "Just An Illusion" and the Lisa Stansfield-sampling "Little Luv". There's also some new tracks too, including the moody title track "Retromental" which somehow manages to sound like Owl City and still be good!
Review: Covering a stone cold classic is always tough, and Elijah Collins has set himself a tough task in taking on Yardborough & Peoples' 1980 electrofunk smash "Don't Stop The Music". Thankfully, he's done a sterling job, getting just the right balance between paying the original due respect and updating it for contemporary dancefloors. The result is a bouncy, undulating nu-disco jam that sits somewhere between contemporary synth boogie and shimmering deep house. The famous bassline and melodies - replayed, of course, on swanky modern synthesizers - perfectly compliments Aina's soulful vocal. If you'd prefer less of the vocal, there's a tasty instrumental included.
Review: DJ/producer Justin Winks, aka the Casio Social Club has been surprisingly quiet of late, with the normally prolific Mullet boss's last release being back in March. Now we know why - he was rustling up these 12 new sizzling tunes that straddle the fine lines between soul, funk, disco, boogie, house and new wave. Highlights of this long player include the '80s E.G. Daily-isms of "Count Your Lucky Stars", the Italo/Eurobeat vibes of "April Showers" and the air-punching genius of his synth-drenched Lionel Richie cover, "The Running Man".
Review: Mr Collins is a firm staple of the Mullet camp, usually providing killer remixes for the likes of Casio Social Club. His approach is a simple and sharp fusion of mid-80s dance-pop vibes with contemporary electro-house production. "If I Had A Chance" is a sultry slice of electro-funk with a sassy female vocal and wouldn't be out of place on the dancefloor in Scarface, in between maybe a Mary Jane Girls or Shannon track. Say hello to your new little friend.
Review: Frenchman in Philadelphia Thomas Toccafondi pops up on Mullet with a radio-friendly blend of nu-disco, synth-pop and disco reggae. It's a deliciously summery concoction, especially in its Extended Vocal Mix form, which adds some extra cowbells and lovingly crafted drops to accentuate Patrick Baker's woozy vocal. BRONX turn the original into a melodic chunk of bouncy deep house complete with classic piano riffs, while nu-disco fusion pest Nine Lives takes "Just For Tonight" into organ-heavy US garage territory on his breezy rework. For those who dislike Baker's breathy, Marmite vocal, Toccafondi also offers up an Extended Instrumental Mix.
Review: Zurich-based combo Dragon Suplex are getting some serious attention online; in fact, their recent sneaky rework of Paul McCartney and Michael Jackson's "Say, Say, Say" has notched up almost 20,000 plays on Soundcloud. Here they pop up on Mullet with an EP of "deep disco" - a kind of chunky, feelgood fusion of rubbery deep house and nu-disco. There's plenty to admire, from the Hot Creations-ish hustle of "Keep On" and yearning positivity of "One Question", to the sampled R&B vocals, electrofunk synths and mid-'80s Fleetwood Mac melodies of "I Should Have Told You". Best of all, though, is the chiming, picturesque "First Kiss", which sounds like a late summer anthem in the making.
Review: It's kinda impossible to mention Mullet Records without mentioning the 1980s, simply because, well, they are obsessed with them! It was a great time for electronic production, so who can blame them? Here label boss Casio Social Club compiles another installment of his remix work and lots of great stuff on offer. Highlights include his icy mix of Nine Lives feat (the) Jaki Graham, his scratchy breakdance mix of Sare Havlicek and the melancholic excursion of his Phonetica/Soulemotion rework.
Review: This release is a little different than the Mullet label's usually 80s-tinged fare. This time Timmy Vegas is looking further back in time for inspiration, as far back as the '70s. "Don't Stop" is a storming Paradise Garage anthem that never happened; there's also a vocodered, freestyle 'boogie' version and even Mullet mainman Casio Social Club also joins the party for one last electro-pop jam.
Review: Mullet Records continue their quest to impose the sound of the Billboard Dance & RnB Chart circa 1985 on modern dancefloors everywhere, and it's a cause we totally support. Strong, Latino-style female vocal? Check. Timex Social Club-style electro bass? Check. Debarge-style tropical melodies? Check. In short, a winner! Lots of good remixes too, the best being the ever-dependable Elijah Collins who transforms the song from a good retro tune into something more unique and contemporary.
