Vehicle has been lighting up dancefloors and igniting smiles since 2012 with its wholesome nu-disco edits. Based in Moscow, Russia and run by edit wizard Valentin Golovachev aka V (40), the label has given some of the old skool classics hip-shaking reworks from artists such as: Led Zeppelin, Pink Floyd, Stevie Wonder, Sex Pistols, Al Green, Billy Ocean, BB King, David Bowie and Duran Duran.
Review: A very fine quartet of deep disco re-edits here courtesy of Bulgarian producer V's Edits and his/her/their Vehicle label. First to get the treatment is Marvin Gaye's 'The World Is Rated X', which comes from 'You're The Man', an album that was recorded in 1972 but shelved in favour of 'Let's Get It On'. Convertion's 'Let's Do It', a Leroy Burgess production released on SAM Records in 1980, comes next, followed by an acid-flecked reinterpretation of Bob Marley's 'Could You Be Loved'. V's take on what is seemingly every re-editor's second favourite track after 'Josephine' - Banbarra's 1975 funk classic 'Shack Up' - completes the package.
Review: Valique's V's Edits reworks have long been some of the most popular re-edits on this platform, with DJs responding not only to their floor-friendly nature but also the wide range of sounds and styles he turns his hand to. So, what's on offer this time around? Well, for starters Yellow Blues is raising money for victims of the war in Ukraine, a country to which Valique has family ties. As usual, it's a mixed bag of goodness, with highlights including a squelchy, TB0-303 speckled take on a Johnny Cash classic, the chugging nu-disco/swamp blues fusion of 'Was It Worth It?', a fine revision of Rodrigues classic 'You Can't Get Away', a housed-up tweak of an old Doors gem ('Learn To Forget') and a toe-tapping, club-ready revision of Kenny Rogers' sing-along 'Just Dropped In (to See What Condition My Conidtion is In)'.
Review: An album's worth of re-edits here, but there are re-edits and there are re-edits, aren't there? At one of the spectrum you've got the five-minute, 'will this do?' variety that loop up a chunk of some 70s/80s/90s pop hit and stick a four-four kick underneath it; at the other end, you'll find producers who'll take their source material and mangle and reshape it so much that the end result is arguably more an original (albeit sample-based) production than a re-edit. And we're definitely in the latter camp here, as tracks from artists as diverse as Archie Bell & The Drells, Creative Source, 60s soul diva Maxine Brown, Rose Royce and Yes get treated to a hefty dose of that good 303 medicine - with generally very playable results.
Review: A trio of re-edits here, kicking off with a fresh rework of The Four Tops' 'Ain't No Woman (Like The One I've Got)' from 1973 that's credited to all three of the named artists. Keita then goes solo to bring us 'Difference' - the source for this one remains unidentified but the 'Afro Blues' titling of the mix tells you pretty much all you need to know in terms of sound and style. The EP's then completed by The Thoors' 'Learn To Forget', which loops up chunks of The Doors' 'Soul Kitchen' - exactly as you'd expect from an outfit whose previous works have included 'Peace Rogue' and 'Love Her Badly'!
Review: This impressively expansive collection from experienced remixer Valique showcases some of the best downtempo and Balearic edits from his popular V's Edits series. There's certainly plenty to get the blood pumping and the juices flowing throughout, from a chugging, ten-minute take on Pink Floyd ('Brickwall') and a pleasingly squelchy take on Daft Punk and Pharrell Williams' 'Lose Yourself To Dance' (here renamed 'Lose Your Elf'), to a chunky dub-house re-imagining of Jimmy Cliff classic 'The Harder They Come' and a loopy, hypnotic, mid-tempo disco-rock revision of T-Rex ('Jewelry'). Throw in party-hearty takes on cuts from Marvin Gaye, Michael Jackson and the Beach Boys (an odd but impactful reimagining of 'Good Vibrations') and you have a great value compilation.
