Razor-N-Tape is a Brooklyn-based label that releases feel-good disco and deep house that is, as label heads JKriv and Aaron Dae put it: ‘Good for dance!’. Founded in 2012, and oozing with funk and soul, the label has released beautiful beats from the likes of: COEO, Fouk, Junktion, Ron Basejam, Eli Escobar, Lovebirds, DJ Vas and more.
Review: NYC combo 79.5 are, like Midnight Magic and Escort before them, a live outfit whose trademark sound and output is shaped by the rich musical history of the city they call home. That superb sound was outlined on last year's eponymous debut album, tracks from which appear in remixed form on this must-check EP. There are two takes on previous single 'Feel Like Dancin': an extended deep house take by Malik Hendricks with added Afro-house percussion, and an impressive low-tempo chugger titled the 'Generalisation Dub'. 'B.D.F.Q' also comes in two contrasting variations: the spacey electro-meets-ghetto-house flex of the Jubilee Remix, and an extended version of FSQ's Midnight Magic style neo-disco interpretation. A percussive and joyous J Kriv house revision of 'Our Hearts Didn't Go That Way' completes a fine package.
Review: Brooklyn label Razor-N-Tape get in on the Record Store Day action with this special edition of Beatin Tha Breaks from Nashville-based Magic In Threes. It's the remixes that come first, with Dutch artist Fouk going into similar house territory to Kenny Dope with plenty of live instrumental touches blessing the bristling percussion. It's a totally different vibe on the Freddie Joachem remix, with the Californian opting for some midtempo funk breaks that stay closer to the sound of Magic In Threes' original version. This closes out the RSD release on the B-side and is an easy-breezy affair dripping with soulful guitars and harmonies.
Review: Munich-based twosome Coeo are probably best known for their various house excursions on Toy Tonics and Let's Play House. This time out, they're in a more disco-minded mood, delivering a killer re-interpretation of Escort's 2006 classic "Starlight" for Brooklyn scalpel specialists Razor 'N' Tape. Wisely, they tease out the Brooklyn band's killer groove - think Chic style guitar riffs and Konk drums - for two minutes before introducing the track's famous synth lines. By the time the vocals kick in, you'll be in full on "reaching for the lasers" mode. While the original didn't necessarily need messing with, the duo's edit turns it into an even bigger anthem. Hold tight!
Review: Back in the 80s, re-edit heroes Razormaid literally cut and spliced tapes of popular tunes into new shapes and sounds. Thirty years on and although the formats have changed the philosophy remains the same. Aaron Dae and JKriv's label Razor 'N' Tape specialises in chopped up disco but here they looked to house instead. There are ten wondrous jams on this album, our favourites including the smooth Balearic work out "Free" (Loverbirds' clever Donald Fagen rework), the skippy afterhours garage of "Music Overflow" and the cool and deep "Dynamics".
Review: Michael The Lion pops up on the ever-reliable Razor N Tape imprint following high quality outings on Soul Clap and Giant Cuts. This time round, he's following the Kon blueprint of blending edit style rearrangement with the heavyweight swing of house production. He begins with the soulful disco-house throb of "Anytime" - all extended percussion breaks, piano-heavy sweetness and life-affirming vocals - before charging off on a cheeky Italo-disco direction with "The Don". "Get More" is a killer, high octane re-cut of Lorraine Johnson's obscure cover of Teddy Pendergass favourite "The More I Get, The More I Want", while closer "909s and Herb" - a co-production with Sammy Bananas - blends elements from Herb Alpert disco classic "Rise" with all manner of brand new synths, drums and samples.
Review: Given that this two-tracker is one of Razor-N-Tape's strongest releases to date, it's good to see it coming out digitally at long last, some 6 months on from its initial vinyl release. Lovebirds man Sebastian Doring takes time out from crafting luscious deep house to deliver a pair of similarly warm and sensual re-edits. "Free (Lovebirds Beautiful Rework)" kicks things off, delivering a wonderfully tactile and breezy blend of Balearic sunshine, reggae-disco rhythms and just the right amount of deep house swagger. "Downandchooback (Lovebirds Edit)" is a more traditional affair, with Doring cutting up a familiar disco favourite, extending the groove in all the right places whilst giving the original vocal pride of place in the nix.
