Review: Leeds' own disco don Andy Buchan returns to Hot Gorilla with an EP consisting of what are, essentially, three nu disco-fied cover versions - specifically, his takes on 'Don't You (Forget About Me)' by Simple Minds, 'Get Lucky' by Daft Punk and 'Burning Down The House' by Talking Heads. But there's a twist - as the EP title suggests, each of those covers has been augmented by the employment of a full choir on vocal duties. It's an approach that may prove a bit 'Marmite' (for this writer, the treatment works best on 'Get Lucky') but it certainly makes a change from endless re-edits...
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: A four-tracker here from Chewy Rubs, coming on his own Bandolier label and operating, as the title suggests, at a slightly lower tempo than is his wont. The EP opens with 'Acid Chugger', whose very name kindly saves yours truly having to think of what to say about it! 'Fro Mo' is another midpaced affair topped with dialogue samples, 'Jazz Cat' opens with a "this is a how it should be done" vocal sample (the first of many) and has a party-hearty, Jalapeno-esque feel, before finally we come to 'Something For Your Soul', another chugging, throbbing affair with treated, spoken vocal snips and lashings of acid bass.
Review: Germany's DJ Friction once more dons his Frico re-editor's hat and serves up another brace of reworks of classic tracks from days of yore - more specifically, in this instance, days of early 80s boogie yore. First to get the treatment is 'Never Let You Go', a 1982 cut by UK outfit Savanna. Frico's remake is very faithful to the original, but most importantly he leaves the fine scatting section towards the end intact... doo doo dah-dah! Frico then turns his attention to 'Sparkle', another 1982 jam, this time by veteran Japanese singer-songwriter and producer Tatsuro Yamashita. Boogie lovers will be in raptures.
Review: In keeping with the approach of its predecessors, the fourth annual Boogie Angst compilation brings together "cool cuts" from the past year and a smattering of exclusives and previously unreleased gems. As you'd expect from a label helmed by Kraak & Smaak, it's a genuinely joyous and celebratory affair, packed to the rafters with party-starting workouts. For proof, check the revivalist disco-boogie cheeriness of Titeknots' 'Feels Good 2 Me', the future soul shuffle of 'Treat U Good' by Moods, Noah Slee, Lyriya & Meron, the summery electrofunk sunshine that is Art of Tones' kaleidoscopic rework of LUXXURY's 'Just Like It Was Before', the Rhodes-laden warmth of Kraak & Smaak's nostalgic 'All I Need' and the spiritually-enriching Latin deep house shuffle of Osunlade's Yoruba Soul rework of his Casbah 73 collaboration, 'Let's Invade The Amazon'.
Review: An international meeting of the minds here as Japan-based British veteran Max Essa joins forces with Eddie C, who hails from Ontario in Canada but now calls Berlin home. Together they've come up with four classy jams that blur the lines between Balearica, nu-disco and deep house, with 'Melon Steppin' centred on a fragile keys riff but busting out some fine 303 squelch in the middle, 'Save Me' a more mellow and soulful affair with hints of jazz-funk, 'We Live In the Hills' all ponderous drums, haunting chords and more squelchy synths, and 'Sixth Bridge' a more midtempo, vaguely lounge-y closer.
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.
Review: As anyone who has followed his career will tell you, Cor.Ece is a talented chap - a GRAMMY award-winning songwriter (he has enjoyed mega-hits with his work for Beyonce) and Honey Dijon collaborator who also happens to be a top-notch vocalist, producer and musician. On 'Be Here Before', he joins forces with Bastard Jazz regulars Bad Colours to deliver a fabulous full-length excursion. They set the tone with 'Say Yea', a constantly rising slab of soul-fired deep tech-house, before flitting between intergalactic house-soul ('Mars'), 21st century hip-house/nu-disco fusion (the ace 'What Happened To The Revolutionary'), UKG-influenced excellence ('Jeans'), Afrobeats-adjacent awesomeness ('Might Could'), slow motion boogie-soul ('Mt Miss U') and much more besides. Tip!
Review: A dash of Trans-Atlantic collaboration here, as Miami-based Mexican (and Tour de Infinite founder) Rigopolar joins forces with Discoteca Seduction founder Disto Disco for the first time. Lead cut 'Untitled' joins the dots between driving, punk-funk-influenced dub disco, dark disco and trance-infused nu-disco, while 'Spaced Out' is a harder-edged and more rave-igniting slab of arpeggio-driven electronic disco that comes complete with robotic vocals. The latter is impressively remixed by Phunkadelica, whose revision is a strobe-lit peak-time treat, while 'Untitled' is reworked twice. First Colossio & Cabizbajo recall the halcyon days of "new rave" on a growling guitar-flecked revision, before Childs delivers a deliciously chugging, shoegaze-influenced wall-of-sound take that may be the EP's most inspired moment.
Review: Rayko teams up once more with Elena Hikari to deliver the pair's second joint long-player, following on the heels of 2023's 'Tu Alma Y La Mia'. But while that first album was good, this one's exceptional! Cinematic, cosmic opener 'Too Much' sets the tone but it's the second track, 'Nunca James', that really hits you in the face: it's a slow-burning monster, with Hikari's haunting vocal earning it a place in the box marked "truly sublime". 'Looking To Edge' is another BIG track that probably needs to be heard on a 4am dancefloor to be truly appreciated; after that you get four more cuts that blur the lines between cosmic/Italo disco, Balearica, coldwave, house and pop (including a new version of 'Extraordinarylove' from the first album) before the title track, another deep, slo-mo chugger, plays us out in very fine style. Excellent work!
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