Review: As a reward for contributing some killer re-edits to multi-artist EPs, Whiskey Disco has given Alex Zuiev the chance to strut his stuff over the course of a four-track EP. First up is "Trenitalia", a rubbery and rolling affair in which spacey synth stabs, disco-funk horns and what sound like Spanish spoken word snippets leap above a bustling, bass-heavy rhythm track. "Flying Objects" sees the Ukranian producer breathe new life into a flute-sporting disco-boogie roller whose strong bassline and handclap-heavy rhythm track will keep things moving on the dancefloor, while "Soul Fire" is a low-slung chunk of sleazy disco-house hypnotism for dancers who like their jams sleazy, psychedelic and notably weighty.
Review: Whisky Disco invite a trio of fresh faces to their ever-growing talent troupe for the Disco Darling EP. Andy Ash takes the lead with a loopy, strutting slice of sample-laced house that wouldn't go amiss in a Mark Farina set while Vincenzo De Bull & Halve Soul lower the tempo, invite us on a Balearic picnic and insist we gobble up huge chunks of Sade's "Cherry Pie". Deeper into the EP we find firm label friends Rabo & Snob laying down a velvet bed of Rhodes and vocal harmonies before the final label newcomer JP Source plays a slo-mo game of sample patty-cake with loopy disco mischief.
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: The Whiskey Disco Small Batch series is custom made for sunny weather, water sports and festivals. The Baltic Beaches EP pairs the mastercraft of Moscow's Beard In Dust and Poland's Karol Alexander for three songs to soundtrack your Summer time. Each smacks of sublime breaks and Balearic keys. The deep slo-mo groove of "So Lonely" featuring those 808 State style bird calls, the '70s NYC soul jam that is "Jesienny Pan" and of course the lo-slung and dubby "Przyslowia" which is perfect to get stoned into the groove: we actually dug this one the most! Enjoy responsibly.
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: Icelander-in-Oslo BG Baarregaard has so far proved adept at releasing both re-edits and original productions, along the way delivering EPs for Paper Disco, Disco Volante and Whiskey Disco. This EP sees him return to the latter with a trio of sparkling, floor-friendly re-edits. Choose between the dashing synth-boogie explorations of the proto-Metro Area slickness that is "Disco Inn", the delay-heavy, dubbed-out P-funk explorations of "Undercover Lover", and our pick of the trio, "Kaffibarinn". The genius of this latter track lies in its' tasty use of subtly changing TB-303 bass, clipped disco guitars, and twinkling deep house flourishes. It's musically hard to pin down, but sounds like a genuine floor-filler in the making.
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: 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.
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: 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: Whatever Whiskey Disco serves up on their regular multi-artist re-edit EPs, it's invariably high quality. Happily, that's certainly the case with the material showcased on Make Your Day. You'll struggle to find a more positive and hedonistic chunk of disco-funk/boogie rearrangement than Derek Kaye's rolling revision "Sing a Song", while Sandrobianchi and Tripman's "Strawberry Letter" is extraordinarily loved up and psychedelic in the best possible way (and, yes, it's definitely Balearic). The EP also includes some high-grade, synth-laden electrofunk (Rabo & Snob's ace "No One Can Do It") and more than a sprinkling of AOR disco camp (In The Night's thrillingly tongue-in-cheek "Love Drop").
Review: The sixth volume in Whiskey Disco's ongoing "Small Batch" series boasts a tasty rework from one of the longest-serving members of the Norwegian house and disco fraternity, former Music For Freaks and Sex Tags Mania contributor Doc L Junior. His contribution, "Closer", is undeniably the EP's strongest moment, with the Tromso resident brilliantly wrapping jammed-out electric piano lines, chiming vibraphone solos and tight horn blasts around a chunky and bumping house groove. Elsewhere, Colombian crew GOD (short for "Grumpy Old DJs", apparently) brilliantly breathe new life into what sounds like a sun-kissed Brazilian boogie record from the mid 1980s, before Just Baker offers up a loopy, filter-sporting trip into swirling disco-house territory.
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: Sleazy McQueen's Whiskey Disco imprint continues to be one of the more reliable sources of disco and boogie re-edits. Rather predictably, this latest installment in the series is bristling with high-grade dancefloor material. There's some riotous, party-minded disco-funk from newcomer Scott M, who delivers a killer touch-up of Vernon Burnch's "Get Up", and a thrillingly low-slung chunk of rolling disco-house from VinylAddicted and SMQ. While Pontcharain also provides a tightened-up, filter-heavy tweak of France Joli's Prelude classic "Gonna Get Over You" - heavy on the delay, and with the urgent hustle of house - it's the contribution from Canadian stalwart Eddie C that stands out. A smooth, midtempo cut-up of a lesser-known rollerboogie jam, it rises and falls in all the right places.
