Review: Rayko teams up once more with Elena Hikari to deliver the pair's second joint long-player, following on the heels of 2023's 'Tu Alma Y La Mia'. But while that first album was good, this one's exceptional! Cinematic, cosmic opener 'Too Much' sets the tone but it's the second track, 'Nunca James', that really hits you in the face: it's a slow-burning monster, with Hikari's haunting vocal earning it a place in the box marked "truly sublime". 'Looking To Edge' is another BIG track that probably needs to be heard on a 4am dancefloor to be truly appreciated; after that you get four more cuts that blur the lines between cosmic/Italo disco, Balearica, coldwave, house and pop (including a new version of 'Extraordinarylove' from the first album) before the title track, another deep, slo-mo chugger, plays us out in very fine style. Excellent work!
Review: Four tracks from as many artists make up this latest V/A offering from Rayko's Rare Wiri, with a couple of heavy-hitters sharing the stage with a brace of newcomers. Up first is new boy Billy Woods, who channels early 80s cod reggae vibes on not-unlikable opener 'Reggae Music' before Spanish veteran Ilya Santana shows us how the big boys do it with the surging, euphoric and lightly rock-tinged nu-disco of 'X Factor'. Label chief Rayko then steps up with the decidedly 80s-sounding 'Jabdah' before Leo Zero plays us out with the rawk geetars of 'All Is Fair'.
Review: If you like your disco on the epic, electronic and slightly more experimental side, this new EP from Mexico's La Guardia de la Luz is worth investigating. 'Danza Planetaria' is a chunky, midtempo affair whose fat, squelchy bassline underpins all manner of FX and synth squiggles, while 'Wingmaker' is a more contemplative cut that shifts through several moods as it progresses. The ambient-leaning 'Starseed' then throws us something of curveball before 'Pista Da Baile' takes us down a slightly darker, moodier path that leads to the 11-minute 'Le Lieu De Banheur' - one to reach for during those 4am excursions into wonkier territory.
Review: Spanish disco don and Rare Wiri boss Rayko has worked with vocalist Elena Hikari on several previous releases in the past, two of which - 'Unite' and 'Testify' - are among the eight tracks that make up their first collaborative full-length. As such you'll have a good idea what to expect already, with synth-y, 80s-inspired disco/pop the general order of the day, from chuggy, hazy opener 'Extraordinary Love' to slightly more abstract and beats-y closer 'Imagina'. But thankfully the sheer quality of Ms Hikari's voice is strong enough to carry it off, with 'Testify' in particular sounding as good as it ever did and the vaguely dark wave-ish 'Unite' and 'A Different Day' adding a little variety.
Review: We don't know who is behind the Fabulous Lover project - for some reason, Rare Wiri has not released any details - but this debut EP is well worth checking out. Inspired by a mix of tactile, glassy-eyed British street soul, the 'quiet storm' soul-pop of Sade and the glossy, colourful sounds of mid-80s synth-soul, all four tracks are warming, laidback, softly soulful and blessed with some impeccable synth sounds. Highlights are plentiful, with our picks being the dreamy, head-nodding shuffle of deep Balearic soul number 'Evening Lights', the squelchy synth bass, smooth FM synths and AM radio-friendly warmth of nostalgic nu-disco number 'Take The Lead' and the club-ready '80s soul flex of 'It's Supposed To Feel That Way'.
Review: Rare Wiri bring us the debut release from Aenian, a mysterious artist with seemingly no online presence whatsoever. His/her/their two originals operate in Balearic chill-out territory, with 'Somnia' sporting mournful electric guitar and a vocal chant from the Clannad school of thought, while 'Winter Recess' leans a little more to the melodic/progressive side and takes its name from its long, playground noise intro. Dark Punk Hippies and label boss Rayko then bring the dancefloor mixes: both are in a synth-y, cosmic-inspired vein but the Hippies add rolling tribal drums while Rayko's rub is more of a blissed-out, end-of-night kinda thing.
