Review: With the Ladykillers EP being his third EP under the YSE Saint Laur'ant moniker, it seems that Ant Plate (Rhythm Plate/YSE) seems to be growing more and more accustomed to the guise. That's good news for us and fans of high quality laid back palm tree disco jams everywhere. There are four tracks here, each of which takes a different direction, from filtered slo-mo disco-house loops ("Ghetto Woman") to weirded out samples over hypnotic shuffles ("Psychodelic Woman"), but our fave is the breezy, disco-drenched yacht rock of "Crying Woman".
Review: Following his recent appearance on Smokecloud, Sleazy returns to his Whiskey Disco home to celebrate its 25th release. As you'd expect from McQueen, it's an instant disco funk showdown laced with all manner of well dug sources and sounds. From the tight loop and lolloping bass of "Teeny Lovin'" to the more upfront glitter-sprinkled funk of "In The Year 2014" via an extended, head-turning cover of "Dancing In The Streets", each one of these cuts sparkles with Sleazy's skills and reminds us that Whiskey Disco is still very much on-point with every single release.
Review: Some shady musical quackery here, courtesy of re-edit imprint Whiskey Disco. Disco era movie The Warriors is a forever iconic work of art and its soundtrack none too shabby either. Here the hi-NRG disco rock of Barry De Vorzon's theme tune is tweaked and teased out to nearly six minutes of pulsating grooves to killer effect. Also "Echoes In My Mind" from the same soundtrack finds its more linear, less orchestrated grooves extended into a sweet '70s funkathon. Watch out - The Warriors have come out to play again!
Review: Icelandic disco don BG Baaregaard returns to the label on which he began his quest, Whiskey Disco, as he continues his successful streak. Here he delivers three more gems this time exploring less conventional styles than the usual re-edit fare: "The Sound" seamlessly fuses '70s disco with acidic funk, "The Return" re-interprets Mark Morrison's Return Of The Mack as an Italo disco classic and "The Desire" wraps things up nicely in a simmering retro arpeggiated house/Balearic style.
Review: It's all about the future for Whiskey Disco, with the label presenting a selection of tunes by new talent on the "Future Lovers EP". It's an impressive selection too, featuring the electro-funk loops of Tomas Maio, electronica reworks of Brandi & Monica ("The Boy") and the arpeggiated electro-disco-funk of "Love Coming On".
Review: East Midlands producer Ant Plate (he of Rhythm Plate and YSE fame) dons his lesser-known YSE Saint Laur'ant moniker for a second outing on Whiskey Disco (his first dropped in 2012). As you'd expect from someone with a such a rich history of joining the dots between deep house and disco, the Swimwear EP delivers a quartet of breezy, positive cuts that should suit DJs in both styles. There's some smooth, soul-flecked grooves in the shape of "Never Be", a brilliantly wide-eyed slo-mo chugger ("Forever Mind", complete with classic AOR vocal samples), a thrilling exercise in low-slung disco house dirtiness ("Bozwa Locks") and an hypnotic, slowly unfurling chunk of dreamy deepness with quirky blue-eyed soul samples ("Walked in the Room").
Review: Despite the prolific nature of Sleazy McQueen's Whiskey Disco label, we haven't had a compilation from them since the summer. Well, it's been worth the wait as this EP boasts killer cuts by three very different producers. BG Baaregaard's "Tokyo Nights" is all tough, filtered loop-house, a real beachside, smothered in soft warm synths, kind of thing. Vins offer two cuts of shimmering fantasy cruise disco, but it's the Sandrobianchi & Tripman edit of the sublime and melancholic Eurodisco anthem "Mamy Blue" that's the real winner here.
Review: This release apparently originated from a chance meeting between Whisky Disco boss Sleazy McQueen and the Russian artist known simply as Beard Dust whilst the label impresario was deep beneath the Iron Curtain. Whilst titles such as "Grapevine" and "Highest Mountain" offer little in the way of mystery there is at least a certain uniqueness to the way Beard In Dust presents the former as a stab heavy house number and the latter as a low slung boogie gem. Elsewhere "Revolution in Morder" is all out cosmic disco bliss whilst "Can't Get Enough" adopts a soft funk rock approaching with the most welcoming of vocal hooks.
Review: Movin 2 Fast? Not when these sparkling disco house jams are spinning... You'll be shimmying and boogying at just the right speed as these Whiskey wunderkinds let loose. Each of the four cuts is a highlight in its own way; Eddie C conjures up the spirits of Cevin Fisher with just a dash of Krivit keys, Alkalino's low-swung bass jacker is as sexy as disco gets, Cole Medina pilfers a very well-known sample and injects it with undiluted disco dust while Osmose closes the show with an ace edit of the Alan Parsons Project.