Review: Russian re-edits don Valentin Golovachev, also known as Valique or simply V, returns with three more painstakingly reworked cuts from days of yore. First to get the treatment is Amanda Lear's gloriously camp Eurodisco workout 'Blood & Honey' from 1976, reinvented here as 'Queen Of Acid Town'. Then it's the turn of Gary's Gang's 'Do It At The Disco' - originally the far superior B-side to 1978's excruciating 'Keep On Dancing' - before we take a distinct left turn for EP closer 'Historia', the source of which is unknown but which is an understated, low-tempo affair with a Spanish-language female vocal.
Review: With V Records keeping their Repercussion series alive with three fresh cuts, Dr.Adolf throws down an afro-inspired vibe of slamming house to get things started (that should turn the heads of Todd Terje fans). Something more downtempo and Balearic comes from FMAC's Fleetwood Mac interpretation - "Listen To The Wind Blow" - next to the rocky, plucked out and vamped funk of RS' "Fingerprint Tile" Chka-chka-ahh!
Review: Scalpel-wielding rework maestro V (the artist formerly known as funk-breaks sort Valique) has been more prolific than usual this year, with the numerous pandemic lockdowns and rules allowing him more time at home working on his popular cut-jobs. As a result, his latest annual 'best of' collection is packed to the rafters with tasty treats. There's plenty of variety too, with the long-serving editor leaping between guitar-heavy workouts ('B-Ware', Deep Purple tweak 'Hush'), weighty '80s synth-pop (Billy Idol re-rub 'White Wed'), beefed-up krautrock (the cowbell-laden heaviness of 'Vitamin D', a tweak of one of Can's most popular tunes), glassy-eyed disco (the Clavinet-heavy 'Little Love') and sleazy, pitched-down glam-rock ('Jewelry').
Review: Trusty scalpel in hand and a bag of beefed-up beats at his side, Vehicle main man Valique returns with another quartet of "V's Edits". He hits the ground running with Clavinet-heavy opener "Little Love", a bouncy disco-house number full of flanged guitar parts, simmering orchestration and hot-to-trot female vocal snippets, before delivering a more stripped-back, bass-heavy number rich in sparkling piano riffs and celebratory old school flavours ("Do It"). "Sensation" is a seductive, steamy and occasionally sleazy re-make of a breathy mid-tempo disco workout, while "Stand By Me" sees him turn a much-loved laidback soul number into a slow-house head-nodder.
Review: Neo Blues 3 announces its arrival via our most trusted Vehicle label that's been a port of call for disco edits for the world over. Turning in another four-tracks here it's spearheaded by the uber-warm kick, woofing bass and melodic percussion sequences of "Sea-Line". Harking back to the days when artists like Eddie C and Tornado Wallace were dominating the slo-mo, chugging disco sound, "Condition" adds yet another beefy boost to a Ken Roger's classic, while funkier soul and blues jams from Kings of Survival make the cut alongside that all time cinematic classic by Rodriguez's ("Sugarman").
Review: For his latest trick, spoonerism-loving rework maestro V (AKA sometime funk-breaks producer Valique) has decided to offer up a second selection of "Neo Blues" scalpel works. He begins by delivering a chunky, rolling revision of Ann Feebles' rock-tinged gospel-funk classic "Beware", before chugging his way through a pitched-down revision of a weighty T-Rex glam-rock classic ("Jewelry"). This is followed by EP highlight "Holis", an inspired - and suitably epic - "Afro-blues" revision of one of Nina Simone's greatest moments, and the low-slung voodoo-house hypnotism of "Mississippi Lullalby (V's Rendition)". To finish with a. flourish, the Vehicle main man then adds some elastic new drums to Otis Redding's version of "Sittin' on the Dock of the Bay".
Review: As you might expect, Valique seems to have been using lockdown to conjure up more cheeky reworks for his popular and long-running "V's Edits" series. He kicks things off with a chunky, nu-disco-meets-disco-house style revision of a vintage Rose Royce tune full of build-and-release dancefloor trickery and a thickset, ear-catching bassline, before re-imagining a Can krautrock classic as an acid-fired chunk of percussive, low-slung house sleaze. He then skips through AOR disco pastures via a heady, deep house style revision of a Jefferson Airplane classic, before serving up some samba-soaked Balearic business ("The Ripe Tones") and rushing, gently tooled-up Philly Soul (a fine rework of a sing-along Archie Bell and the Drells classic).