Review: Mullet boss Casio Social Club claims that Australian producers Funboys' "break the mould". While that would be pushing it, there's certainly something impressively madcap about their anything-goes productions. EP opener "Jean-Pierre", for example, somehow melds together disco guitars, rubbery disco bass, camp synth stabs, even camper vocals and all manner of idiotic noises. That it's actually quite good is testament to the Funboys' clear grasp of dancefloor dynamics. There's plenty of similarly madcap fun to be found elsewhere, from the low-end wobble, loose beats and 'pots and pans' percussion of "New York City Breakers", to the tropical electrofunk nonsense of "Occasional Crossdressers". Inspired lunacy.
Review: The usually productive Mullet imprint has been relatively quiet of late. Here, they turn to old friend Dabeull, a Parisian producer who first released on the label back in 2010. The talkbox-loving studio boffin channels the spirit of Roger Troutman and Bernard Wright on "Breakaway", a kind of super-slick, synth-heavy love letter to '80s soul and loved-up electrofunk. It's actually rather good, capturing the spirit of the period - and the sound, of course - without resorting to pastiche. Manuel Portio apes fellow Aussies Freekwency and Inkswel on his synth bass-propelled rework, while label boss Casio Social Club ups the tempo on his dubby, Shep Pettibone-inspired remix.
Review: Another week, another example of more 80s-tastic joy brought to us by the Mullet crew. In a move away from their more electro-housey releases of late, this time we have a cover of Gamble & Huff's classic "Now That We've Found Love" presented to us by an act that almost sounds like an amazing mythical collaboration between the 90s ravers SL2 and a distant relative of our favourite Bo Selecta crooner (Frankie David). Anyway this cover is a musically dexterous, but still faithful, version. Remix-wise Luke Brancaccio and Tony Lovatt take things into soothing deep house territory.
Review: A key member of the Mullet contingent, Elijah Collins has quite regularly stolen the show on many a release via his beefy electro-house remixes. Here we get a whole EP of his and he's in a particularly frisky mood! "Shake Dat" is a sleazy hip-houser built around a nasty, stripper-friendly bassline that certainly gets our dollars in it's thong! There's also an extended instrumental version that's a totally awesome jack-fest!
Review: Mullet's head honcho Casio Social Club is back with yet another solo release on his own imprint, and why the hell not? "Try Me" is a delicious slice of mid-80s digital soul, like if Paul Hardcastle teamed up with the guy from Shakatak to produce some hot Miami freestyle starlet. The "Acid Luv Dub" version is stretched out more, and is a unique hybrid of sugary and acidic production.
Review: Belgian duo Spirit Catcher have been producing uber-slick, disco-tinged electro-house/proto nu-disco for almost ten years. However, their sound can maybe veer towards being a bit too tasteful, a bit dry, so teaming up with pastel clad 80s enthusiasts Mullet has awoken a playful sense of fun in their style. "Final Call" is an electro-boogie anthem featuring the cheeky vocals of Mr Renard and "Never Give Up" sees the pair embark on a delicious analogue synth-funk mission. Label boss Casio Social Club remixes the lead track in a Mylo stylee but it's Tad Wily's deep n spacey odyssey that's really floating our yacht.
Review: Once again the Mullet head honcho is back with a heavyweight jam! Unlike recent remix-packed releases, this single concentrates on this one tune, and who can blame him? In Its full 'freestyle' form it's a slickly realised tribute to the type of jams people like Debarge would party to, driving around mid 80s Miami at night in neon underlit cars. The 'four to the floor' version just wins though (despite a Lisa Stansfield sample), evoking Shannon in a downtown sweatbox circa 1983.
Review: Yes! The first release of 2013 by 80s junkies Mullet brings a ray of sunshine to the gloomy sleet soaked January doom. "Shacka Lackin" is pure vintage mid-80s electro-boogie, the kind that Shalamar lose their minds to on a dry ice caked and neon-lit art deco dancefloor, circa 85. Label boss Casio Social Club's "Back To 85" mix turns the original into a more Miami Sound Machine/ freestyle banger. Balancing out the retro vibes is Elijah Collins' more contemporary version, a badass slice of driving electro-house.
