Review: The latest in Audaz's prolific re-edit series is very much the proverbial game of two halves. The first four cuts all draw on early-mid 80s dancefloor sources, including P-Funk All Stars' 'Hydraulic Pump' ('162') and the Ronnie Laws version of 'Always There' ('164'), but the rest of the EP looks to classic rock and pop for inspiration, presenting us with Lolita'd up takes on The Byrds' 'Time Of The Season' ('165'), David Bowie's 'Starman' ('166'), Nik Kershaw's 'I Won't Let The Sun Go Down On Me' ('167'), The Cure's 'The Walk' ('168') and The Stranglers' 'Always The Sun' ('169'). If you play multi-genre DJ sets, there's some useful ammunition here!
Review: Hidden away below the streets of Munich is a top secret workshop where dozens of Ableton-trained monkeys beaver away 24/7 producing re-edits for the 'Lolita' series - there has to be, because nothing else could explain the rate at which these ten-track EPs have been landing! Classic cuts getting the treatment this time out include MJ's 'Don't Stop Till You Get Enough' ('151'), The Trammps' 'Rubber Band' from 1975 ('152'), Strafe's 1984 electro-disco nugget 'Set It Off' ('155') and Brit-funkers Central Line's 'Walking Into Sunshine' from 1981 ('158'), while if anyone cares to ID the infuriatingly familiar "come back lover come back" vocal on '156' they just might stop one Juno reviewer from going round the twist...
Review: For the 12th edition of Vintage Music's "Selection" compilation series, label founder Sunner Soul has dug deep into the archives and offered up 12 of his most potent reworks. While he built his career on summery, sun-kissed slo-mo revisions and baggy, near Balearic workouts, the material here is almost all energetic, peak-time ready and gleefully celebratory. Amongst the many highlights you'll find the shirts-off disco camp of "Bad Boys Disco", the gently housed-up deep disco-blues of "Couldn't Tell You", the Salsoul-goes-house bump of "Dr Love", the punchy horns, swirling strings and rubbery grooves of "Flying Violins" and the super-sweet disco-house bump of "The Mystery of Loops".
Review: The juggernaut that Audaz's 'Lolita' series of re-edit EPs has become lurches on remorselessly, with two more 10-track collections landing in stores this week alone. With the series now comprising a whopping 150 tracks, it's not suprising that this latest installment sees 'Lolita' digging deeper than ever for source material: '137' reworks Syreeta's 'Can't Shake Your Love' from 1981 (a Larry Levan classic) while '139' loops up Lowrell's 1979 soul jam 'Mellow Mellow (Right On)' to devastating effet, but that's about as much as we can tell you! Still, if its party-starting disco, boogie and 80s pop flavas you're after, you'll find them in abundance here.
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: French outfit Mangabey team up with New York vocalist Kosmo Kint on two tracks that blur the boundaries between deep house, Balearica and neo-soul. On 'Time No More', Kint's R&B vocal, which recalls the likes of Usher or Shaun Escoffery, tops a languid, west coast-tinged deep house groove, while 'Get Lost' is a more laidback, summery affair with echoes of 80s pop. And if the vocals are a step too far into R&B pastures for you, don't worry, because both tracks also come complete with instrumental mixes, allowing the arps on 'Time No More', in particular, to really shine through.
Review: When Andy Bull AKA Bully Boy launched the Act of Sedition label a couple of years back his aim was to release "the finest 45 edits" on seven-inch double-packs. It's something of a surprise, then, to see the label land on digital download with a sprawling collection of previously vinyl-only reworks and bonus edits. Expect a gloriously vibrant and floor-friendly mixture of gospel-tinged psychedelic soul (Jimi Hendrix's "Freedom"), Clav-happy disco-funk squelch (Disco-Tech's "Assassination"), sweet disco sing-alongs (SanFrankDisko's "Get It Right"), sweaty punk-funk/dub disco heaviness ("Cavern Dance" by V's Edits), high octane disco-camp (Mighty Mouse's cheerfully silly "Got To Have Nothing") and much more besides.
Review: You're only five years old once, so why not celebrate in style? And here Warrington lad Danny Worrall's disco and re-edits label Masterworks Music do just that, with an anniversary collection packing a whopping 50 back catalogue nuggets. You'll excuse us the full track-by-track, then, but suffice to say that this is the label that helped launch the careers of Dr Packer and Natasha Kitty Katt, both of whom feature here, and with names like Ziggy Phunk, Rayko, Alkalino, Chuggin' Edits and Fabiolous Barker also on bill, you should already have a pretty good idea what to expect. Classy stuff all round, and a great VFM package - here's to five more years!
