Review: The fantastically named A/Jus/Ted - veteran producers Justin Strauss and Eddie Mars on a collaborative tip - make their debut on Under The Shade. "A Brighter Light", featuring the treacle-thick soul vocals of Jeremy Glenn, sits somewhere between electro-soul, early Chicago house and Balearic nu-disco. As you'd probably expect from the soul-minded Strauss, the resultant track is effortlessly soulful, quietly uplifting and brilliantly produced. The same could be said of the more instrumental Re A/Jus/Ted remix, which blends skittering proto-house rhythms and electrofunk dub elements with woozy modern deep house. Like the original, it's excellent.
Review: Always keen to indulge in the new talent as well as the established, Under The Shade turn to Alphabet City for their next release. The producer has already turned heads with releases for Traveller Records and the Kojak imprint, but this might be his finest work to date. There's a booming quality that runs throughout the glistening mid tempo bump of "Feels Like" which demands play at high volume, from the solo arpeggios of the opening bars to the crisp drums and frosted vocoder flourishes. Lithuanian duo Downtown Party Network (remember them?) awake from their production slumber with a remix that adds some weight to the percussive bump and introduces a rough new bassline for a totally different kick. There's also another original Alphabet City jam in the shape of "Love", which spreads some heavy Moroder vibes over rich layers of rhythm. UK stalwart Toby Tobias remixes the track, opting for an upwards reaching synth monster which you need to check!
Review: Judging by the inherent floating sensation that runs through "Just Think About It", it would seem that Lithuanian producer Mario Basanov has found his muse in Miss Bee. Regular followers of Under The Shade output will know the former has already worked his magic with the latter, having remixed her collaboration with Rampi earlier this year. It's a partnership that works wonders, with Miss Bee's sultry tones the perfect match for Basanov's elastic treatment of analogue sounds and upwards glancing melodics. The usual array of remixes sees Art Of Tones calling shotgun and delivering a remix that swerves proceedings down a decidedly rump shaking disco path, with some excellent key stabs throughout. This is matched by the Social Disco Club and Mirror People remix that builds brilliantly from the glistening opening few bars into an excellent live disco chug - just wait for those piano lines to come soaring in!
Review: The usually reliable Bonar Bradbury takes a break from PBR Streetgang duty to strike out on his own, this time for Under The Shade. "On The Bounce" is typical of Bradbury's style, being a grunting, sweaty house chugger built around disco drums and thick, electrofunk style synth bass. The S.A.S remix draws out the vintage house elements, while retaining the original's air of late night abandon. "Guess Who" plows a similar deep house-goes-disco furrow, while the No Regular Play remix delivers blossoming riffs and tactile nu-disco chords. Digital bonus "Loose Grip" impresses, too, offering a loopy, touchy-feely filter groove built around Change's disco classic "Hold Tight".
Review: Nottingham based producer Chamboche drops his second release on Jisco Music offshoot, Under the Shade. "On the Streets" brings two new tracks from the disco head, reinforced by two excellent remixes from Toby Tobias and Brontosaurus.
Under the Shade are getting quality records out on a regular basis at the moment. Last month they unleashed Mark E?s epic "White Skyway" and with another Ilija Rudman effort still to come, "On the Streets" underlines the emphatic productivity of the imprint. Indeed it was Chamboche?s "Ipso Facto" EP that launched the label in just August last year. Now he returns for their seventh release, delving into his disco house sound that is fast making a name for himself.
Veteran house head Toby Tobias leads proceedings with his shimmering remix of "On the Streets." It is a relatively slow paced piece of Balearic house come disco. It chuggs along with warmth and depth courtesy of retro keyboard lines and some spiralling snyth arpeggios. The live sounding slap bass guitar gives the remix an endearingly natural flavour, not to mention bags of funky attitude. The Friends edit comes next, upping the tempo and adding a sense of urgency to the track. An incessant Italo / electro disco bassline provides the backbone here as the arpeggios are sent through the filters to heighten their effect. It manages to feel subtle whilst keeping things pumping, a difficult craft to master. Rekids talent Brontosaurus comes in to lighten things up on his effervescent remix of "The Problem" before Chamboche displays his power disco forces once more with the November edit of the same tune.
