Review: When it comes to sneaky, party-starting remixes and re-edits, Seamus Haaji's Re-Loved imprint can always be relied upon to deliver the goods. Predictably, this latest missive, which comes courtesy of ISM regular Birdee (AKA LA-based Marcello De Angellis), is every bit as essential as its predecessors. Check, for example, opener "Ain't Enough", a breezy chunk of early '90s style piano house full of echoing male vocal samples, disco strings and a seriously saucer-eyed breakdown midway through. On "Hold Out Reach Out", the Italian producer gets busy with what sounds like an elastic chunk of mid '80s soul/boogie, turning it into a loopy slab of celebratory disco-house heaviness.
Review: Reversing the usual process, this EP of disco edits begins with a disco-fied take on a house classic, and not the other way around! Adeva's 'In And Out Of My Life' is the classic in question, and Birdee makes a fine fist of the repurposing job he's done. So, too, have Chuggin' Edits with 'Sat Feev', a cheeky Bee Gees refix, though your view on that may vary depending on what you think of the original. Elsewhere on the EP, Soul Avengerz' 'Right For Me' (original source unknown) is a solid disco houser, while Chewy Rubs take us back to the early 80s with their re-edit of The Real Thing's 'Foot Tappin''.
Review: Having previously used the Re-Loved label as a vehicle for his own party-hearty reworks, Seamus Haji has now asked Midnight Riot regular Chewy Rubs to join in the fun. Typically, he's hit the mark, delivering a couple of booming, tooled-up edits that put the demands of the dancefloor front and centre. Opener "Dance", for example, boasts a killer groove built around a rubbery, low-slung bassline, onto which dubbed-out vocal snippets and occasionally crunchy Clavinet lines are layered. "Summer Radio", meanwhile, is given the "Chewy Dub" treatment, with the acclaimed editor turning a jangly, piano-heavy electrofunk number into a heavy chunk of disco-house loop-funk. Haji delivers a bonus version of the latter, delivering a similarly loopy workout in his classic funky house style.
Review: There's a fine line between the re-edit and the sample track, and it's a line that gets notably blurred on this latest Chewy Rubs EP from Re-Loved, though the latter tag probably fits slightly better. 'Everybody' is a stuttery nu-disco/disco-house jam topped with familiar diva vocal snippets, the rolling, bass-y Seamus Haji Remix of 'It's Not Over' impressively breathes new life into the well-worn First Choice vocal, 'Too Much, You Know' operates at the jazzier end of the contemporary funk spectrum and will likely prove the connoisseurs' choice, while 'Doing It' is straight-up Euro dancefloor exuberance, late 70s-style.
Review: Here, Seamus Haji's reliable Re-Loved imprint serves up a third collection of club-ready reworks from long-serving British re-editor Chewy Rubs. Turn first to the stomping peak-time fun of "Aux Naturally", where the hirsute scalpel specialist turns swirling, life affirming disco classic into a find slab of loopy disco-house gold. Things get sweatier and denser on the wonderfully percussive disco-house sleaze of "Everybody Disco", while "Space In Raver" is a fine fusion of raw, bombastic UK garage style bass, jaunty piano riffs and rolling house drums. Finally, the Chewy one reaches for the cowbells and dub disco bass on "Bunch of Grapes", a low-slung late night roller rich in delays effects and jammed-out keys.
Review: Chewy Rubs' output has been rather impressive of late, so it's no surprise to find that the producer's fifth EP for Re-Loved is another essential outing. He begins with the rolling disco-funk bounce of cheeky Chic rework "Dance, Clap & Move Everybody (Chewy Rubs Future Dub)", where headline-grabbing chorus vocals rise above incessant guitar and vibraphone loops and a suitably heavyweight groove. "Live For-Ever (Chewy Rubs Irene's After-Party Dub)" is a wild, acid-flecked, Tiger & Woods style loop jam destined to ignite early morning dancefloors, while "Airs Groove (Chewy Rubs Rollin' Dub)" is a percussion-laden breakbeat disco smasher straight from the top drawer. If that's not enough to set the pulse racing, insatiably funky closing cut "Feel Good (Chewy Rubs Rub)" should give you serious heart palpitations.
Review: The nu-disco scene's premier scalpel-wielding wookee returns with a sixth selection of roaring reworks for Seamus Haaji's disco-house inspired Re-Loved label. The experienced editor hits the ground running in some style on "Let It Go", a bold, slightly loopy and undeniably low-slung affair that cleverly combines lifts from a familiar disco favourite with what sound like vocal samples from a completely different record. "Overhanging Love" is his driving, sweaty and life-affirming take on Diana Ross's most potent disco hit, while "Boogie Strut" turns a wedding disco favourite into a driving, bass-heavy chunk of disco-house heat. Finally, "Funktion" is an extra percussive chunk of late night dub disco heaviness that's by far and away the EP's standout moment.
