Review: Long-serving producer Disco Tech has released more edits and reworks over the years than we've had hot dinners. Remarkably, he still continues to deliver on-point revisions - as this second volume in his ongoing 'Reworks' EP series proves. There's much to admire across the six tracks on show, from the atmospheric, slow-burn excellence of AOR disco revision 'Stars In The Ghetto' and the dub-funk wonder that is the James Brown-sampling 'Boss', to the peak-time '80s disco sing-along 'Take Time' and the on-point Clash dub disco revision 'Magnificent'. We also recommend 'Be With You', a deliciously groovy, dubbed-out take on a Doc Severinsen track that has long been a DJ Harvey favourite.
Review: Montenegro-based rework maestro Mitiko (real name Sasha Mitich) has been a busy boy this year, with this EP-turned-mini album marking his sixth missive of 2024 to date. There's plenty to get the blood pumping and the feet moving across the seven tracks on show, from the lightly housed up vocal disco rush of 'Along With You' and the filter-sporting Afro-disco joy of 'Fungi Mama', to the slow-motion disco-funk headiness of 'Ghost' and the build-and-release excellence of the stomping, string-laden peak-time disco of 'Peak At You'. Those seeking mid-tempo thrills are catered for via 'Get Up and Boogie', while 'Latin Hustle' is a memorable revision of a Spanish language dancefloor gem.
Review: Greek producer Goji Berry made his Katakana debut on the multi-artist 'Vol 50' EP back in 2017. Since then he's appeared on two further V/A EPs in the series as well as helming six of his own, most recently Vols 142 and 140. Now he's back with 'Vol 144', which finds him reworking a brace of classic soul/funk jams, namely Wilson Pickett's 'Funky Broadway' from 1967 and Lonnie Liston Smith's 'A Chance For Peace', taken from 1975's 'Visions Of A New World' album. Given the calibre of the source material, it's hard to go wrong, really - and Goji Berry certainly doesn't.
James Brown - "Sex Machine" (Philly Vanilli remix) - (10:07) 108 BPM
Review: Germany's Philly Vanilli has been around since forever, it seems, but to these ears - and they're ears that have reviewed plenty of his previous releases for this very website - this new set of reworks for Deep Disco Edits is the best work he's turned out so far. He's working with some very well-known source tracks here, so there's no point insulting your intelligence by enumerating them: suffice to say that somehow he's managed to tease the funk out of these much-loved classics in a way that, in some cases, even the original artists didn't manage. Ohio Players' 'Love Rollercoaster' was, admittedly, always a personal fave of yours truly but in PV's hands it becomes a truly exceptional 10 minutes of sheer funk joy, while his reworkings of Marvin, Kool & The Gang and The Temptations are equally impressive. Essential!
Review: Despite the title there's no particular discernible 'summer' theme to this latest batch of re-edits from German maestro Alkalino, but that's probably just as well - after all, no one wants to hear 4/4'd up remakes of holiday 'classics' like 'The Birdy Song' or 'Agadoo', do they?! Instead the Audaz boss serves up another typically classy bunch of reworkings, drawing on sources that include Change ft Jocelyn Brown's 'Angel In My Pocket' ('I Remember All So Clearly'), Lenny Williams' 'Midnight Girl' ('The Music Plays And Plays'), Central Line's 'Walking Into Sunshine' ('I Got To Get Away') and Talking Heads' 'Seen And Not Seen' ('A Larger Forehead'), to name but a few.
Review: Casino Classix is one of several aliases for legendary minimal man Baby Ford. Here it is also the name of a four-track EP that finds the long time UK underground operative working alongside fellow British techno luminary Mark Broom on a quartet of devastating cuts. 'Ringer' opens up with some dark and nimble baselines darting about beneath a dense layer of percussion and FX. 'Hoppa' is then a more precise and minimalist cut with wonky bass snaking down low beneath the icy hi-hats and jumbled toms. There is a warm dub depth to 'Hot Pot' and 'Beach Club' shuts down with a restless mix of synth daubs and deft percussion over an ice cold groove.
Review: Although Alkalino has re-edited all sorts of music over the years, disco, boogie and Italo-disco tracks have always been his bread and butter. He's taken a different path on his latest release, offering up 'Transgenre Edits' that touch on a wide variety of sounds and styles. There's much to admire throughout, from the 105 BPM conscious soul-goes-dancing headiness of 'Songs That I See' and the weirdo disco-rock-goes-Italo-disco throb of 'Angry Eyes' (a take on a legendary 1979 by Skatt Bros) to the effervescent jazziness of 'Sad Sax' (an edit of the track sampled by Mr Scruff on 'Get a Move On'), the muscular, mind-mangling synth-disco throb of 'Angel Dust' and the bouncy Tango-disco rush of 'Funana'.