Review: 13 months after first slipping out on vibrant purple vinyl, Whiskey Disco's compilation style "Sounds of the Inner City" EP finally makes it to digital. And not a moment too soon, either, because Alex Zuiev's throbbing, acid-flecked disco-house revision of "Bus Stop" is an absolute stormer (and, for the record, pre-dates the Chaka Khan's similarly minded, "Bus Stop"-sampling "Like Sugar"). There's plenty to set the pulse racing elsewhere on the EP too, from the slap-bass propelled brilliance of Murge's swirling orchestral disco rework "Sounds of the Inner City", to the low-slung, bass-heavy boogie badness of Frank Angles' "Please U".
Review: Holiday 80's 2015 debut for Whiskey Disco was something of a treat, so expectations are naturally high for this belated follow-up. Like its predecessor, Mokotuff sees the producer breathe new life into forgotten and little-known Polish disco cuts. This time round, he begins with the elastic slap bass, spiraling synthesizer melodies and glistening guitars of "Truncheon Man" before dropping a chunk of drowsy Balearic house-meets-eccentric disco brilliance in the shape of "Male Jeziora". Arguably even better is the dewy-eyed beauty of "Letnia Misosc", a rework of an early '80s two-step soul shuffler complete with AOR style female vocals, jaunty pianos and swirling chords. Best of all, though, is closer "Zuhas Jmara", which unhelpfully defies easy categorization. We can tell you, though, that includes some killer trumpet action.
Review: Thanks to the sterling work done by the Very Polish Cut-Outs series, we're now all familiar with the previously hidden world of eccentric Eastern European disco. Now that label is no more, fellow Poles Holiday 80 are keen to continue its' good work. The Hotel Victoria EP contains fantastic reworks of four obscure, Balkan disco treats. It's packed with smashers from start to finish; check, for example, the acid-laden, muscular disco-strut of "Teleniedziela", the spiraling, rock-tinged camp of the charged-up "Zabawa W Stylu Folk", and the shuffling, filter-heavy sweetness of early '80s gem "Kta Dat Nam Deszcz". Best of all, though, is the American style disco-funk hustle of "Bez Tego I Owego", which contains some particularly wild organ solos.
Review: Having made his name with a string of fine rework releases on the acclaimed Tugboat Edits imprint, Guillermo "Hotmood" Gonzalez makes his first appearance on Whiskey Disco. Disco De Los Muertos ("Disco of the dead", if our Spanish is up to scratch) is predictably full of cheeky dancefloor moments that should appeal to both house and disco DJs alike. Our pick of the bunch is probably the low-slung "Playing The Groove For An Hour", where fizzing synth stabs ride a ridiculously rubbery slap bass riff and rolling house groove. That said, the deeper and dreamier "The Camel" is rather good, while the horror-tinged Mexican funk-goes-house fare stretched across the A-side is both rock solid and highly playable.
Review: Some eighteen months after it first dropped on wax, Whiskey Disco's brilliant Disco Galaxie EP finally gets a digital download release. Given the quality on show, it should be an essential purchase for any club-focused disco DJ. The real killer is Kon's "Promised Land" edit, a thrillingly epic re-arrangement of a long slung, bass-driven disco monster that slowly builds to a dubbed-out crescendo over nine mesmerizing minutes. Elsewhere, Jacques Renault's "Disco Galaxie" is an authentic scalpel rework of a swirling, string-laden space disco stomper, while Love Dance moves towards Philadelphia Soul territory on the impassioned disco hustle of "Who Is He".
Review: Four slices of sumptuous modern disco here from Melbourne's Kayroy, brought to you by Florida's Whiskey Disco. 'Like Damn!', up first, rocks the early 70s barrio funk vibes, with wukka-wukking geetar, frantic percussion and fat funk bass topped with a chanted female vocal to start before a full soul vocal and soaring brass break out later on. 'Pavlova Casanova' itself operates in similar territory and sports a chopped 'n' looped female "you've got the power of love over me" vocal, 'Sandy Shackles' has more of a lounge-y, Eurodisco feel, while closer 'Swirl Inside' maintains the lounge-y vibe with chorus'd vox and some gloriously cheesy analogue synth sounds.