Review: 2018 was a big year for the fast-rising Chuggin Edits crew. Over 12 hectic months the mysterious rework merchants released eight EPs, flitting between such solid labels as Midnight Riot, Alpaca Edits, Masterworks Music, Hot Digits and Slightly Transformed. In contrast, this three-track outing on Re-Loved is, somewhat surprisingly, their first outing of 2019. Up first is the sparkling, filter-heavy, French Touch style disco-house of "My Life Will Never Be The Same Again", a celebratory outing that makes merry with choice loops from a glassy-eyed 1980s workout. "With You" is a driving revision of a soaring disco workout rich in puncy horns and delay-laden group vocals, while "Tell Me" is a low-down disco-funk throb-job laden with fuzz-tone guitar riffs, squally horns and urgent vocals.
Review: Seamus Haaji has gathered together a suitably impressive cast of producers for this fourth volume in his Re-Loved label's "All Stars" series of EPs. Conan Liquid kicks things off with a heavily compressed chunk of Clavinet-sporting, delay-laden disco house (the fittingly titled "Hot"), before Frank Virgilio flexes his muscles (and squelchy synths) on the down-low P-funk/disco-funk fusion of "Bite My Groove". Chewy Rubs steals this show with an even more tooled up version of what sounds like a Motown style 1960s soul stomper (the bounce-along heaviness of "Good People"), while Danny "80s Child" Worrall serves up a breezy, colourful and cheery rearrangement of a percussively stuttering '80s soul gem.
Review: Conan The Selector is sadly not Arnold Schwarzenegger's new disco alter ego, but rather the latest alias of producer Mark Pickup, previously best known for being one half of Dubai-based duo Arcade 82. Pickup's first swashbuckling, marauding mission for Re-Loved sees him serve up two typically tasty chunks of re-edit gold. Opener "The Game" is particularly potent, with Pickup stretching out and subtly beefing up a dewy-eyed, Rhythm and Blues-tinged 1960s soul jam. The similarly inclined but notably faster "Ninety Nine" sees him make merry with similarly funky, vintage source material, adding boisterous house beats to the original's heavy bass guitar, mazy Hammond organ licks and Tina Turner style vocals.
Review: Fresh from offering up some warm and humid goodness on Hot Digits, Frank Vergilio returns with his first full EP for Re-Loved. As you'd expect, he hits the ground running with opener "Family Way", successfully breathing new life into a rubbery, mid-tempo disco-funk number rich in headline-grabbing horn lines, flash-fried guitar licks and a full-throated lead vocal. "Clouds" sees him add a touch of extra percussive weight to an already drum-heavy Latin disco outing, while "My Energy" is a hazy, groovy and loopy revision of a bluesy soul number smothered in trippy effects and glassy-eyed late night intent. To round things off Virgilio serves up "Disco Dedicato", a jazzy slab of extended instrumental disco pleasure complete with eyes-closed rock guitar solos and swelling orchestration.
Review: Like its predecessors, Re-Loved's fifth "All Stars" EP is packed to the rafters with peak-time ready fare provided by some of the re-edit scene's most reliable producers. Leading the charge is Discoweey chiefs Hotmood, whose EP opener "We Got It" is an infectious chunk of orchestrated disco whose wild synth solos and rolling groove make it a tried and tested treat. Elsewhere, C Da Afro's "With You" is a loopy, nu-disco tinged disco-house bumper, Da Lukas's slap bass propelled "Be Freak" sounds a little like one of Todd Terje's classic dub disco reworks, and Di Saronno's "Mademoiselle" is a French Touch style re-edit full of rich horn lines, dewy-eyed female vocals and energy creating filter sweeps.
Review: Following hot-to-trot outings on Midnight Riot, Big Love and Purple Disco Records, former Soundcloud edit king Motte pops up on Re-Loved with a seriously good two-track missive. First up is "Hallelujah", a warm, groovy and celebratory chunk of peak-time house rich in eyes-closed electric piano solos, rubbery disco bass, sampled preacher-man spoken word vocals, bongo breaks and life-affirming cowbells. It's ace, all told, as is the baggier disco-house cut "Boogaloo". This, too, is pleasingly percussive, with sweaty additional drum hits and sweaty backing vocals rising above jaunty synth riffs, dreamy chords, jangling piano riffs and sampled disco orchestration. It sits somewhere between a remix and a re-edit; more importantly, it's something of a bouncy, all-action treat.