Review: When rocking the V's Edits guise, Valique has a bit of a soft spot for spoonerisms and chuckle-some tweaks of artist names and track titles. It doesn't take a rocket scientist to work out the identity of the vintage rockers whose tracks have been given the touch-up treatment on "Rock We Dance - The Brits". Billy Idol classic "White Wedding" is the first to get a good going over, with Valique turning it into a confirmed indie-dance smasher thanks to some beefy new beats, weightier bass and wiggly, TB-303 style acid lines. Deep Purple's "Hush" is then turned into a psychedelic disco-rock bumper, before the veteran DJ/producer offers up "Starlit" by "Fuse" - a deeper fusion of moonlit psychedelia, nu-disco colour and club-focused grooves.
Review: When operating under the V's Edits alias, re-edit maestro Valique can always be relied upon to bring the goods. It's little surprise, then, to find out that his latest collection of fresh cut-jobs - an epic affair featuring no less than 24 tracks - is packed to the rafters with high-grade fare. We don't have enough space to list all of the highlights, but we'd suggest checking out his rolling revision of Lee Dorsey's "Night People", the low-slung disco-funk heaviness of the Brass Construction rework ("Gotta Do It"), the intergalactic disco deepness of the Marvin Gaye revision ("Funky Space"), the lightly tooled-up, slowly unfurling take on Tom Browne's "Funkin For Jamaica" and the sweeping, string-laden disco brilliance of "Miracle (V's Edit)".
Review: More succulent than a bucket of fried chicken and twice as heavy, Vehicle's latest "Boogie Box" - the eighth in total - is full to bursting with floor-friendly, finger-licking fun. Editor-in-chief Valique is the man at the controls, gleefully charging between chunky, bass-heavy Afrobeat goodness (the chant-along heaviness of "Like It Is"), party-hearty deep house/disco-funk fusion (the heavy house beats and toasty electric piano stabs of "Mercy", shirts-off celebratory disco ("Disco Dancer"), swinging, Hammond-rich Philly Soul (Timmy Thomas rework "Got To See You Tonight") and strobe-lit peak-time insanity (the Clavinet-sporting disco rush of "Midnight"). In other words, it's another top-notch selection of club-ready revisions from one of the hardest working editors in the scene.
Review: Three cheers for Valique's Vehicle label, which this month celebrates 13 years releasing hot-to-trot re-edits, reworks and floor-friendly fusions. To mark the occasion, the producer sometimes known as "V" has put together this expansive, 24-track collection of killer cuts old and new. It's a varied but universally club ready selection, with highlights including - but no way limited to - the silky deep house/disco fusion of KC&SUB's "Black Waters Hold (V's As It Used To Be Edit)", the soaring, shirts-off disco-house brilliance of V's take on Milly Jackson's "Baby", the dubbed-out Marvin Gaye revision that is Rocknrolla Soundsystem's "Troubleman" and a delightful slab of rubbery nu-disco brilliance from Feel Good Alliance (the mash-up style aceness of "Show Me Love", which joins the dots between Escort and Robin S in startling fashion).
Review: Valentine "Valique" Golovachev returns to action under the edit-minded "V" alias, inviting us to join him at a poppin' party rich in "Dope, Disco, Booze and Models". He begins in confident fashion, adding a little synth-heavy nu-disco wiggle to an old Esther Philips jam, before un-leashing the celebratory P-funk bounce that his rework of "Chelsea" by the sadly departed Purple One. Arguably even better is his tweak of Milly Jackson's "Baby", which layers up the percussion and chiming melodies over a loopy disco-house groove, while closing cut "Alcohol" sees him turn an old blues track into a chugging chunk of mid-tempo disco-funk brilliance.