As Under the Shade's reputation continues to grow without limit, so too does Chamboche's. With more releases already in the pipeline, it is great to see the producer following in the industrious ways of his label. We just can't wait to hear what's next.
Review: Big things were rightfully expected of Chamboche when he was granted the honour of the debut release on Jiscomusic's shiny new label Under The Shade back in 2009, but this new EP for the same label is the producer's first in two years. The period out of the spotlight hasn't affected his production poise, with "Smoke Screen" every bit as infectious as his previous output, twisting a hefty vocal sample around a stripped back groove that morphs brilliantly into full scale colour. Under The Shade continue their rep for well chosen remixes, securing a beast from Bicep which tweaks the vocal to fit perfectly atop a constantly elevating procession of machine made emotion. Not to be outdone, Wolf Music acolyte KRL also excels with a dubbier rendition that toys with the vocal even more amid a more expansive pattern of sounds. Proceedings close with another Chamboche original in the form of "Mind Your Mind" which unfurls with signature mind bending glee.
Review: For their latest offering, Under The Shade have turned to Nottingham's Chamboche - the nearest thing the imprint has to a label stalwart (it was he who provided the label's first ever release). Lead cut "Closer" is an interesting concoction; a bongo-laden deep house/nu-disco fusion that quickly builds into a spiraling dancefloor headtrip. If Mark E made appregiated electronic disco, it would sound something like this. Flipside "The Show Must Go On" inhabits a similar headspace. Building the action around a chunky house groove, it utilizes some distinctly old skool Detroit synth sounds alongside the sort of touchy-feely pads that are guaranteed to give you goosebumps. It's quietly uplifting - a bit like watching a distant sunrise from the comfort of a cozy seafront hotel. As usual, there are a couple of remixes to tickle the tastebuds. While Moscow's piano heavy nu-disco take on "The Show Must Go On" excites, it's the Runaway Remix of "Closer" that really impresses. Continuing their recent forays into bumpin' deep house territory, the New York duo offer up a bassy, retro-futurist rework that should cause serious damage on purist house dancefloors.
Review: This smart, five-track package is something of a departure from the Under The Shade camp. Rather than the slick nu-disco the label is famous for, "Te Quiero" offers a variety of warm and fuzzy, DFA style remixes of self-styled Brooklyn jam band Chica Vas. There's a soaring, cosmic disco-rock mix from Eddie Mars, a pair of lo-slung slo-mo reworks from Pink Stallone (think a dirtier, synth-laden version of the Phenomenal Handclap Band) and a gem of a Balearic nu-disco workout from NYC's own Drrtyhaze. Throw in another dubbed-out excursion from Phoreski, and you've got a killer package. Good work UTS.
Review: On his previous solo excursions for Redux and Solardisco, Silver City and 2020 Soundsystem bass player Fernando variously fused punk-funk, dub disco and synth heavy nu-disco. Here, he's at it again, showcasing his credentials for the always-impressive Under The Shade. "The 87" is typical Fernando, with swishy electro-funk synths, high pitched vocal hooks and bubbling chords dancing around a typically rubbery bass guitar line. There's also a tasty DJ Kaos remix, which offers a kind of wall-of-sound production take on the surprisingly sparse original. On the (virtual) flip you'll find "Non Stop" (with accompanying Fabrizio Mammarella re-rub), a heavy and hooky electronic disco banger that almost outshines the A.
Review: The underground disco network operated by Under The Shade reaches out to Australia to showcase the sounds of Francis Disco Inferno. Fans of the Wolf Music and Dikso imprints might be familiar with the work of the young Melbourne based producer, and the rest of you will probably make a mental note to keep your ears peeled for future FDI missives on the potential shown here. There's an inherent warmth to the rich piano melodies that filter through "Meet me In Salt Lake City" but the sloppy drum hits give the track an unpolished idiosyncratic feel that's all too absent from contemporary disco tinged house. Soul Clap drag the track back towards proto house territory with a stripped to the bone warehouse rhythmic thrust running throughout, dark pulses of bass augmented by reverberant key stabs and subaqueous melodies. In contrast, the remix from Eddie C embellishes all the elements, dipping the track in a swathe of delightfully bubbling delay.
