Review: Tigers On A Leash regular Lou Teti pops up on Mullet. He's pushed the boat out for the occasion, too, delivering a bubbling fusion of 80s Italian pop, low-slung disco-punk, coy synth-pop, twisted nu-disco and dreamy Balearica. It's hard to pin down musically, but rather charming all the same. Mullet regular Tad Wily provides the obligatory electrofunk-inclined remix, adding a fat synth bassline to propel the action 'floorwards (see what we did there?). There's also a rather silly (but, again, charming) 80s Balearic pop makeover from the brilliantly named Dublin Aunts. Worth a listen.
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: 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: 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!
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: 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: 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: Since they opened their doors back in 2008, Mullet Records have made a habit of releasing some of the smoothest 80s influenced, electro, soul/funk dance grooves on the planet. Their eighteenth release is no different, proudly introducing Nuvo Rich's debut release, "Saffron." Pure future synth gold, these two euphoric productions will take you back to the 1980s with a huge big smile across your face.
Although this is his first outing as Nuvo Rich, the man behind the monkier is far from a novice in the scene. Ferris Armstrong has been making music under a plethora of guises since he first emerged in 2001. He is most recognised as Kid Dub, under which he has had notable success producing everything from dark and eerie minimal and electro to deeper and more melodic sounds. He makes tech house under his D Dub alias with Cozzy D and on his own as Voltaeric. He also writes cinematic, ambient glitch music as Cuebit but it is under his new Nuvo Rich pseudonym that Armstrong escapes the world of techno and electro and wanders into the dreamy landscape of synth pop and 80s new wave.
"Saffron" and "Krystal" are both synth-heavy, melodic pop tracks inspired by French house producers such as Daft Punk, Lifelike and Air. The title track gets the release under way with heart felt melodies and euphoric keys. It's uplifting to the last, with new wave synth lines building towards an ecstatic end where dream-like melodies finish the track in emotive style. "Krystal" is much the same but continues with a less sensational approach. Sounding almost modest, the track keeps a warm and emotive vibe but in more of a laid back style. Mullet Records have done it once again, looking forward as only they know how - namely, by delving into the classic pop of the 80s to get people dancing once again.
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: 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: Given that there will always be an appetite from DJs for records tailor-made for the dancefloor, this newie from the Mullet camp should be a bit of a hit. It eschews subtleties and nuances in favour of an all-out dancefloor assault. Part funk breaks style mash-up, part piano-and-synth-laden electrofunk jam, it will pretty much do the business at any party that likes its grooves funky! There are all manner of familiar samples involved (including a cut-up version of the iconic synth refrain from Yazoo's "Situation"), luscious 80s synth-strings and the sort of bottom-end that should get even the most miserable punters shaking their hips.
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: 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: 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: 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: 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: 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: 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: 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: 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: 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: 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: 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: 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: 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: 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: 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: Casio Social Club's haircut-obsessed imprint goes pop here, with Telsa Boy slapping down something that hovers somewhere between vintage New Order, Divine and Simple Minds. With Glam Rock beats. Odd? A little bit, though it has a quirky charm that's hard to resist. Remix-wise, there's plenty to enjoy, including two melancholic, piano-laden nudisco rubs from Satin Jackets (if you're not digging the vocal, there's an instrumental) and a full-on French synth-pop-goes-filter-funk rework (think Breakbot and Alain Braxe producing beardy babies) from Estate. Best of all, though, is Solila's ubeat remix, which has more than a touch of the Pet Shop Boys about it.
Review: Whether or not you've previously enjoyed Casio Social Club's sparkling take on nu-disco, this three-tracker on their Mullet imprint is worth a look. It's certainly hard to find fault with something so unfussy. There's a child-like joyousness to tracks like "Brassy Boogie" and "Happy Slappy" that's near impossible to ignore. While the latter takes a bold, melodic approach to dancefloor synth-funk, it's the latter that really impresses. It's full of silly synth slap bass and will worm its way into your conscious within minutes. Lead cut "The Running Man" is, bizarrely, the most conservative of the bunch, but still boasts enough big hooks and dancefloor nous to impress.
Review: Very occasionally, a record will come along that will stump us. You see, accurately describing and assessing "Babe (Don't Feed The Wildlife)" is a near-impossible task. It's an utterly crazy concoction; a kind of camp future disco torch song that boasts both "everything but the kitchen sink" production and an electric violin solo. It's rather good fun, but its hard to see quite where it fits in. It is, though, worth a spin. The Zaku-Chan remix is easier to pigeonhole, offering a sprightly fusion of cascading synth disco, French filter funk and skittish glitch-house that's both pleasingly engaging and blindingly exotic.
Review: If you're a fan of smart dubby disco grooves driven by insatiable funk basslines, it's likely you'll own at least one Drop Out Orchestra production or remix. Here, they apply their bass-driven goodtime disco formula and apply it to vocal disco-pop. The results are as hooky, well produced and deliciously groovy as you'd expect, with Kinema's vocals fitting the insatiable backing like a well-worn glove. Instrumental and dub versions are included (the latter coming on like an early 80s synth disco production given a Balearic tweak) for those who don't dig the vocal, while floor-friendly remixes are provided by Casio Social Club, JD73 and Faze Action (our pick).
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