Review: In which the prolific Russian disco dinner ladies known as V's Edits serve up four more helpings of re-edit goodness. KC & The Sunshine's sax-tastic 'Black Water Gold' gets a little added Afro flava on 'Black Waters Hold' (without detracting from the original's superb jazzual musicality), Bob Marley's 'Is This Love' is reinvented as the party-starting 'Love And Treat You Right', Marvin Gaye gets the treatment on 'Funky Space' while 'Little Enough' (credited to Keith, source unknown) is an ultra-laidback jazz-funk groove built for warm-up or summer afternoon play.
Review: Dutch foursome Rocknrolla Soundsystem has already built a solid reputation for its re-edit work, thanks in no small part to admired releases on Alpaca Edits, Springbokz and Katakana Edits. This outing on Vehicle will only enhance their growing reputation. They begin in confident mood via a smoky, jazz-flecked and dreamy late night revision of an old Marvin Gaye favourite ("Trouble Man") that achieves a near perfect balance between shuffling dancefloor goodness and touchy-feely late night bliss. "Lonely Town, Lonely Street" sees the quartet cleverly combine elements from a Clavinet-driven conscious soul masterpiece with chunkier mid-tempo beats and woozy deep house chords. They repeat the trick on the piano solo-heavy head-nod of closing cut "Nobody's Fault But Mine", which may well be the best of the lot.
Review: In which no fewer than 24 rock and indie classics get reworked for the dancefloor. Admirably, the mysterious V avoids the temptation to simply whack a 4/4 kickdrum under everything - in fact, many of the cuts could better be described as remixes or reworkings rather than simple re-edits. Inevitably, some of the resulting concoctions work better than others - and which you think that applies to may depend on your views on the original source material - but if you're looking for a way to drag non-house/disco lovers onto the floor, this collection should serve you well.
Review: Russian disco imprint Vehicle returns with more reinterpretations which blur the boundaries between edit, remix and rendition on these absolutely impressive perspectives. You certainly know the score on Our Last Dance" (V's Pressure vocal mix) by KWEEN, or so you think - until you actually hear it. Mercury rising, what more can we say! Elsewhere, there's some more respectful remakes that stay truer to the originals such as the classic disco of Physics' "If You Love Me" (V's No Fools edit), likewise things get properly lo-slung on Archy Bells "Let's Groove" (V's Simple edit).
Review: Valique celebrates six years of consistent edit gold on his 12-year old Vehicle imprint. Digging deep across the collection he whisks us through the feels with a supreme range of instant party-pieces. From the blonde ambition of the slinky "Appelle Moi" to the freaky upbeat ground control of "Oddity" via the insane stretch and slap of "What The Hell?" and his versions of "Human Nation" and "Give Me Shelter", this is an immense set that brings us all up to speed and gets us excited for the next six years of edits. V stands for Very good music.
Review: Vehicle's Edits out of sunny Moscow Russia coming at you with their Winter Ride series. Spend the night in from the snow and warm up on the dancefloor in sexy and slo-mo fashion with this bunch of brilliant edits for musical accompaniment. There's a handy edit of a certain famous rock 'n' roll classic on RS' "Give Me Shelter" (V's Uncovered mix), more of a deep disco house flavour on Brass Destruction's "Gotta Do It" (V's edit) and some spacey Italo disco grooves on Creative Force's "Who Is He To You" (V's Dadgummit edit). Elsewhere, there's some proper cosmic vibes that would warrant bringing out 'the herbs' for advanced effect while listening to the stellar Jahmad Amal "Acid Ride" (V's Get On The Boat version) and what would a set of classics be without the mandatory Don Sherry track, huh? They've got you covered on the splendid "Walker" (V's edit).
Review: This is collection of edits and it's as fresh, fun and funky as any good disco edit should be. Starting the bunch is 'At No Cost' with a classic guitar and pumping beat, decorated in shimmers and sparkles, get the glitter out. 'Let's Fall In Love' is a sing-a-long, with a deep sub and a tinkling triangle. ''Appelle Moi' is one of those track everyone's heard before, we're loving the new aquatic, echo drips which have been added. 'Bring The Best In Me' is an amazing track, we defy anyone to listen to it and not dance, the jazzy piano, the infectious bongos and that killer vocal, disco done good!