Review: Man-of-the-moment Felipe Gordon returns to the Razor 'N' Tape camp with a fresh selection of sample-heavy house cuts following a collaborative re-edit outing on the imprint alongside pal Vagabundo Club Social in 2019. He hits the ground running with blissful and tactile opener 'Those Quiet Eyes of Yours', where effortlessly jazzy and laidback guitar licks and woozy synth sounds ride a squeezable TB-303 bassline and dusty deep house drums. The acid bass remains on the more boisterous and bustling 'There's a Part of Me That's Always True', while 'Now That You Caught My Heart This Evening' makes great use of jazzy electric piano flourishes, sampled orchestration and eyes-closed, samba style vocal snippets. More warming, glassy-eyed fun can be found on toasty deep house closing cut 'That Night at El Bukowski', where twinkling motifs, jazz-funk and bubbly electronics catch the ear.
Review: There's no doubt that Danny Krivit is the best in the business when it comes to crafting purist re-edits that focus on rearrangement rather than cheap production trickery. This two-tracker on hometown imprint Razor 'N' Tape offers further proof of the veteran scalpel fiend's undoubted abilities. He first turns his attention to a starry, space-age disco number with jazz-funk influences, brilliantly teasing in the song via sax-heavy loops before unleashing the song's verses, choruses and punchy, horn-heavy grooves. It's nine-minutes of top-quality deep disco bliss. In contrast, 'Story' is ultra-deep, slow and immersive, with "Mr K" making merry with a super-sweet, string-laden number full of Philly Soul style orchestration, eyes-closed backing vocals and sumptuous disco grooves. Delicious!
Review: There aren't many producers working on the soulful and jazzy end of the dance music spectrum with quite as a strong a discography as Alexander Lay-Far. Whatever label he's operating on, the Russian producer always delivers the goods. He's done it again here on his first Razor 'N' Tape Reserve outing. Over the course of four must-check tracks, he confidently bounces between jazz-funk-flavoured broken beat/deep house fusion ('Searching For Your Love', with its' ace slap-bass and starry keys); deep and jazzy breaks (the head-nodding, toe-tapping 'Trinity'), warehouse-ready late night hedonism ('What It Is', with its Yorkshire bleeps, raw analogue bass, bouncy beats and soulful vocal samples) and bluesy, sample-heavy jazz-house ('You Can't Stop The Profit'). In a word: ace!
Review: A belated but welcome return for Brooklyn's Razor 'N' Tape crew. This time round, though, they're not cutting-up classic boogie tunes in a Tiger & Woods-ish disco-house style. Instead, they offer up three woozy, all-enveloping deep house cuts from The Groovers. "Here's To You Mr Robinson" laces a classic jazz vocal over a smooth-as-silk deep house groove, while "Make Me Feel" turns a delicious jazz-funk jam into a deep, soulful treat - all twinkling Rhodes, edible horns and sweeping strings. "Where You Belong", on the other hand, goes further into slow dance territory, lacing fluid funk guitars, sensual pianos and a delightful vocal over a deep rare funk groove.
Review: Much has changed for Eli Escobar in the three years that have passed since this edits EP first appeared on wax. In that time, he's released umpteen albums of original music and found himself an in-demand DJ and remixer. Naturally, the four edits showcased on this Razor 'N' Tape outing have undoubtedly stood the test of time. Check first killer opener "Bullfight of Love", a percussive and occasionally foreboding revision of a Chaz Jankel classic jam rich in elastic slap-bass, punchy horns and eyes-closed guitar solos, before turning your attention to the bongo breaks, dub effects and heavy disco-funk bottom end of "Everybody". Elsewhere, "The Music" is a Clavinet-sporting disco-funk bounce-along and "Seven Eleven" is a breezier chunk of glassy-eyed disco sleaze.