Review: This is Volume 15 in Audaz's 'Lolita' series, so you should have some idea what to expect by now! But for newbies, the 'Lolita' EPs are made up re-edits of classic disco, funk and pop cuts, largely from the 70s and 80s, with this latest outing including the Lolita take on tracks such as First Choice's 'Dr Love' (now known as '144'), Gene Chandler's 'When You're #1' ('148') and Tommy Tate's 'For The Dollar Bill' (or '149'). And yes, okay, those are the only three whose original source we can name off the top of our heads... but with earlier installments having leaned perhaps a little too heavily on the well-known and familiar, that's a good thing.
Review: So far we've yet to hear a duff track or release from Flamingo Pier, a hybrid Anglo-Kiwi crew whose vibrant and colourful music combines a plethora of musical influences in pursuit of disco-fired dancefloor gold. There's naturally tons of goodness to be found throughout their latest five-track missive, from the drowsy, Holy Ghost style deep disco warmth of opener "Tripping Up", to the sprightly '80s electrofunk brilliance of "Boogie Meltdown". Sandwiched in between you'll find two more tried and tested heaters: the kaleidoscopic, synth-heavy nu-disco cheeriness of "Indigo" and "Jungle Groove", a tight and throbbing proto-house number that sounds like the missing link between Paul Simpson and Escort.
Review: Known first and foremost as a deep house producer, the UK's Pete Le Freq takes a tour of more disco-oriented pastures on this three-tracker for Rayko's Rare Wiri label. The tracks are essentially re-edits, but there's no five-minute 'loop it up and chuck a 4/4 kick under it' shoddiness here, and you could equally see them as being fresh tracks that are merely 'inspired by' vintage cuts. 'Believe In You' is based on Patti Jo's 'Make Me Believe In You' from 1973, N-Joi's 1991 rave classic 'Anthem' (1991) gets disco'd up on 'Anthemic' and 'Love Is Sweet' sees Anita Baker's 1986 soul gem 'Sweet Love' given a nu-disco makeover.
Review: Motor City man Peter Croce has previously proved to be an adept re-editor, so there was much cheer in the Juno Download office when the Rocksteady Disco co-founder's latest EP landed. All three edits are superb: tactfully beefed-up rearrangements that make already excellent tracks into 21st century disco bombs. He begins with "Life Is A Circle", a stomping slab of heavyweight disco-funk, before dipping the tempo and loosening the beats on sweet disco-soul rework "What Can I Do For You". Arguably best of all though is his "Mystic Rhythm Dub Edit" of "Do What You Wanna Do", which turns a spacey and throbbing disco workout into a breathless sprint through percussive dub disco pastures.
Review: Last year, Montreal scene stalwart and original disco DJ/remixer Robert Ouimet surprisingly returned to action with a trio of rework singles released by Basic Fingers and Whiskey Disco. Here he marks his first appearance on Alpaca Edits with another quartet of tried-and-tested re-rubs. He starts in confident fashion via the bouncy, string-drenched and bass-heavy disco brilliance of "Blow Your Whistle", before closing his eyes and reaching for the flanged disco-funk guitars on the celebratory stomp of "Super Slick". His love of rock-fired disco heaviness is explored further on standout rework "Finger Lickin", while closing cut "Good Time Crescendo" is a soaring, feel-good disco number that more than lives up to the promise of its title.
Review: [Emotional] Especial stalwart and all-round underground progenitor Richard Sen makes a welcome return launching new label Darkness Is Your Candle with some of his inimitable muscular wave-tinted machine wares for seedy dancefloors. "No Sameness" is a stellar lead track, all evil one-note bass, freaky synth wriggles and the odd touch of splashy mixing desk FX. "Darkness Is Your Candle" is a touch more anthemic with its big melodic leads, but no less seductive. "Into The Abyss" completes the package with another brooding workout that slips in the cracks between vintage techno and minimal wave - classic tropes delivered impeccably.
Review: Having forged their reputation via a string of rock solid EPs on Toy Tonics, Rhode & Brown pop up on debutant label RTB with fellow German producer Tilman in tow. "One Grand Jams" consists of four tracks, all of which wrap extensive samples from disco, boogie and jazz-funk records around chunky, bass-heavy and in some cases slamming house grooves. We're particularly enjoying the insatiable electronic piano motifs, looped guitars and energetic synth-bass of "Good Time (Not A Long Time)" and the punchy, Latin-tinged disco-house rush of "Spencer", though the jaunty cheeriness of "She Knows" and the deep disco-house warmth of "Certainly" are similarly impressive.
Review: Miami-based Mark Brickman has been churning out tried-and-tested dancefloor treats for the best part of a decade, though this is the first time he's appeared on a label other than his own Rambunktious imprint. You'd expect it to raise his profile considerably, in part because both tracks are as humid and hot as the city in which he resides. Opener "Again & Again" is a thrusting, sample-heavy disco-house stomper that makes great use of horn blasts, looped vocal snippets, heavy percussion and a bassline capable of raising the blood pressure of even the most hesitant dancers. "One Night In Miami" is a slightly more relaxed and rubbery disco-house excursion, closer in tone to a beefed-up re-edit than a densely layered original production. It's good, too, though it's the virtual A-side that stands out.