Review: Crown Ruler Records co-founder Jeremy Spellacey is highly regarded within the crate-digging community, primarily for his ability to sniff out copies of obscure - but, naturally, high quality - boogie-era disco records from Africa and the Caribbean. On this fine compilation, Spacetalk has offered the New Zealander the opportunity to showcase some of those finds, alongside a smattering of better-known favourites and more recent cuts (see Mike Fabulous's overlooked modern boogie gem "Wang East"). Predictably, Spellacey has delivered the goods, serving up humid, exotic and loved-up gems galore, including the fluttering brilliance of Stimela's "I Love You", the marimba-laden Balearic boogie of Feladey's "Forest Music" and Devon Russell's impeccable reggae-soul cover of Curtis Mayfield's "Move on Up".
Review: The latest must-have compilation from crate-digging label Spacetalk comes courtesy of little-known record collector and DJ Ilan Pdahtzur, a man who enjoys nothing more than strolling around the City of London at night listening to obscure Italo-disco, synth-heavy Balearic beats and dusty, hard-to-find synth-pop cuts. The tracks on "Night City Life" are some of his night-stroll favourites and, as you'd expect, are uniformly superb. Our highlights - and you may have others - include the rubbery instrumental boogie business of 1 Plus 1's "Coming Up For Air", the late night NYC freestyle brilliance of Jarmaz's "Night City Life (Dub)", the low-slung boogie-funk/synth-pop fusion of Mac & Monica's "You're So Good To Me" and the insanely intergalactic, synth-laden thrills of Brian Tatcher's "Hot Love (Instrumental Dub Mix)".
Review: BeachFreaks Records co-founder Charles Bals is a man who knows about records - and obscure European ones at that. Club Meduse, his first compilation for Spacetalk (a label with a track record for producing these kinds of killer, crate-digging comps), is loosely designed as the soundtrack to life around a mythical (IE imaginary) Cote D'Azure resort. Musically, it gathers together the kind of hazy, soft-focus and life-affirming cuts that you would have heard at resort discos in the mid-to-late 1980s. Suffice to say that Bals' selections tend towards the rare, magical and undeniably Balearic, from the glassy-eyed, cascading jazz-funk of the Keyboys and loved-up post-boogie sweetness of Gemini's "Take a Chance", to the sparkling Euro-electro of Miss' "Hip Hop" and pitched-down drum machine chug of Gigi Flag's "Nymphomaniac (Instrumental)". Essential.