Review: Who can deny anything Roy Ayers, really? Japanese pianist and electronic music producer Kan Sano reworks the American soul, funk and jazz legend's infamous hit "Everybody Loves The Sunshine". He breaks down the sugar-dusted original into something freeform, downtempo and acid jazz leaning, while on the virtual flip, "Music Overflow", sounds exactly like a production you would make after being inspired by sunshine, soul, Roy Ayers and a room full of drum machines and synthesisers.
Review: When this split EP from rising talents Luvless and Martin Hayes first dropped on rose-red wax last autumn, it picked up support from a wide range of DJs (Maxxi Soundsystem, Daz-I-Kue, OOFT and Doc Martin included). It's easy to see why. Luvless's shuffling, sample-heavy blends of dewy-eyed deep house and sugary disco fit into a range of sets, while the familiar samples ("Just the Two of Us" gets filtered to oblivion on the chugging "Castles in the Sky") guarantees a flicker of recognition from difficult dancefloors. The real stand-out moment, though, comes from Martin Hayes, whose delicious "Bobby's Theme" gets just the right balance between disco-funk reverence and sinewy, deep house sensuality.
Review: The Dynamics EP marks the artist debut from Caserta, a future star for sure. He tries his hand at a bit of everything over these six tracks, including the deep cowbell soulful grooves of "If It Wasn't For You", the lean sample-laden electro-house of "Dynamics" and the elegantly wasted, blissed out synthpop of "My Dreams". It's all sewn up with quirky interludes and outros too, making for an impressively cohesive release.
Review: Having first dropped on fluorescent yellow vinyl back in November, Dirtytwo's baggy, string-laden Razor 'N' Tape debut, "The Remedy", finally makes it to digital download. The original - a tactile US garage-influenced deep house take on Diana Ross's disco classic "Love Hangover" - is joined by a quartet of similarly classic-sounding remixes. DirtyTwo throw in a few more original disco elements on their TwoDirty Remix (which, incidentally, also comes in instrumental form), Caserta drops some piano house riffs and booming garage bass on his rework, while Grey Area go all Balearic on their deliciously saucer-eyed version. Finally, Duu Ben sprints back towards the disco on his chunky, percussive interpretation.
Review: Long-standing French funk veteran Vas delivers another deep disco dispatch... "Wizard Funk" lives up to its name with a ballsy, almost dubby stomp and a bassline so juicy it could grow flowers in the desert. "Cream" dims the lights, dips the tempo and slowly strips off every musical garment to reveal a slinky, naked bassline. "The Moment" is subverted repurpose of Inner Life's Salsoul standard "Moment Of My Life" where the groove and backing vocals hog the spotlight. Ending on a sweet, skanky high, Vas brings this show to an end with a beautiful rework of Keith Hudson & Family Man's "I'm Alright". Sporting a new coat of drums and a tripped out synth lines, it's an instant soul soother... And a great way to end an awesomely broad EP.
Review: Almost three years after it first appeared on wax, Juan Maclean's Razor 'N' Tape Reserve debut has finally landed on digital download. It's an excellent collection of club-focused, often sample-heavy cuts, no doubt drawn from his personal stash of cuts created for his DJ sets. There's plenty to set the pulse racing from start to finish. Check first the percussive pump of peak-time disco loop-jam 'Fine Time', before getting your ears around the classic boogie-meets-NYC house fusion of 'Don't Stop For Nothing', which offers sly nods towards a number of classic cuts including Toney Lee's 'Reach Up'. Elsewhere, 'Everybody Clap' is a dustier, looser and hazier deep house excursion, while 'Panic In Fort Greene Park' sees MacLean smother a trippy and hypnotic groove in spacey motifs and acid-style electronics.
Review: They might hail from Israel, but much of Rabo & Snob's music is not influenced by Middle Eastern musical culture, but rather the rhythms, vocals and instrumentation of the African continent. The pair continue this approach on their first Razor 'N' Tape outing, with opener 'Yom Yom' cannily combining squelchy synth bass, fizzing electronics and slick Afro-synth drums with Ghanaian vocals and distinctively West African melodic phrasing. Later in the EP you'll also find a more hypnotic, percussion-rich Dub Mix of the same track that's also well worth checking. Elsewhere, 'Have You Seen My Lady' is darker and sleazier, with low-slung bass, creepy chords and warehouse-ready stabs, while the similarly weighty and locked-in 'Adjinu' makes great use of Acid Arab style electronics and a very 'LFO'-esque analogue bassline.