Review: It's been a while since we last heard from Hotel Motel, the studio partnership of producer Alex Tapper and veteran DJ/journalist Bill Brewster. Here they return to Under The Shade after a two-year break. Like many UTS releases, "Donna Nook" sits somewhere between deep house and nu-disco, with alien melodies, classic garage organs and a formidable synth bassline sitting atop crispy disco percussion. Name In Lights deliver the first of two remixes, a breezy dub-disco take that casually flutters its way between the speakers. A solid package is completed by a classic deep house version from John Daly, whose chugging, melodic grooves are near-Balearic in their airy blissfulness.
Review: Following a handful of remixes and a wickedly old skool single for Home Taping Is Killing Music, Hotel Motel aka DJ History's Bill Brewster and production partner Andrew Tepper turn up on the ever-excellent Under The Shade imprint. The original version of "Paying The Price", featuring disco chanteuse Kathy Diamond, is the real killer. Diamond's immaculate vocal, boosted with just the amount of reverb and delay, sits atop a sparse, sparkling groove that's judged to perfection. That cowbell-heavy beat work perfectly with the nagging electro bassline and simple synth and guitar melodies - all, of course, dubbed to within an inch of their lives. You can bask in the loveliness of the groove thanks to the inclusion of "Novak", basically a reworked instrumental dub of the vocal original. The package is completed by vocal and instrumental house takes which offer solid alternatives for DJs of a more house-friendly persuasion. The vocal version, in particular, is worth a look, if only for the addition of a backing male vocal that adds an extra dimension to the mix.
Review: Our ears continue to be dazzled by Slovenian disco type Ichisan who makes an appearance on the ever great Under The Shade imprint after two great EPs on Solardisco and Airtight last year. "Magnetic Field" is a fine slice of soaring cosmic delight with a gentle chugging bass line propelling the floor friendly groove. Ichisan opts for a more electro boogie feel on "Rear Window," a slap bass odyssey with some exceptional synth stab action. Two masterful remixes round off a typically fine Under The Shade release. The Off Key Hat gets tweaked out on acid on their take of "Magnetic Field" whereas DFA dude Walter Jones goes for the deep chug with glorious dubbed out synths.
Review: Gomma boss Munk (AKA producer Matthias Modica) has rarely strayed from the comforting bosom of his own imprint, so it's a surprise to see him popping up on Under The Shade. "Intimate Stranger" has an immediacy that suggests it could be a big dancefloor hit in coming months. Its' driving, classic house bassline and alien rave stabs work perfectly with the soaring, pitched-up female vocal and accompanying organs. There's a decent instrumental, too, for those who prefer their grooves stripped-back. Remix-wise, choose between the murky acid of Fabrizio Mammarella (our pick), the prog house-tinged beauty of Mercury's interpretation, or the electrofunk-goes-rave antics of Plastic Plates' dizzying rework. All are pretty hot.
Review: Those who keep an eye on the more discerning end of the disco spectrum will know the Stockholm trio Name In Lights for their fine work on the FEED imprint, as well as gracing the good ship Wurst with a remix of Nick Chacona late last year. The latter should act as a beacon of taste, as does this full release for the always solid Under The Shade label which should see the trio gain wider appreciation. There's an undeniable quality to the deftness that lead track "Disco Touchdown" switches from the opening chunky disco groove into an even more substantial house bump replete with an all encompassing piano hook. Dr Dunks arrives next on remix duties and retains the originals' conceptual switch, growing from glistening dubby disco into something wholly more euphoric once the rising arpeggio pulse pushes its way to the fore. Up next, "Touch The Sky (E Track)" is a leaner groove, filled with expansive melodic touches that suddenly burst into a loose disco jaunt with a delightful vocal hook. Brooklynite Eddie Mars adds some nice electronic bass bounce to the track on a nicely paced cosmic shuffler of a remix.