Review: When delivering a V's Edits release, Valique tends to pack the EP with tried-and-tested, club-ready reworks, and plenty of them. That's certainly the case on this latest outing, which boasts six razor sharp cuts. There's much to admire throughout, from the wavy positivity of AOR disco-soul opener "This Lady" and the sparkling cheeriness of "All Mine", where one of disco-boogie's most memorable moments gets smothered in filters and compression, to the new wave era electro-rock moodiness of "Hey, La!" Also worth a listen is the heady, intoxicating shuffle of "Funkin' For Kingston", where a break digging boogie classic is subtly extended and rearranged.
Review: Moscow's Vehicle now presents more deep house, nu-disco and of course a few of their reknown V edits on the Intercity Remixes here. Miles Ahead's "Human Nation" (V's Parisian mix) is a jazzy soul jam with quite a few familiar sounds from a certain timeless classic. "Human Nature" (V's Nuyorika mix) however is much funkier, deeper and absolutely emotive. Elsewhere, The Thoors' "Love Her Badly" (V's L.A. to New Orleans mix) does exactly what it says on the tin with this cheeky rework of a right anthem until Rocking Blues' "My Desire" (V's Moscow To Tokyo mix) closes out this fine little EP out in good and proper style with those hands in the air pianos, jazz drums and bongos all working in perfect harmony.
You Could Make It (V's Glad edit) - (6:13) 120 BPM
Shake (V's Nuyorika edit) - (6:55) 120 BPM
You Gave Me Love (V's edit) - (7:12) 117 BPM
Fame (V's Bumpy Way To The Top edit) - (5:48) 106 BPM
Impossible (V's Afro Jam) - (8:10) 120 BPM
Make A Little Love (V's edit) - (5:20) 114 BPM
Big Flow (V's Can't Cool edit) - (5:23) 122 BPM
Stop Your Pressure (V's Determined mix) - (7:03) 106 BPM
No Stopping Now (V's edit) - (7:37) 118 BPM
We Got The Direction (V's edit) - (6:54) 107 BPM
Fulltime Paradise (V's edit) - (9:01) 110 BPM
Sunshine (V's Doing Fine edit) - (7:44) 118 BPM
Served (V's First Come edit) - (6:08) 112 BPM
Can't You See Me (V's edit) - (6:20) 116 BPM
Fever (V's edit) - (7:32) 119 BPM
Dreadlock Holiday (V's edit) - (5:51) 110 BPM
SRGNT PPR's (V's edit) - (5:31) 100 BPM
At The Disco (V's Shaking It edit) - (5:36) 104 BPM
Roxanne (V's Disco & Rock mix) - (6:16) 122 BPM
Midnight Rhythm (V's edit) - (8:04) 118 BPM
The Surf (V's Elektro edit) - (7:03) 118 BPM
Gonna Party (V's edit) - (5:31) 106 BPM
Heartbreaker (V's dub mix) - (7:16) 100 BPM
V's Edits 5th Anniversary (continuous DJ mix - Part 1) - (55:20) 107 BPM
V's Edits 5th Anniversary (continuous DJ mix - Part 2) - (1:13:01) 118 BPM
Review: Vehicle, the preeminent Russian disco label, run by the man, myth and legend, Valique, recently celebrated its tenth anniversary. Now in this celebratory mood, and with the party needing to continue, they've looked back to the tunes from their fifth birthday party - half a decade ago. Highlights include the adrenaline-fuelled sultry funk jam "Shake (V's New Yorika edit)," by Brass Destruction, the disco-rock (think of Survivor at Studio 54) of "You Gave Me Love" by CHA and the infectious new wave boogie of "We Got The Direction" by People's Voice. Party central.