Review: For their latest trick, Razor-N-Tape Reserve has decided to breathe new life into 'Agua', one of the standout cuts from Brazilian band Baianasystem's chronically overlooked 2018 album O Futura Nao Demora. Freerange main man Jimpster delivers two wonderfully breezy and life affirming reworks: a fully-formed remix that wraps Antonio Carlos' vocal and splashes of the original's samba-soaked instrumentation (jazz guitars, warming horns, vintage synth sounds and so on) around a tactile deep house groove, and a deeper, dreamier and especially groovy Dub. After that Diego Strausz and JKriv take over, first re-framing the track as an extra-percussive chuck of acid-speckled nu-disco (their remix), before brilliantly stripping back the cut on their disco instrumental style Dub mix.
Review: Two mixes to choose from of this latest bullet from 79.5, a New York outfit whose line-up includes Dap Kings drummer Homer Steinweiss. In its Original form, 'Club Level' sits somewhere between 80s boogie and the smooth jazz-funk of the same era, being a languid affair that's driven along by a moody bassline, haunting keys and airy fem vox with a "say you wanna, say you wanna fly" chorus, while a droning sax lends proceedings an almost cinematic air. Eli Escobar's remix swaps out the beat for something a tad livelier, drops the sax drone and adds analogue synth sparkles to give the track a more straight-up nu disco feel.
Review: Here's something special from Razor 'N' Tape: a fresh set of remixes of two lesser-known 1970s "Tropicalia" classics from Colombian duo Elia Y Elizabeth. Unknown artist Demi Riquisimo kicks things off with a brilliant cowbell-driven, acid-flecked tropical house re-imagining of 'Alegria', before Yuksek re-imagines the same track as a humid, piano-sporting dub disco number. Elsewhere, Bosq gently toughens up the 'Soya Una Nube' while adding tons of delay and reverb, before Vagabundo Social Club steals the show with a rubbery disco take on 'Alegria' that's as celebratory as they come.
Review: The illustrious Razor-N-Tape label once again demonstrates its unyielding dedication to exceptional music with a captivating debut from Hiatt dB. With releases on esteemed imprints like Rhythm Section and his own Mystery Zone label, Texan talent Hiatt dB's debut on Razor-N-Tape introduces us to a scintillating six-track mini album titled "11pm - 'Til," an electrifying odyssey that traverses the sonic landscapes of funk, house, acid, breaks, disco, and boogie. The album's opener, "When The Night Is Right", sets the stage with an irresistible allure, inviting dancers to surrender to the rhythm and embrace the night. "First On The Floor" unfurls with spaced-out boogie beats, evoking visions of a cosmic dance party where the boundaries of time and space dissolve. "Take The Low Roads Home" exudes slow-motion house sleaze, pulling us into a hypnotic state of groove. Hiatt dB's musical prowess shines brilliantly on "11pm - 'Til," demonstrating a masterful command over a spectrum of genres. A synthesis of influences, from the raw energy of breaks to the nostalgic charm of disco, creates a symphony that is both captivating and compelling.
Review: Label regulars Dirtytwo make a welcome return to Razor 'N' Tape Reserve, the Brooklyn imprint's sub-label dedicated to original music and sample-heavy productions. The begin in stunning fashion with 'Ain't The Way', a warming, positive, glassy-eyed loop jam that's as colourful as joyous as the Tiger & Woods jams it most resembles. Speaking of joy, you'll find plenty of that on 'Found Love', a piano-sporting, breakbeat-driven deep house jam that makes great use of a vocal snippet from a live version of Maze classic 'Joy & Pain'. Elsewhere, they pay tribute to their hometown via two versions of 'Hageby in Your Eyes', a wonderfully evocative fusion of Balearic boogie and pitched-down house made in cahoots with Roman Andren.