Review: Two tracks of eminently dancefloor-friendly disco here coming from Motte, an Austrian producer whose work has previously appeared on Midnight Riot and Purple Tracks, among others. 'Humpty Dance' has nothing to do with Digital Underground's 90s hip-hop classic of the same name, being instead a late 90s-sounding disco-houser with a presumably sampled, dusty-sounding female vocal, while 'Juicy' itself dwells in the nebulous zone between disco-house and 'new old' funk, with hefty 4/4s, wah-tastic geetar and looped (and indecipherable) female vocal snips. There's nothing especially groundbreaking going on, but both will do the damage out on the floor for sure.
Review: Chris Robinson AKA Ruff Diamond has an impressive musical CV, with official remixes under his belt for the likes of Beyonce, Estelle and Teedra Moses, and session work as a guitarist for The Shapeshifters and Maxi Priest. Now back in his native Manchester after many years in Los Angeles and London, here he serves up a brace of disco-housers from the more commercial side: 'Disco Freakin' has competing layered vocals, big dramatic synth-strings and an overall Hed Kandi-esque feel, while the accompanying 'Disco Trippin' aims at slightly more discerning floors with its live-sounding congas and space disco stabs.
Review: A four-track V/A offering here from Seamus Haji's re-edit label Re-Loved. Ruff Diamond gets the ball rolling with the low-slung west coast funker 'Drop N Shake', which comes complete with rap vocal snips and some Zapp-esque talkbox action, before Probably Shouldn't take us into uptempo disco territory with 'Don't You'. The source of those first two is unknown, but we're on more familiar territory with South Beach Recycling's 'Good Love In', an authentically 70s-sounding soul/funk cut based on MFSB's 'Plenty Good Lovin', while Dennis Edwards classic 'Don't Look Any Further' gets a soulful house-inspired makeover courtesy of Ian Ossia.
Review: Seamus Haji's Re-Loved series of re-edits, reworks and DJ-friendly disco tools seems to get stronger with each successive release. This seventh volume is, to our ears at least, the most impressive EP to date - thanks, primarily, to the purist "scalpel edit" style employed throughout. We're particularly enjoying opener "The Road", a thrillingly percussive rearrangement of a steel drums-heavy Trinidadian disco gem, though the low-slung Afro-disco re-edit that follows it, "Omen" (a quite well disguised version of a familiar Caribbean dub disco killer) is nearly as good. Elsewhere, "Dancehall Die" sees him dance jauntily through synth-heavy electrofunk pastures, while "Flight Time" is a jaunty, punchy and horn-heavy re-edit of a fuzzy disco-funk gem.
Review: Four months into his new Re-Loved label revelations, longstanding disco doyen Haji returns with five more deeply-dug, craftily carved oddities guaranteed to please the most eclectic and left-handed of selectors. Afrobeat charm hits hard from the vibrant "Hold Tight" while "Babies Come From Ladies" riffs of a fun source with serious off-beat freakery. "One Kocky Edit" takes us deep into 80s cinematica while "Take A Holiday" brings us back down to earth with soulful style. Feel the love.
Review: The world's most famous Irish-Iranian DJ/producer serves up a fourth collection of disco and boogie re-edits on his own Re-Loved label. The album features 19 full-length tracks plus two hour-long mixed versions from Haji himself, and the artist roster reads like a Who's Who of the re-edit scene, featuring as it does names like Dr Packer, Chewy Rubs, Birdee and Chuggin' Edits. What's most pleasing, though, is the non-obvious nature of the tracklist: sure, Ian Ossia's opener 'Someone To Count' borrows from Dennis Edwards but that's about as far as we got with trying to identity source material before shrugging our shoulders and just sitting back to enjoy...
Review: If tooled-up, house-friendly disco and boogie reworks is your thing, you should already be familiar with Seamus Haji's Re-Loved label. Here the long-serving DJ presents an expansive collection of high-grade edits, revisions and remixes from the label's recent past, plus a couple of bonus all-action DJ mixes. There's naturally not enough room to list all of the highlights, but our current favourites include the celebratory disco-house bump of Birdee's "Start The Weekend", a tasty combo of Class Action vocal snippets and sweeping, string-laden peak-time riches, the percussive Afro-disco/deep house fusion of Frank Virgilio's "Clouds", the sweaty, horn-heavy bump of Hotmood's bustling "We Got It", and the kaleidoscopic electrofunk colour of '80s Child's boogie-soul re-rub "Comin' Back 2 U".