Review: Russian re-edit Tsar, Valique, is marking the 50th release by his label, Vehicle, with this special fourth edition of The Boogie Box series. It's jam-packed with eight new scalpel jobs to enjoy. Highlights include the sizzling electro-funk of "The Surf" by Tyronson, the Rick James-style glitter-boogie of "Imagination" by BBQ Band, the tight, light swing of "At The Disco" and the tough, thumping punk-funk-house of "Shake" by Brass Destruction - a simmering, claustrophobic strutter. Here's to another 50 releases!
Review: Vehicle have been contributing to the contemporary nu-disco scene like few others labels and, to them, nothing is an obstacle, and no genre or style should be excluded. Zed Zeppelin's dub version of "Heartbreaker" is a refreshing disco take on the original, with its riffs still intact and rolling; "Stop Your Pressure" by MJJ takes Michael Jackson to a next level; J Hammond's "Fantasy" is a disco beauty; The Militia's version of "Roxanne" by Police moves those infamous vocals to new and interesting pastures; Timmy Tommy's "Live Together" is an devilish little monster that manages to fuel house with a crazy set of organs.
Review: Moscow based disco label Vehicle is at it again and delivers the goods as always. They've taken the razor to some oldies but indeed goodies on the Summer Boogie EP. There's quite an all star cast on offer here if we have ever seen one. American/Puerto Rican latin jazz legend Ray Barretto appears with his classic "Fulltime Paradise", the soulman himself Roy Ayers appears also with "Fever". Honorable mentions also to Greek sex symbol Denis Roussos with his majestically sleazy "M-Time" and The Beatles aka The Bugs with "Srgnt Ppr's".. err exucse me? Oh don't worry, groove on!
Review: While much of Frank Cueto and Russell Belicek's work as Feel Good Alliance is aimed squarely at the dancefloor, there's something extra full-throttle about their occasional Peaktime Reworks. This second volume in the series is every bit as essential as its' predecessor, with the veteran production duo opening the EP with a killer rework of a psychedelic rock era funk gem ("Working"). They move further towards disco dancefloors on "Finally", which smartly combines clipped guitars, sweeping strings and flares-sporting grooves, with the vocal from Ce Ce Peniston's house classic of the same name. Proceedings are drawn to a close with the similarly inclined "Now That We Found", which turns a well-known Third World classic into a tropical disco sing-along.
Review: Russian disco edit fiend Valique serves up another hot Boogie Box and we're up to number three already! Highlight's on here not limited to Princess' smooth ergonomics displayed on the re-splice of the Prince classic "Sexy Dancer", Feel The Vibe's great cover of "Get Down Tonight" looped for your pleasure by Kc/Sub and they save the best for last with Mr Faded/Blackhead's (aka McFadden & Whitehead's) 1979 classic "Ain't No Stoppin' Us Now". They are all 're-re-edited' by the way: by none other than Valique himself. Trust the DJ!
Review: Given the Peaktime Reworks title, you've probably already worked out that the three tracks here all head straight for the proverbial dancefloor jugular. The emphasis here is on fun, with lead cut "Show Me Love" expertly combining elements of classic material from Escort and Robin S with sizeable new percussion. This theme continues on "Pushing On", which layers Alice Russell's classic vocal from the Quantic Soul Orchestra cut of the same name over one of the largest disco records of all time. As if that wasn't enough sweaty excitement, the Feel Good Alliance tops things off with the stomping disco house of "Teach Me (Peak Time Rework)".
Review: Valique is currently neck and neck with Rayko in a furious battle for the title of disco's most prolific re-editor. Here he nudges in front by a nose thanks to another six-track selection of dancefloor-ready reworks. As usual, he adds his magic touch to a range of well loved and lesser-known cuts, kicking off with an undulating, party-hearty extension of David Bowie's "Fame". Stylistically, he keeps things eclectic, variously touching on hazy disco-funk ("Turn That Boogie Loose"), camp disco (the string-drenched, arms-aloft "Going Up"), white boy reggae-pop (a cheery, stretched out rendition of 10CC's "Dreadlock Holiday"), and heavily percussive disco-rock (the subtly house-friendly, filter-rich "You Gave Me Love").