Review: Montenegran re-edit maestro Sasha Mitich, better known to the music-buying public as Mitiko, serves up seven more reworks of classic cuts from days gone by, kicking off with Sister Sledge's 'All American Girls' from 1981. Next to get the treatment is Brass Construction's 'Changin' (1975), followed by - among others - Rare Function's 'Disco Function' (1976), Johnnie Taylor's 'Disco Lady' (1976) and Sylvester's 'Dance (Disco Heat)' (1978). That leaves just two tracks whose source had our disco detectives scratching their heads - including the infuriatingly familiar 'Funky People' - but you get the general idea!
Review: Has any re-edit imprint ever released more music than Katakana Edits? GAMM aside, we can't think of any. This EP of reworks from DJ Laurel is, astonishingly, the label's 141st in total. Predictably, the release gets off to a cheery and sun-splashed start via the lolloping, musically detailed 105 BPM disco excellence of 'Can't Fight Your Love', before DJ Laurel subtly ups the tempo on the swirling, string-laden, dewy-eyed disco-soul of 'Perfect Play'. Those seeking more up-tempo, peak-time-ready thrills should head straight for the gloriously grandiose disco-era Marvin Gaye style brilliance of 'One on One'.
Review: A bit of a curveball here from Mathmos as he explores slightly tuffer, darker styles than we're used to hearing from him. So it's testament to his production prowess that these four cuts work just as well, in their own way, as the groovier, more melodic sounds that are his usual stock-in-trade. 'My Name Is Snake' is a driving, mid-paced cut with techno overtones and chunks of dialogue from 'Escape To New York', 'Techno Duke' also (unsurprisingly) leans towards techno, while 'Street Inferno' drops the tempo and ventures into leftfield electronica territory. 'Plissken Prologue (Raw Mix)' then completes the EP by revisiting the title track's vocal samples in hallucinogenic, extended interlude form.
Review: Katakana regular DJ Laurel returns with his latest contribution to the long-running series. First onto the re-editor's table for surgical rearrangement this time around is the mighty James Brown himself, whose 'It's Too Funky In Here' from 1979 gets reinvented as 'Too Funky'. Next comes 'Melo Do Tagarelo', which bites the 1980 Miele cut of (nearly) the same name - widely regarded as the first hiphop record ever made in Brazil - that married the Sugarhill Gang to exuberant Latin brass, before the EP's completed by 'Maryline', Laurel's take on Christian Gaubert's 1979 French jazz-funk gem 'Sweet Maryline'.
Review: In a world awash with endless re-edits from the "stick a 4/4 kick under it and go to the pub" school of thought, it's always nice to come across a producer who takes a slightly more original and inventive approach to plundering the back catalogues of others. Step up Stockholm native Ture Sjöberg, AKA Beatconductor, who here delivers an album-length EP packed with re-edits and mash-ups that do just that. Putting Adele's 'Rolling In The Deep' vocal on top of chunks of Survivor's 'Eye Of The Tiger', for instance, really shouldn't work on paper, but when coming out of your speakers it most certainly does! Elsewhere you'll hear bits of The Eurythmics (several times), Sister Sledge, Earth Wind & Fire, Yazoo, The O'Jays, Mariah Carey, Christopher Cross, Post Malone and more, all shaken AND stirred into something new and interesting... worth checking for sure.
Review: This is the fourth volume in the series, so you should have the idea by now: Audaz boss Alkalino revisits his youth by taking on pop hits (mostly) from the late 70s and 80s, often reworking the most unlikely source material into dancefloor gold. This time out, though, he's cast his net a little wider, with sources including Jimmy Soul's 1963 calypso hit 'If You Wanna Be Happy', The Chordettes' 'Mr Sandman' from 1954 (an unexpected standout), Sixto Rodiquez's 'Sugar Man' from 1970 and Johnny Cash's 'I Walk The Line' from 1956, as well as the more par-for-the-course likes of The Clash's 'Guns Of Brixton', Stan Ridgway's 'Camouflage', M's 'Pop Muzik' and Paul Hardcastle's '19'.
