Review: Italy's Hell Yeah have been rocking it since the end of the noughties, and they have truly become one of the most reliable sources of anything dance-related, specializing their craft across hosue, techno, minimal, and even electro. Nu-disco dons Somerville & Wilson have already appeared for Hell Yeah's sub-label, Danny Was A Drag King, but this new eight-tracker sees the pair branch out into much deeper corners of the electronic game. Aqueous synths and dreamy pads make up the majority of this EP's atmosphere, and we highly recommend it to anyone who is even remotely into the field of balearica. Tunes like "Melt", with its glitch tribal percussion, or even the acid-laden "Cero Gravity" do manage to branch out into more kinetic territories, but this is without a doubt a release that focusses on the meditative side of social music. We love it, and we think you will too.
Review: Richard Somerville and Craig Wilson are regular collaborators, and have previously released well-regarded EPs on Funk Me Recordings and, more notably, Danny Was A Drag Queen. This outing on Tici Taci marks their first collaborative outing in nearly three years. They begin with the nine-minute shuffle of "Red Wasps", where undulating, surprisingly druggy synth lines mingle with New Order guitars and cosmic chord sweeps, over a chugging, mid-tempo rhythm. The vintage '90s indie-dance influences become even more apparent on the accompanying "Red Wasps" remix, which features vocals from Future Bones man Romin. Bonus cut "Slippery As Sin" sees the duo sprint towards darker territory, casually welding together new wave, EBM, acid house and Italo-disco influences.
Review: South Wales duo Somerville and Wilson are well loved in the deep disco scene (that's slower, more expansive nu-disco for newcomers). Given their status, it's no surprise to see them popping up on Yam Who's ISM imprint to celebrate the label's 50th release. The two original tracks here are typical of their style, with glassy-eyed synths and ear-catching melodies riding chugging, arpeggio basslines. "Sun Speciale" sounds like slowed-down deep trance (in a similar way to some of the productions on Prins Thomas' Full Pupp imprint), while there's a Balearic bagginess to "Cenobite" that's consistently infectious. Remix-wise, Chris Massey ups the tempo and turns "Sun Speciale" into a new-Italo slammer, while Rayko adds some sunshine disco sparkle to "Cenobite".
Review: Who exactly runs nu-disco label extraordinaire, ISM? Yam Who? - that's who! Here it's quite clearly all about the '80s Dynasty shoulderpad disco and quite frankly every club needs more ladies dressed like this on their dancefloors. "Girl Down" is a slow-burning saucy Italo-disco jam that evokes memories of The Flirts, which is taken things back to the Loveboat in a funky house version by the aforementioned label boss. "Humid Disko" is a deliriously epic electro-disco bomb, laced with a smidgeon of acid that gets stripped down into a cosmic/NRG EP highlight by El Diablos.
Review: For the third release on his Golden Soul imprint, Spanish producer James Rod has turned to Slync, the recording alias of fast-rising producer Ian Stanford. His "Neon" is something of a sweltering, beach-friendly treat, with eyes-closed, Steve Hillage style guitar solos and Balearic piano flourishes stretching out across a chunky disco-meets-deep house groove. His original is backed by all manner of remixes, including a chunky, guitar-heavy 'Balearic Remix' from globetrotting Spaniard Rayko, and a typically atmospheric 'Yacht Disco' version from Somerville & Watson. Arguably best of all, though, is the interpretation from Get Down Edits, who reach for the pianos and sparkling electronics in a bid to create Balearic disco gold.
Review: Fresh from the runaway success of his brilliant "Sunny Bigler" single, Leon Sweet has been installed as the man behind the decks for the second volume of Paper Disco's Trash The Wax series. Sweet's two-hour DJ mix is excellent, of course, but it's the unmixed tracks - a combination of unheard bits and recent Paper gems - that make this compilation essential. Expect a range of re-edits and original tracks that variously touch on nu-disco, Italo, boogie and, of course, house. Highlights are plentiful, and include a trippy slow acid version of The Balearic Beat Boy's "Waiting For Me", a typically rubbery mid-80s soul re-cit from 80s Child, and a killer, filter-heavy rework of Melba Moore by Neil Diablo.
Review: Yam Who is a man who is on a mission to uncover the coolest cult re-edit guys around and make sure the public hear them. This is usually through his own ISM imprint and it's also usually via the medium of the EP. Here, though he's gone all out to present this huge compilation album, bursting with party goodness, and boasting 24 tracks. Highlights include the '80s Child's rework of power-snare soul anthem "Let Me Be The One", the neon glow of arpeggiated synth boogie gem "Jeckermich" and Ron Basejam's deep and sensuous take on the sultry electro-soul of "Changes".
Pyromaniac (Somerville & Wilson remix) - (7:07) 110 BPM
Review: Madrid based label Logical present Los Fugazzi next, who are Guadalajara based duo Bernardo Barrera and Messier 83 that serve up some wicked nu-disco grooves like on "Kinetic" with its sleazy cosmic vibe and vintage synth flair reminiscent of Todd Terje. It gets a wicked remix by Rigopolar shortly after; which takes it even further into the stratosphere in more lo-slung fashion. Second original track "Pyromaniac" carries on with some soaring and razor sharp arpeggios with some synth funk-bass that's redolent of Frankie Goes To Hollywood. It too receives a brilliant remix by Aussie duo Somerville & Wilson who accentuate the throwback vibes furthermore, even adding some nice 303 acid squelch into the mix for dramatic effect.