Review: Razor 'N' Tape has been slowly expanding its' outlook in recent years, focusing on original productions just as much as re-edits. Here, they've pulled off something of a coup by snapping up two fresh cuts from Dutch heavyweights Kraak & Smaak. There's the clipped Chic guitars, jaunty analogue bass, undulating Syclops lead lines and gravelly soul vocals of "Way Back Home", and the filter-heavy disco-house throb of "Seb's Party". The package also includes two tasty re-rubs apiece from Ben Sun and Tiger & Woods. Sun offers up a smooth, nu-disco/deep house fusion, followed by a chunkier, classic house sounding affair, while Tiger & Woods offer two superb variants on the same throbbing, electrofunk-meets-Balearic piano house template.
Review: Since ditching his bass music-inspired Chrissy Murderbot alias some time back, Smart Bar resident Christopher Shively has become a man in demand. Following a string of hot deep house productions for Classic, Freerange and Chi-Steez, he pops up on Razor 'N' Tape with a quartet of killer re-edits. He begins with the bassline-driven disco-funk stomp of "Discoglide", before applying his magic touch to Ragtyme's forgotten 1987 hip-house jam, "Fix It Man", in the process toughening up the original's classic Chicagoan groove. Shively successfully dips the tempo to deliver a dubbed-out, extra-gritty interpretation of Double Exposure classic "Everyman" (here re-titled "Every Person"), before reaching for the horns on the righteous disco stomp that is "Standing Passengers".
Review: Razor 'N' Tape's first missive of 2021 is a confident and ear-catching affair from Brazilian musician/producer Diogo Strausz, who previously released on the Brooklyn-based imprint as one half of Balako. We're particularly enjoying opener 'Emancipacao', a warming and gently breezy, carnival-ready affair that makes great use of both an infectious, bouncy rhythm and the kind of mazy synthesizer motifs that were once the preserve of Brazilian jazz-funk legends Azymuth. The influence of Azymuth can also be heard on squelchy, spacey and piano-rich virtual B-side '50 Anos Em 5', which is every bit as colourful and rhythmically addictive as its' predecessor.
Review: Flamingo Pier, the disco-boogie sensation from New Zealand, takes a transatlantic journey with their latest Beneath the Neon EP for Razor-N-Tape. Recognised for their electrifying parties in East London and their hometown festival appearances - this Kiwi collective serves up three fresh tracks that both reinforce and broaden their trademark danceable indie-soul & groove. The lead single, "How 2 Feel" delves into the club realm with a pulsating house rhythm paired by angular synth stabs, horn lines, and infectious vocal chants. "Beneath the Neon" and "Remedy" stay true to Flamingo Pier's signature disco-dance style, featuring more vocal hooks, funky guitar riffs to boot, and some mighty fine Luke Walker production. To top it off, the EP includes remixes by Chicago house legend Glenn Underground and RNT co-head JKriv, who welcomes in some extra Afro-boogie royalty in Steve Monite for a guest appearance. Drenched in sun-soaked vibes, Beneath the Neon is the ideal soundtrack for basking in the dog days of a summer afternoon.
Review: irst released on vinyl three years ago and now finally available on digital download, this must-check EP showcases a quartet of killer re-rubs of back catalogue tracks by L.A-based Afro-Latin funk fusionists Jungle Fair. The headline attraction is undoubtedly a pair of reworks by Ashley Beedle and Rob Mello's reborn Black Science Orchestra project - their first revisions for over 15 years. They first serve up a wonderfully percussive, analogue bass-propelled deep Afro-house remix of 2014 cut 'Culebro', before reaching for the delays and delivering an arguably even better dancefloor 'Dub'. You'll also find JKriv re-imagining 2013 single 'Firewalker' as a bumpin' chunk of horn-heavy dub disco, and a cracking Latin disco take on 'Village Hustle' courtesy of Bosq.
Review: Since it first appeared a couple of years ago, Elado's 'Gulab Jamun' rework of Nadeem Khan's 'Bollywood disco' classic 'Tu Tak Tu Tak Tutiyan' has become a firm favourite on dancefloors around the world. Here it returns to Razor-N-Tape via an officially licensed reissue. That take - a squelchy, acid-flecked stomper that puts Nadeem Khan's infectious lead vocals front and centre, alongside jacking drums, looped sections of the original instrumentations and wiggly TB-303 motifs - naturally opens proceedings. It's followed by the previously unheard '4AM Mix', a more intoxicating, exotic and mind-altering dub-style remix that naturally makes more of Elado's bassline and savage acid tweakery. In a word: essential!