Review: If a young George Michael and Andrew Ridgeley were transported via Delorean from Watford circa 1981 to modern day Brooklyn then they might settle down in Wburg and make the sort of glistening, groove ridden take on electronic disco that Native Underground specialise in. Or they might get the first flight back and audition for X Factor - we'll never know. Regardless, Native Underground's addition to the Under The Shade roster is a worthy successor to their debut release for Wurst last year, with the insistent arpeggios and sun licked Balearic guitars making "Night Vision" a perfect fit for repeat play in Petrcane this summer. There is a suitably fine supporting cast of remixers, with Native Underground's neighbour Brennan Green taking the lead on a revision that twists the track into an uptempo romp filled with loose jointed percussive flourishes - adding a hint of urgency to Javi Silva's vocal contribution. Elsewhere Iron Curtis excels, twisting the track towards a deep NJ garage flex with the vocals submerged far beneath a bassline lead that hugs the ankles - watch out for that big acid line that arrives midway through - and there's even a couple of dub versions included too.
Review: Some bright spark at Under The Shade had the idea of offering a split EP from Ben Pearce and Real Connoisseur, getting each to remix the other's track. It's a neat idea, and one that guarantees a quartet of solid tracks. First, the originals. Real Connoisseur kicks things off with "Nobody's Fool", a sparse, bubbling jam that pits garage-influenced drums against acid-era low end and some superb cut-up vocal samples. Pearce's "Just Enough" is a deep, heady, intoxicating affair, all long, drawn out chords, tech-house influenced synths and drifting vocal samples. Pearce's remix of "Nobody's Fool" gives it a massive kick up the backside thanks to some big organs and sweaty drums, while Real Connoisseur's rework of "Just Enough" turns it into a simmering garage/powder house blend.
Review: Across a multiplicity of releases and remixes on labels such as ThisIsNotAnExit, RVNG INTL and Lo there's always been a unique quality to the music of Pink Stallone that's been hard to pin down and slap an easily digestible label on. A deft combination of classic song writing and eminently danceable rhythms that stay close to the 4/4 axis yet contain a distinctly liquid feel is the best way to describe the New Jersey musicians' latest production in tow with singer Joey Washington - the elastic, twilight delight that is "Dancing In Time". Another gold star in the Under The Shade release schedule, the slow burn of the original is complemented by a stack of fine remixes. Mugwump call shotgun with a decidedly low slung revision that places the emphasis squarely on how deep the bassline can grab your guts - a pleasantly reserved effort from the Belgian duo, who also contribute a dub version. Wolf + Lamb duo No Regular Play opt for the more percussive approach, with stuttering patterns augmented by some dizzying subaqueous chord patterns in the early moments, though the vocals signal a shift into something wholly more satisfying.
Review: Further ensconcing themselves in the Under The Shade family, Pink Stallone present a second single on the label which sees the act swell their numbers with the addition of Vietcong Disco's Eddie Mars. Once again featuring the vocal swagger of Joey Washington, "Mine" is perhaps the finest Pink Stallone production to date, a low centre of gravity chugger filled with intergalactic funk overtones. Eddie Mars himself contributes a remix that effortlessly veers from shimmering disco to 808 heavy acid within the space of the track, whilst there are further remixes enclosed from SAS and The Revenge. The former's effort is aligned to their endeavours for the Foot & Mouth imprint, all loose drums, elastic bass and subaqueous vocal treatment, whilst our Graeme comes through with a trademark Revenge remix, heavily stripped back disco dub brilliance.
Review: The newly rebranded Under The Shade come correct with the latest disco talent to surface from the prodigious shores of Italy. Rampi has form, having contributed bass duties to several tracks for The Heels Of Love and his debut solo endeavour certainly impresses. Revolving around a languid beat and an analogue bassline that gets stretched out brilliantly, "Feel It Burn" is made all that more special by the soft vocal turn from UTS acolyte Miss Bee. UTS regulars Ray Mang and Mario Basanov step up for remix duties - the former adds some crunch to the beat and really goes to town on that grinding analogue bass, whilst the Lithuanian goes for a glistening house refix that's underpinned by an electrofunk bassline Dam Funk would applaud. Furthermore, Bonar Bradberry dusts off his cowbell for an uptempo dextrous and thumping disco take on another Rampi production "Panzerotti" which should be filed under Class A Coconut Shaker.