Review: Mullet's label boss Casio Social Club is back and this time it's serious. Well, when we say 'serious', we mean there's less tongue-in-cheek '80s references than usual (not that that's a bad thing). Instead though, "Little French Girl", opts for a more emotional tone, with sumptuous, laid back production and hazy sunshine orchestration. Oh and did we mention the narration by a super-cute little French girl? Well it really works and lends the tune a similar feel to "Manila" by Seelenluft. Luvdup provides a killer Italo-disco remix that goes all out Miami Vice in the end and ensures the 80s aren't forgotten. Awesome!
Review: Cologne-born, Berlin-based Rene Breitbarth has had a long, if not illustrious, career, releasing house and techno on a variety of impressive German labels. Here, he pops up on Mullet with an entertaining collection of instrumentals, skits and sketches that sits somewhere between the synth-wave antics of Com Truise and the drum machine disco favoured by the Mullet crew. It's peppered with slap bass, edit-heavy electrofunk grooves and clipped guitars, giving it an authetic, early-to-mid '80s vibe. It's hard to fault and thoroughly enjoyable.
Review: 80s obsessed label Mullet (how can you tell?) are back with another irresistible dancefloor blazer. This time it's Pandolfo and Del Gado's turn to deliver the goods, and that they do in abundance. "Better Than Me" features a bright, bouncy bassline, synths thoroughly indebted to the 80s and impressive soulful vocals in the style of Colonel Abrams, all wrapped up in shiny, modern electro-house production. Stephane Deschezeaux and Casio Social Club both provide nu-disco-ish mixes, but its Elijah Collins' brooding interpretation, complete with menacing wayward bassline, that's the real dancefloor smasher.
Review: Unsurprisingly Mullet Records are heavily influenced by dance music of the 1980s. However, despite the jokey logo, they're pretty serious about their synths! Recent tune "Garage Love" is remixed here by a host of electronic heroes and leading the way are Belgian duo Spirit Catcher who deliver a typically silky smooth electro-house workout guaranteed to get folk everywhere into the groove. Label boss Casio Social Club has a go too with his 'Time After Time' mix which nods to the often plundered, but never stale, classic Cyndi Lauper chord progression. Elijah Collins provides a vocoder-heavy electro-funk jam and Fishing Vest presents a cocktail-friendly Italo-pop version.
Review: The ever-jovial chaps at Mullet continue to impress with their positive, grin-inducing fusions of nu-disco, electrofunk and synth-pop. Here, they turn to the hitherto little known Fishing Vest for an EP of face-chewing Balearic nu-disco. "First Standard" is a whirlwind of baggy grooves and gurn-tastic pianos, while "Horse Cycle" manages to crowbar a deliciously epic breakdown (complete with Rhodes-tickling and piano keys) into a positively saucer-eyed nu-disco shuffler. The slo-mo chugger "FYI", meanwhile, should raise a few sweaty smiles with its twinkling fusion of P-funk synths and super-Balearic melodies.
Review: Mullet stalwarts Casio Social Club can usually be relied upon to provide sturdy dancefloor fodder that sits somewhere between radio-friendly electrofunk and breezy nu-disco. "Discokicks" certainly ticks this box, offering a positive, sing-along groover built around a strong, hooky vocal. Musically, it's as bright and summery as you'd expect, utilizing both live disco elements (percussion, guitars, bass) and vintage electrofunk synths. There's a strong instrumental - the Luvdubstramental - that strips the track down to its bare bones, throwing in snippets of vocal for maximum dancefloor pleasure.
Review: A disco and nu-boogie production trio, Casio Social Club rework a cast-iron classic on "Crush" - taking The Jets' "Crush On You" and giving it an uptempo '80s electro remake that's full of classic piano house fills and smooth bass hits. As as a more floor-friendly extended version, it's well worth checking out LuvDub's jacking dub version.
Review: Swedish veteran Martin Brodin has been busy since a "road to Damascus" style conversion to the disco cause a couple of years back, ditching deep house in favour of heavily electronic nu-disco. Here he pops up on electrofunk-obsessed imprint Mullet with a chugging chunk of midtempo robo-disco. With vocoder vocals, Robotnik-esque bass and plenty of vintage synth touches, it pushes all the right buttons. "Extra Cash Money" dubs the original out a little, adding even more Balearic synth touches and some tasty cowbells, while Casio Social Club offer up a suitably chugging rework that sounds like Giorgio Moroder sparring with Jam & Lewis.