Review: There's a touch of the Clash Of Titans here, with prominent Brooklyn re-edit label Razor N Tape recruiting James Baron (Ron Basejam/Crazy P) for a heavyweight nu-disco release. Baron doesn't disappoint either, delivering three tough disco housers that touch on 80s electro-boogie ("Love Don't Wait"), soulful gospel ("Someday") and loopy, filtered funk ("We Supply").
Review: The vibes here are strictly West Coast. Innertubes is a ten-track collection of hazy warm pool parties, music with a vintage Instagram filter applied. Highlights include the gentle chipmunk funk of "Power Questing" and the rolling 70s keyboard joint "Penwick Pool". There are also five bonus remixes included for those craving more housed-up beats.
Review: From Germany with love: dynamic duo M.Ono and Luvless return to RNT with five more funk odysseys. M.One takes the lead; "Just Like Magic" is all about the big string swings and urgent soulful snippets while "Eins A Legge" jitters to a more persistent filtered groove. Deeper into the trip Luvless sends us into untold euphoric states on "Rising Youth", he takes us deep down the sleazy beat rabbit hole on "File Save As" and wraps up the package with the vibrant elastic synth strikes on "Stretchin'". What a way to kick off 2018.
Review: Since launching back in 2012, Brooklyn imprint Razor-N-Tape has been responsible for releasing some of the finest reworks the re-edit scene has to offer. For proof, check out this second trawl through the label's rapidly expanding back catalogue. There's nary a duffer in sight, with highlights including the mid-tempo, eyes-closed disco brilliance of Michael The Lion's "Any Time", the swirling deep house/disco fusion of Junktion's "I'm Wishing" and the tactile boogie throb of Deep&Disco's sought-after "So Tight" (the best Thelma Houston rework we've ever heard), to the spiraling saxophones of Tom of Brooklyn's tasty "Summer Jam" and COEO's wonderfully evocative and slightly beefed-up Escort rework, "Light Star".
Review: Razor-N-Tape presents "Icarus", a slice of chilled out analogue soul by Lovebirds aka Sebastian Doering with remixes. The original is a deep soul jam reminiscent of Roy Ayers' Ramp project, while the Tall Black Guy's remix gets more of an R&B swagger on in style. We particularly enjoyed JKriv's lush little boogie down rendition, which really hit that sweet spot in all its neon lit glory. Each mix gets its own side in this EP, with stunning full color artwork, making it a truly special package perfect for both
Review: Since the Disco Volante EP first appeared on wax a couple of years back, COEO has gone on to release a trio of sought-after EPs on Toy Tonics. Despite its' vintage, the five-tracker remains one of the Munich duo's strongest releases and sees them blend samples from classic recordings with their own drums and musical flourishes. Check first the breezy Afro-beat-goes-disco cheeriness of "Nigerian Affair", before whacking on the wonderfully rich keys and organic deep house bump of "Pajama Stomp", and the riotous, high-octane disco-house loop-funk of "Long Night Ahead". Best of all, though, is opener "Like It Is", a sweet, dewy-eyed, string-drenched soul revision that achieves the perfect balance between dancefloor grunt, and paying due reverence to the German pair's horn-heavy source material.
Review: It was back in 2016 when Razor 'N' Tape persuaded heavyweight re-editor Leonard Part Six - the man behind the brilliant Underdog Edits series - to release an EP of reworks with them. Now, that previously vinyl-only four-tracker has finally made it to digital download. The EP's standout moment remains the deliciously epic "Drum Jawn", a formidably percussive, 12-minute epic that incorporates elements from a number of tracks (some you know and some you won't) and just grows in intensity throughout. Elsewhere, he serves up some soaring soulful disco ("Love is Da Need"), cuts-up and rearranges a disco-funk era jazz-funk jam ("So Damn Good"), and has his wicked way with a stone cold disco classic on celebratory closer "Just Fakin' It".
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