Review: Valique must have the world's largest record collection, as he is now on his fourth anniversary re-edit compilation and still shows no signs of stopping. This time round we get a whopping 28 reworks to choose from. It's packed full of copyright dodging megahit reworks including "Booty Itching" which features a super-teased KC & The Sunshine Band sample, the trippy acidic rework of Owner Of A Lonely Heart by Yes and dreamy disco laser-fest "When Did I Stop Loving You". Party gold.
Review: One day, Valique will run out of material for his popular V's Edits series. For his 20th volume of sneaky re-rubs, remixes and re-edits, he adds his unique touch to another batch of unlikely classics and well-loved gems. He begins by sticking a rocket under Johnny Cash's turn-of-the-millennium cover of U2's "One", before delivering a woozy, feel-good house interpretation of a Marvin Gaye gem. Next, Yes's "Owner Of A Lonely Heart" is transformed into wobbly tech-house/deep-house/nu-disco shuffler, before he storms into guaranteed party-starting territory with a synth-heavy, nu-disco/house remix of The Clash's "Rock The Casbah". A more fluid, boogie-tinged version of the previously re-edited Marvin Gaye cut completes another big package.
Review: Vehicle's Ex-Yu Edits series, which transforms forgotten gems from the former Yugoslavia, has been one of its' most musically rewarding and enlightening to date. The latest volume in the series is a joint endeavour from label boss Valique and veteran Serbian selector Funky Junkie. While each of the edits has been beefed up to suit modern dancefloors, it's the quality of the original material that shines through. Opener "Katastrofa" offers a delicious blend of heavy, synth-laden '80s boogie, punchy afrobeat horns and bold, chant-a-long vocals, while the slower, more chugging "Frka" is an Adriatic delight - all hazy, sun-kissed synths, sugary-sweet vocals and sloppy kisses. As for closer "Yugoslavia", it sounds like a disco-house anthem in waiting, as the duo adds bumpin' beats to a rising, horn-heavy chunk of starlight disco.
Review: It seems that for his 19th installment of edits, label boss Valique has thrown caution to the wind, boldly going where no re-editor has dared venture before. The six scalpel jobs on this collection include many tracks considered either sacred or just too wrong to ever tackle, but it bothers him not a jot. Standouts include Mick Hucknall's unapologetic expression of sexual arousal, Something Got Me Started, being turned into a the Balearic house bouncer "I'd Give It All For You", the proggy electro-house Pink Floyd rework "Brick Wall" and the groovy Prince edit "The Future".
Review: Having spent much of the last couple of years churning out cheeky reworks under the V's Edits tag, former funk breaks maestro turned disco dancer Valique indulges in a Threesome. He begins by joining forces with vocalist Michael Wheatley for a 2015 revision of old cut "Kick Out Party" - a rubbery, low-slung concoction that sits somewhere between Prince, disco-funk and hands-in-the-air piano house. There's a little more jazzy fluidity to the sun-kissed guitars, woozy synths and bouncy bass of "At This Time" - a cheerier track you'll struggle to find - while "I've Got You (Though I've Been Selfish" offers Valique an opportunity to lay down a booming, chopped-up, hands-in-the-air smasher that draws inspiration from both classic speed garage and early '90s piano house.
Review: Given the success of The Very Polish Cut-Outs re-edit series in breathing new life into forgotten musical gems from Poland's past, it's heartening to see Vehicle aiming to do the same to vintage Yugoslav disco via the Ex-Yu series. This second installment comes from B.G Baarregaard (under the new Disco El Pogia moniker) and Serbian record collector Funky Junkie, who join forces to rework to previously unknown Balkan nuggets. Opener "Wandering" is sweet and groovy, with indigenous vocals riding triumphant horns and razor-sharp strings. While there are a few contemporary production tricks - think filters and a chunkier groove - it's a pleasingly respectful rework. "Weekend Phobia" is, if anything, even better, stretching out and rearranging a hearty chunk of disco-funk-meets-AOR brilliance.