Review: Finnigan Langham AKA Kayroy made his Whiskey Disco debut 19 months ago via a must-check collection of club-ready re-edits. This belated sequel sees the fast-rising producer offer up more heavyweight reworks that somehow manage to dub-out, layer-up and rearrange classic cuts without adding any cheap new bits or contemporary production trickery. He begins by turning a classic Crown Heights Affair sing-along into a head-mangling dub disco instrumental ("Rosella"), before cannily building pressure via slowly changing loops on the saucer-eyed disco sweetness of "You're The Reason Why". "Silk & Satin" is an energetic, electric guitar solo-sporting disco-funk romp, while closing cut "One Night In Prague" is a brilliantly breathless revision of a truly bonkers Euro-disco-meets-heavy-rock number.
Review: It's fair to say that Whiskey Disco rarely fails to disappoint. Sleazy McQueen's long-serving label is undoubtedly one of the most consistent re-edit imprints around, making each successive release a "must-check". Naturally, there's plenty of club-ready goodness to be found on the label's latest missive, from the vibraphone-sporting, reverb-laden disco bounce of Alkalino's "Body & Soul" edit, to the beefed-up, Afro-disco-with-house-beats heaviness of Alex Juiev's "Afro Magic". In between, Love Drop pitch up and straighten out a Grace Jones favourite, while Terrence Pearce brilliantly plays around with a spacey disco classic on "Ushukela". In other words, it's another tight collection of cut-jobs from Whiskey Disco.
Review: Whiskey Disco has labelled its latest recruits, the strangely named Breakfast, Lunch & Dinner, as "enigmatic". Whoever's behind the alias, they know a thing or two about crafting alluring and dancefloor-friendly re-edits. Starter "Try My Love" is more than a mere aperitif, delivering a potent blend of eyes-closed, soul-flecked disco goodness, chunky bottom-end swing and a sprinkling of filter-heavy seasoning. "Miracles" is very much the main course, expertly cutting, splicing and rearranging the Jackson Sisters' infamous disco anthem into a remorseless dancefloor roller. Finally, there's a little sugary-sweet dessert in the form of "Tonight", a sleek and spellbinding disco number whose bold pianos and occasional vocal hits leave a delicious after-taste.
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: Dutch DJ and producer Olivier Boogie has been doing his thing in Amsterdam, largely without credit, for the best part of a decade. He's previously released both original productions and re-edits, with two contributions to a split Lumberjacks In Hell release back in 2012 standing out. Here he returns - at long last - with an edit EP of his own for Whiskey Disco. There's naturally much to admire, from the soaring strings, undulating bass and disco-funk hustle of "Got To Have Loving" and jaunty Rodriguez re-rub "Can't Get Away" being particularly potent. He also delivers a dash of head-nodding boogie ("You Know Who"), and turns a little-known funk jam into a shuffling house hustler ("Lost In The Crowd").
Review: For the latest offering from the Whiskey Disco stable, Is It Disco?, label boss Sleazy McQueen has decided on making it a 'more the merrier' affair. As a result we get six disco heads over the course of 4 tracks. Olivier Boogie kicks off with the edgy and live vibes of the Michael Zager-style anthem "No Goodbye", the neon arpeggios of Alkalino's Italo-disco jam, "Cosmic Disko" and the hazy, afternoon heatwave Balearica of "Something About" by Thoma Cher.
Review: Detroit's Pontchartrain is back on Whiskey Disco, the label that he most certainly calls home. Here we get new single Date Night, which features three top notch jams, starting with "Lambrusco". Not a cheap, hangover inducing holiday drink, it is in fact a exceptionally edited string-laden disco beauty that cleverly swells from warm and deep beginnings into blissed out joy. Next "Ayeeho", features delayed percussion, electro-disco bass and a compelling fusion of Afro and East Asian melodies. Lastly "Nice N Slow" is ironically a fast 'n' furious retro boogie belter complete with manic clavinet action and divas galore.
Review: Sleazy McQueen's Whiskey Disco label seems to be on fire at present, with new EPs of white-hot edits appearing on an almost weekly basis. Predictably, there's more high-grade material on this latest split artist four-tracker. Pontchartain kicks things off with a brilliantly dubbed-out take on Gayle Adams classic "Lifesaver" (previously successfully extended and re-touched by FLX One a few years back), before Osmose delivers organ solos, orgasmic groans and rump shaking beats on "Broadway Kiss". Derek Kaye's "Holdin' On", a deliciously celebratory number full of cheery scat vocals and incessant grooves, and "I Got Your Wang", a cheery, sun-kissed chunk of disco perfection from Rulefinns Kravstor.