Review: Having forged a reputation for delivering deliciously tactile nu disco inspired by '80s boogie and electrofunk, Mullet go slightly off-piste with this latest digital salvo. Markas' "Love" boasts their usual high quota of reveb and delay-laden synths, but its mood is notably darker and housier than previous label releases. It's more nu-disco than electrofunk, but that's no bad thing. The accompanying Re-Dub is sparser, spacier and arguably better, though it does boast less hip-shaking wiggle than the original. Finally, Elijah Collins remixes, sneaking trance like riffs into the mix without losing the original's cool '80s vibe.
Review: Given their obsession with early 80s synths and cheery nu-disco, it's no surprise to see that the bods behind Mullet have recruited Sare Havlicek. Or, for that matter, to find that the resultant track is a grin-inducing tribute to early '80s electro and hip-hop dressed up as a delay-laden electrofunk jam. "Bipolar Duality" comes complete with a tongue-in-cheek, old skool style rap vocal from DJ Winksy, and is backed by a remix by Casio Social Club that pilfers the beats from BB&Q's synth-soul classic "Dreamer". Pleasingly, the package also includes two delightfully breezy B-sides. Of these, it's the guitar-laden '86 stomp of "Let The Sound" that impresses most.
Review: Bastian's Happy Flight are apparently named after a track on the Never Ending Story soundtrack, which should give an indication as to their inspirations. Stylistically, their roomy synth-pop/80s rock grooves sound like the result of many nights spent listening to Tears For Fears, The Cure and Spandau Ballet. The big synths, rubbery bass, echo-laden production, Robert Smith-ish vocals and eyes-closed guitar solos on "It's OK", "In My Mind" and "My Love's (Not Good Enough)" could have been lifted straight from a mid-'80s alternative pop record. Remix-wise, the Dublin Aunts provide the best rework - a cheeky, piano-laden nu-disco/pop take that sounds a little like Friendly Fires. Recommended.
Review: For their third EP for regular home Mullet, Dato continue to offer up bright, breezy and Horlicks-comfy synth disco. Sounding not unlike 80s soul after a heavy night, "Letting Go" boasts all their usual aural trademarks - the bouncy synth bass, the warm chords, the simple-but effective vocal hooks, those pin-sharp guitars. It's comfy, hooky, accessible and surprisingly deep. There are radio and extended versions, plus an 'Extended Dub' that's little more than an extra-woozy instrumental. Well worth checking, as always.
Review: Fresh from collaborating with Retrofit boss Jay Shepheard, Tad Wily returns to Mullet with more synth-heavy electrofunk bombs. "Go Ahead" sets the tone, fusing heavy synth basslines and vintage P-funk synths with just the right amount of new wave dubbiness and delightfully sparse production. "Garage Love" continues in a similar vein, throwing more vocals into the pot on a lowdown, late night synth jam. Mullet Regulars Casio Social Club offer up two remixes of "Go Ahead", with the sprightly, bouncy "Luvdub" just edging out their similarly New York-themed "Remix".
Review: Sticking Brooklyn-based duo Chordashian into a neat pigeonhole isn't particularly easy. "Don't Wait Up", the lead track from this extended EP, is a great example. Utilising traditional instruments, vintage synths and the latest soft synth plug-ins, it sounds like a curious mash-up of Hall & Oates, andBenoit & Sergio with a Buzzin' Fly-ish deep house sheen. "Sea Crest", meanwhile, could be considered to be nu-Balearic - it certainly has that blinking-at-the-sun gorgeousness - while "The Jam" is thrillingly adventurous (if a little odd). With a trio of fine remixes also included, "Don't Wait Up" is easily Mullet's best for some time.
Review: The prodigious Mullet imprint rounds off a bumper 2012 with a festive treat from label regulars Dato. As with much of the original material released by Mullet, "Bangkok" rides a joyous wave of 80s disco synths, melancholic melodies and bubbling bottom end. With the addition of some delightfully Balearic pianos and a cute indie-dance vocal, "Bangkok" could sit comfortably beside songs from Holy Ghost!, Poolside and Mitzy. Remix wise, Casio Social Club cuts up the vocals and emphasizes the squelchy bass, while Dato provide a delicious dub. It's fragrant, spicy and warming, like mulled wine for the ears. Sup up!