Review: Whiskey Disco presents a quartet of blisteringly good reworks from Dead Rose Music Company and Satin Jackets on this fine release. Dead Rose Music Company open proceedings in style with "Nothin To Ya", a brilliantly low-slung, bass-heavy re-edit-turned-remix of the Jones Girls' "You Gonna Make Me Love Somebody Else" that turns the delightful original into a dubbed-out chunk of dancefloor chugginess. The more upbeat "Too Late", based on a lesser-known favourite, is almost as good. Satin Jackets' "The Hustle" provides some looser - but still formidably heavy - dewy-eyed disco-soul thrills, while "I Can See The Light" is more Balearic than a wet, sloppy kiss from a grinning stranger.
Review: Beards. Where'd they come from, eh? One minute it was all asymmetrical haircuts and 80s electro-pop, then the beards & disco brigade arrived. Well successful re-edit imprint Whiskey Disco proves that beards are still big and happening. YSE has a shady house music history but here displays his love of disco with four quality reworks. "Freeze Frame" is a vocoder-led slow building chant-a-long, "I Own The Boogie" is a deep and intense disco funker with killer basslines (both electronic and live), "Warm Wind Brewing" is a Fantasy Island/Love Boat romantic journey and "Here I Come Again" ends things with some raw disco seduction.
Review: This Russian disco producer has been steadily building a name for himself of lateIt's all about mellow, good vibes over the course of six tunes, highlights of which include the slo-mo, disco house of the title track, which conjures up poolside soirees at sunset. The slick and shuffly "I Know Where You Are" covers the perkier side of things (try spotting a sample of Gravel Pit), as does the even housier "Back To School". If you're still hungry for even more stylish disco-house, then quality remixes by the likes of Volta Cab and Russian Adults are also included.
Review: This release reads like a re-edit producer's convention, with four different artists all delivering their own unique takes on selections from disco's past. "Hitney Wouston" is Deep & Disco's funky tech-house take on "I Wanna Dance With Somebody" by you know who. It's an enthralling version that competes with Girls On Top's all-time reworking from back in the day. Alkalino's "Ruff N' Stuff" is a killer blend of throbbing bass, cowbells and a retro rap. Debonair's "Mellow Mellow" features a mesmerising, heavily filtered string loop and lots of disco lasers. Retro-house don Jonewaynes wraps things up with the looped slice of shimmering Balearica that is "Number 1".
Review: For this 11th edition of the Whiskey Disco series, Sleazy McQueen has gathered together a series of decidedly loved-up re-edits, many with a real AOR feel. That's certainly the case with "Moonlight" - a wonky bundle of 6am sunrise hugs edited into shape by Yves Saint Lau'rant - and Anthony Mansfield's delightfully subdued "Cosmic Annie". There's some straight-up party flavours in the shape of Disco Tech's bumpin' rework of perennial Dolly Parton fave "Jolene", while Cole Medina successfully dubs out a deep house love song on "Your Love".
Review: Ponytail-sporting Floridian Sleazy McQueen is usually a reliable source of botton-heavy edits and reworks. Here he casually unfurls another digital-only selection of floor-burning tweaks for similarly minded disco deviants. As usual, there's a heavy dub disco feel to proceedings, with previously straihght-laced disco, AOR and electrofunk cuts being turned into heavyweight reverb-laden jams. As ever, there's little filler and plenty of killers, from the delay-laden horns of "I Like Girls" and poodle perm silliness of "Like The Wind" to the twisted swamp funk of "Through The Jungle" and E'd-up soul of "Can't Say Goodbye".
Review: Orlando-based disco lothario Sleazy McQueen hands his most recent single over to a bunch of pals for remixing, with largely pleasing results. Fellow American Cole Medina turns in the most impressive version, turning the original into a bubbling chunk of spaced-out electrofunk with just enough weight to please the househeads. Liverpudlian Facebook miserablist Cosmic Boogie treads a similar path, combining analogue bass, dubby house and disco cowbells to excellent effect. There's a solid Ooft remix, too, for those who like their deep house a touch darker and chunkier.
Review: Four excellent new funk/soul/disco bombs from the Whiskey Disco label, with some surprising covers and peerless edits for your aural delectation. Anthony Mansfield sets about deconstructing a fresh cover of "Hercules" by Aaron Neville, while fans of Philly/Al Green-esque slow '70s funk will love Cosmic Boogie's soft-touch edit of "How Can You Say Goodbye". Rayko ups the tempo a little with his mix of the boogie wonder "S&M (Sexy Music), while WD label-head Sleazy McQueen has a lot of fun with Stevie Wonder's "Do I Do", looping up instrumental sections just right for a new perspective on this classic Stevie joint.
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