Review: It may have taken a few months, but Whiskey Disco's latest split EP - a fine affair featuring two reworks apiece from Ponchartrain and Sheffield-based East Midlander Thatmanmonkz - has finally made it to digital download. Pontchartrain steps up first, first offering up the breezy, tropical-sounding disco stomp of "La Magie" - all punchy horns, classic disco bass, fizzing synth lines and glassy-eyed female vocals - before brilliantly reworking an obscure disco/jazz-funk instrumental (the suitably spacey "Hey Mariposa"). Arguably even better is "Luh Me On Mi Celly", the low-slung, stretched-out dub disco revision that counts as thatmanmonkz's first contribution to the EP. His second, "Radiation Steppa", is a fizzing, synth-heavy disco-boogie number blessed with passionate male group vocals.
Review: For their latest missive, Sleazy McQueen's Whiskey Disco label has paired two re-edit veterans; Pontrain and The Silver Rider. The former is very much on a 'Paris 97' vibe with "What You Doin To Me" being a joyous French Touch-style jam that weaves some slammin' filtered disco loops together and "Work It Alright", a powerful slice of passionate, housed-up soul. The latter also provides two quality jams: the slick, cocktail-fuelled disco-house of "Muzik", and the low-slung, elastic bass-driven Balearic grooves of "Never Stop".
Review: This debut edits EP from Israeli disco duo Rabo & Snob first appeared on wax back in 2014, and here makes it to digital download for the first time. It sees the Tel Aviv twosome deliver a trio of effortlessly groovy, mid-tempo reworks that seemingly bristle with sunny intent. Opener "Here We Come" excites in part due to the tasty combination of hustling Clavinet lines and starry synth-work (though the swinging rhythm below is also rock solid), while "Baci" sees them reaching for the strobe via a trippy, Italo-influenced groove, sweaty percussion hits, and sweeping, tops-off strings. Best of all, though, is the hypnotic bounce, rubbery bass and sultry, late night sensuality of killer closer "Everybody Knows It".
Review: The terrible twosome from Tel Aviv are back! Yes, Rabo & Snob have rustled up more boogie treats for our dancing pleasure, and a pleasure it is. First is the pumping Italo-disco fizz of "You Get By", which is turned into slinky peep-show grooves by Love Dance. Elsewhere we get the muscular disco rock of "Believe" and last but not least the elastic bass arpeggiations and percolating synths of "Together". Ace.
Review: Israel's Rabo & Snob don't tend to release that much material, but when they do it's nearly always on the mighty Whiskey Disco, and it's also almost always good. The Let You Know EP keeps the home fires burning, as its features four strong-as-an-ox disco jams. The title track features slammin' 4/4 drums, incessant funky bassline and overall Tensnake-esque slick vibe. Elsewhere "Cue" is moody Italo-disco of epic proportions, "So Hard To Reach" has a pumping early hi-NRG vibe (think Gino Soccio at his campest) and finally "Do It" wraps things up with a sizzling slice of looped French Touch-style tough house. A strong return from Rabo & Snob!
Review: A heavyweight amongst the re-edit scene, Sleazy McQueen's Whiskey Disco label is back with some seriously sizzling boogie. First up is Rastanils who delivers his 2016 edit of "What You Are". It's a pumped up late 70s jam, full of elastic bass, hysterical strings and passionate vocals. Next is "I Like It" by Corsican Brothers and it's a gem of deep, early 80s electronic boogie, with the synth bass tweaked and brought to the fore of the mix. "Disco Chopper" sees Albion tackle a super-obscure Italo Disco robot rocker and it's back to the 70s for the raunchy, bluesy funk of "Big Time" by RuleFinn.
Review: Robert Ouimet has some serious pedigree - the Montreal native has been manning the booths of Canadian discotheques since the early 70s! It's not entirely clear whether the four tracks featured here - which are finally getting a digital release after dropping on vinyl last year - are original productions or re-edits. If they fall into the latter camp, then he's dug admirably deep for source material, but then he's uniquely positioned to do so; if they're original cuts he's captured that mid-late 70s disco vibe perfectly but then, again, that's hardly surprising! Either way, this is some real-deal shizzle right here.
Review: Sleazy McQueen's Whiskey Disco label bring us a three-track re-edits EP from Norwegian disco producer Rulefinn. The original source for lead cut 'Kjempegreie' remains sadly a mystery to us, but it's an uptempo number that marries chanted Afro-style vox to plinky-plonk, 80s-sounding synths. Elsewhere, 'Never Gonna Be The Same' reworks the Ruth Waters cut of that title from 1978, while James Wells' 'True Love Is My Destiny' from the same year provides the basis for 'True Love', with both tracks exuberant, uplifting affairs that are best suited to those who regularly use the phrase "gloriously camp".
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: 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".