Review: There's no shortage of cosmically inspired disco/nu-disco around right now, and here Spanish stalwarts Rare Wiri bring us three more prime examples thereof. With the tempo never moving above walking (or perhaps more accurately "gently sashaying") pace, you won't find any sure-fire peaktime floor-fillers here - what you get instead are a trio of deep n' dreamy jams that'll suit warm-up sets, post-club sofa surfers and blissed-out herbalists in equal measure. Stylistically there's not a lot between them, but the squelchy-basslined 'Meteor Shower' is probably the most floor-friendly of the three while 'The Horizons' nudges it for the horizontally inclined.
Review: Disco's always been a broad church, but in the modern era it's getting even broader. Here, Eddie Bunker - a Mexican producer who's based in the UK - helps push the envelope even further, teaming up with the brilliantly named Muddycotton Escobedo on an EP that's one-part chugging cosmic disco to one-part psychedelia/space rock. For straight-up disco fans, 'Red Light District (Part 1)' is the place to head: 'Guitar Trip', 'Trippin Two' and 'Red Light District (Part 2)' are as much about plangent, wailing six-strings as 4/4 kicks and cowbells. The end results of this unlikely fusion, though, are really quite spectacular.
Review: After 12 years in the game, Spanish nu-disco stable have reached the 100-release milestone, and they're celebrating with an imaginatively titled compilation packing eight brand new tracks that have been handpicked by label boss Rayko. Obviously, with eight tracks from as many artists there's a fair degree of stylistic variety on offer, but the emphasis generally is on heavily electronic grooves - sometimes veering into Balearic/coffee table pastures, sometimes served with a darker, more leftfield twist. It's really more of a home listening album than a collection of club cuts, but for dancefloor purposes start with the contributions from Ilya Santana and Sauco...
Review: Following fine outings on Atop, Spa In Disco, Midnight Riot and Editorial, long-serving producer and re-editor Massimo Vanoni makes his bow on Rayko's "Rare Wiri". He begins with fine title track "The Beat", a chunky and warming slab of gently Balearic nu-disco rich in bubbly bass guitar, snaking saxophone motifs, dreamy synthesizer chords and short hip-hop vocal samples. He then delivers more afternoon sunshine via the janling piano riffs, soulful vocal snippets, hearty organ notes and unfussy beats of "Free", before dipping the tempo and doffting a cap to the greats of swamp funk on "Positive Soul". This loopy, chugging affair sees Vanoni make excellent use of looped blues vocal snippets, eyes-closed snatches of jazzy guitar and a suitably chugging, arpeggio style bassline.
Review: Legendary disco diamond Rayko and his Rare Wiri label confirm some new wares from Daniel Klien, aka Sirs, an artist with old school connections to labels like Flamingo Discos and Peppermint Jam. As Sirs he surfaces with a quality EP of four sides and the record goes deep into cosmic space and classy vocoder territory with the inter-dimensional "Pookish", while New York mafiosos are referenced in the post-punk, drum rolls and heavy Italo sound of "Nosa Costra". Strands of rock and minimalism combine between the socialistic and angsty gestures of "Ja Gakaki" with the voice of a most alluring German devil hidden deep within "Der Trip".
Review: It's barely been seven weeks since the release of Rayko's acclaimed album No Stopping, but already the prolific producer has moved on to his next project. "Drive" sees him join forces with fellow Spaniard Landerground to deliver a wonderfully fluid, fluttering chunk of synth-heavy Balearica. The title is clearly a nod towards the famous movie of the same name, and many of the electronic sounds are reminiscent of the film's legendary soundtrack. There's a rather fine remix package, too, with Ilya Santana's rubbery, dub disco-influenced effort - arguably also the most filmic of the three reworks - impressing. James Rod's chugging, guitar-laden interpretation is also pretty darn tasty.
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