Review: Pinning down Canadian producer Sean Roman can be tricky. At times, his productions glisten with a hazy disco sensibility, while at others they recall the powdery fluidity of Art Department and the Visionquest crew. Here, he pops up on the ever-reliable Under The Shade imprint with a trio of touchy-feely tracks variously influenced by electrofunk, classic house, synth-pop, UK bass and Italo. While "Games" - all undulating synth bass, hazy vocals, subtle disco guitars and baggy groove - has the most crossover potential, it's the string-laden, late night bounce of "It Doesn't Matter". This soft focus rave revival theme is continued on "Blinders", which drapes exotic samples and dense percussion over a booming UK garage groove.
Review: Ilija Rudman continues his love affair with 80s disco with a dubbed out reworked version of Tafuri's 1989 Sleeping Bag house classic.This dub sticks with the repeated chorus rather than a full vocal, backed by a throbbing electronic bass and a smattering of percussion with light keyboard and dreamy synth touches.
Review: It's been a while since we last heard from former 2020 Vision stalwarts Silver City, AKA Argentinean producers Fernando Pulichino and Julian Sanza. Thankfully, time doesn't seem to have dented their dancefloor instincts. "Augusta", their first single since 2008, is typical of their style, fusing live drums and punk-funk bass with moody pianos, a dash of acid tweakery and a sprinkling of nu-disco synths. "Ocean Blur" goes deeper and groovier, sounding not unlike an Electronic or New Order instrumental after several hours baking in the summer sun. Of the three included remixes, it's the Name In Lights version of "Ocean Blur" that most impresses, thanks largely to a chugging analogue groove and twinkling pianos.
Review: Self-proclaimed "King of Kong" Maximillian Skiba pitches up on the mighty Under The Shade with a memorable EP. While Snax collaboration "One To Pray To" is good - and Beg To Differ's excellent electrofunk re-jig even better - it's "Fire Dance" that's the real-standout. It's undoubtedly one of the Polish producer's best tracks yet - a riotous collision of original disco flavour (clavinets, rubbery live bass etc) and noughties nu-disco chops (synth strings, tinkling pianos, cascading electronics etc). There's a sturdy Ray Mang remix, too, which adds a thick synth bassline and some excellent dub effects for a rock-solid dancefloor feel. Both are proper disco killers.
Review: Having made his name with some impressive edits, Portugal's Social Disco Club is now pushing on as a producer of suitably atmospheric deep house jams. "Just One Touch" sees him pop up on the always reliable Under The Shade imprint with the sort of warm, touchy-feely, piano-heavy vocal that will have dancers reaching for the lazers in no time. As usual, Under The Shade are on-point with their choice of remixers. First, The Mekanism give the original some bumpin', garage-influenced swing - all fluid electric pianos and drawn-out chords - before Francis Inferno Orchestro goes all dark, tribal and intoxicating. With an instrumental thrown in for good measure, there's plenty to get excited about.
Review: The continual ascent of Argentina dwelling disco deviant Toomydisco is charted further by the producer's debut appearance on Under The Shade in the company of some fine remixes. Possibly the most potent example of the power of Soundcloud, in little over a year Toomy Disco has graduated from releasing productions via the website to dropping disco heat on some truly stush imprints. "Static Marauder" finds the Buenos Aires resident in languid form, pushing out shimmering disco rhythms over a bubbling 808 flecked groove that sits perfectly amidst your warm-up armoury. The accompanying remix from Mario Basanov is much more spritely, with excellent rhythmic stabs and vocal intonations riding the flexing live disco beat with satisfying aplomb - just wait for the explosion of pianos! Alphabet City also remixes the track, showing off his talent for crafting loopy hypnosis and cascading showers of analogue texture. Another original track in the shape of "Disco Lights" ends this release on a decidedly Gatekeeper-go-Balearic vibe.
Review: Rather than plunder the early 80s electro end of synth pop, Wichniowski seem to be more influenced by the glossy productions of the end of that decade. Specifically on "Every Second" by um, Johnny Hates Jazz. Wait! Don't leave! Give it a chance and you'll find yourself seduced by the shimmering synth work and impossibly catchy effete vocal melody. Or maybe the surprisingly authentic sounding Balearica of "Ain't You" will grab you. If you're really looking for club action though, we guarantee that if Bronx's euphonic piano house mix doesn't do it for you, DPN's filthy house growler totally will.