Review: With 17 tracks on offer there's no room here to list the source material for every track on this latest re-edits selection from the ever-busy Alkalino, even if we could identify them all - which we can't, because it's fair to say he's dug really deep here to find some gems. No guilty 80s pop pleasures here, just obscure disco, Italo and boogie nuggets expertly repolished to suit modern dancefloors, the arguable exception to that rule being an excellent take on the Detroit Emeralds' 1972 soul/funk classic "Baby Let You Take Me (In My Arms)", here reinvented as "Let Me Kiss You". Other highlights include the lazy, sensual "Feel The Music" and the dreamy jazz-fusion of "Ghetto Blues".
Review: Hard on the heels of volumes 133 and 128, MBO returns with his third contribution to the long-running 'Katakana Edits' series, and two tasty little nuggets he's served up too! In the blue corner we have 'I Can't Stop', a funk-fuelled disco chugger (origins unknown) with a female vocal intoning the title, a slinky-assed bassline, brass fanfares and some seriously soaraway sax work. In the red corner, meanwhile, there's the slower-moving 'Once You Get It', which reworks the BT Express cut of the same name (from their classic 1974 long-player 'Do It ('Til You're Satisfied)').
Review: The Duca Bianco label swerves its usual various artists' format to allow CW - who has appeared on those before - to step up with his own solo EP. He is a mysterious artist but is well known for his immersive record collection and legendary sets on the London scene. He is one-third of the Beauty & The Beat party and brings his unique twists of Afro and soul to this quartet of tunes. 'Karambolage' opens up with lots of big horns and noodling string sounds over a ramshackle beat then things take a cosmic turn on the rather more psychedelic 'Six Times Seven' with its Nippon-koku polyriddims, while 'Ou Ka Jis Fe Kole' is a party starter with a Zouk dub edge and 'Nzimbab' is built on a low slung and swaggering rhythm.
Review: No prizes for guessing what's going on here, as Vehicle serve up five re-edits of classic African or at least African-inspired recordings from days gone by. First to get the treatment is Manu Dibango's 'Weya' from 1973, followed by Osibisa's 'Jumbo' from 1980, Michael Kiwanuka's 'Black Man In A White World' from 2016, Cumbia Moderna de Soledad's 'Shacalao' from 1975 and finally The Lijadu Sisters' 'Bayi L'ense' from 1977. If you're looking to freshen up your Afro-flavoured sets, this EP should do the job nicely.
Review: Rimini-based Duca Bianco has quickly established itself as one of the most interesting and on-point edits imprints around, primarily by showcasing subtle, floor-friendly rubs of thoroughly obscure, uncredited cuts from around the world. They're at it again on this fantastic multi-artist extravaganza. Franz Scala kicks things off via the clandestine, chugging, Italo-era Arabic new-wave funkiness of 'For Me', before celebrated London crate-digger and hyped selector CW offers up a punchy take on a horn-powered zouk gem ('Mind Zouk'). Der Sexa impresses with the druggy, delay-laden Germanic robo-disco of 'Gabi Plane', before Mancunian misfits Talking Drums reach for squally guitar solos, cosmic disco aesthetics and pulsating slo-mo grooves on 'DMNB'.
Review: Lino Rodrigues, better known as re-editor extraordinaire Alkalino, takes us on another trip down Memory Lane to the 1980s. Coming under the scalpel for a spot of cosmetic surgery this time out are (in order) Prince's 'Gett Off', Laura Branigan's 'Self Control', Oran 'Juice' Jones's 'The Rain', Madonna's 'Everybody', Marillion's 'Kayleigh', AR Kane's 'A Love From Outer Space', Prefab Sprout's 'When Love Breaks Down' and Kajagoogoo's 'Too Shy'. It's an eclectic selection for sure, and which tracks hit hardest for you will probably depend on how you feel about the originals, but give all of 'em a whirl because some of the reworks are quite radical in approach. And yes, we known 'Gett Off' is from 1991 but let's not get pedantic, eh?
Review: If funk and jazz are your thing, don't sleep on this latest missive from Italy's Lego Edit stable, which packs six reworks of vintage cuts both highly familiar and somewhat less so, We start out with the instantly recognisable groove of Kool & The Gang's 'Jungle Boogie', now reinvented as 'Jazz-Ungle', while elsewhere you'll find fresh takes on the Dave Brubeck Quartet's jazz classic 'Take Five' (1959) and Gil Scott-Heron & Brian Jackson's 'It's Your World' (1976). The sources for the other three will have to go sadly unindentified (though those piano licks on 'Jazzy Touch' are annoyingly familiar) but rest assured, this is classy stuff all round.
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