Review: This excellent collection from Z Records draws together some of boss man Joey Negro's favourite label cuts of 2019, many of which he of course had a hand in either producing or remixing. There are naturally tons of superb multi-track remixes of disco gems old and new (see the versions of the O'Jays, Delia Renee, Tamiko Jones and Double Exposure), as well as fresh revisions of vintage Joey Negro house productions under other aliases (Doug Willis, Z Factor, Foreal People) and a swathe of killer cuts that join the dots between disco and house (Sunkids and Chance, Four80 East and CeCe Peniston, Bobby D'Ambrosia and Michelle Weeks). Throw in tracks and remixes from the likes of Fouk, Crackazat and Lay-Far and you have a superb collection of peak-time-ready workouts.
Review: Ganbatte's latest affair may be all-star affair, but Fabiolous Barker rightly takes top billing thanks to delivering two takes on his latest track, "The Expert". He opens the EP with a hybrid electro/disco flavoured "Old Skool Re-Master" full of whispered vocals, crunchy guitars, throbbing synth-bass and tight horn blasts, before returning at the end with a "Funka-Masta-House" version that underpins the music with a head-nodding house style beat. In between you'll find the bouncy, Hi-NRG era Latin disco-house insanity of Dim Zach's "La Habernaro", the dreamy harmony vocals and ear-pleasing nu-disco grooves of Carlos Gatto's "Call It Love" and the alien funk masterclass that is Don Dayglow's "Gotta Say Yes", a suitably throbbing revision of an old Yello favourite.
Review: Four very serviceable slices of contemporary disco/disco-house make up this latest from the Whiskey Disco camp. '21212' is an understated, shufflin' affair with Latin and lounge overtones, then bursts into life with some proper hands-in-the-air piano action. 'Touch Down' then takes us into deeper, mellow territory before 'Make Your Move' brings the good-time disco vibes, with a vaguely 'Disco Inferno'-ish bassline and a looping female "hey babe..." vocal. The EP's completed by the Sleazy McQueen 6am Mix of 'Harmony', a housier jam featuring a microsnip of a Whitney vocal that was famously pilfered by Brothers In Rhythm in the rave days.
Review: With "Rhythm & Waves", Russian producer Sunner Soul seems to be daydreaming of sunnier and warmer times. There's certainly something suitably sun-kissed about the title track, which gently beefs up and re-arranges a bouncy, Clavinet-heavy chunk of groovy disco-funk that comes smothered in atmospheric party sounds. The tighter, slap bass-sporting "Universal Disco" explores similar sonic territory, while "Red Hot Disco" sees him layer up the percussion and filter sweeps on a joyful, mid-set workout. Elsewhere, "Let's Somebody Love" is a soaring slice up tooled-up disco-soul and "Get ready With Me" is a fine slab of string-laden boogie brilliance that sounds like it was beamed down from a distant disco planet.
Review: We were rather astonished to discover that "24/7 Love Affair" is Michael Baumann's first album as Soulphiction for 11 years. We were a little less surprised to find that it's superb. In fact, we'd go as far as to say that it could be considered a "best practice" example of the kind of loose, sample-heavy, soul-fired deep house that is all the rage right now. Yet the album's epic length - it comprises no less than 17 tracks - also allows Baumann to mix it up a little too, with a swathe of ocean-deep club jams being joined by search diversions as the morning-fresh broken beat loveliness of "Jus Listen", the stomping disco-funk of "The Mood", the bustling breakbeats of "A Freak" and the blazed instrumental hip-hop of "Good Night Ema".
Review: German percussionist Kolja Gerstenberg makes no attempt to hide his love for the drums on this razor sharp drop for Lumberjacks In Hell, building on his previous outings on Suol and Smile For A While. The drums are sizzling hot on "Feel Yo", tastefully overdriven and embellished with some MPC-style sample juggling that should satisfy those who like their house tracks hot as Dante's inferno. "Where They're From" is no slouch either, keeping the pressure up with a liberal dose of soul poured in for good measure. The keys and live bass on "Want You" add to the feverish mood, and then "Get Over" sends things spiraling out on a Latin-spiced cosmic journey.
Review: Shady scalpel field Lolita clearly has a vast archive of edits just waiting to be unleashed, as this bumper collection of tried-and-tested reworks follows hot on the heels from several other seemingly expansive volumes. So what you we expect this time round? It begins with a warm, drowsy and sun-kissed slab of soft focus soul ("051") and ends with a decidedly Balearic shuffler full of glistening, delay-laden guitars ("060"); in between, you'll find a mix of re-tooled classics (the piano-heavy disco stomp of "059", the slap-bass propelled brilliance of peak-time workout "056" and the party-starting goodness of "055") and rearranged obscurities (the Italo-disco/new wave throb of "057" and the deep disco bliss of "053"). From start to finish, it's an excellent collection of tasty, floor-focused revisions.
Review: Like its predecessors, Re-Loved's fifth "All Stars" EP is packed to the rafters with peak-time ready fare provided by some of the re-edit scene's most reliable producers. Leading the charge is Discoweey chiefs Hotmood, whose EP opener "We Got It" is an infectious chunk of orchestrated disco whose wild synth solos and rolling groove make it a tried and tested treat. Elsewhere, C Da Afro's "With You" is a loopy, nu-disco tinged disco-house bumper, Da Lukas's slap bass propelled "Be Freak" sounds a little like one of Todd Terje's classic dub disco reworks, and Di Saronno's "Mademoiselle" is a French Touch style re-edit full of rich horn lines, dewy-eyed female vocals and energy creating filter sweeps.
Review: It has been quite a year for the Toolroom institution. Celebrating their 15th birthday last year, they weren't ones to rest on their laurels, instead going full steam ahead with a bunch of genre defining compilations this year. But most importantly they have been instrumental in the comeback of funky house after a 20 year dormancy, with killer releases by the likes of Weiss, Cashio and boss man Mark Knight himself. Add to that one banging party at Chicago Social Club for Amsterdam Dance Event and it's evident that these guys are proper 24 hour party people. With a glorious year sadly coming to an end, celebrate a wonderful one that was on Best Of Toolroom 2019 with highlights not limited to: the rework of the Cevin Fisher classic "Freaks Come Out" by Jack Back, Hannah Wants & Kevin Knapp's deep down and dirty "Call Me" (extended mix), UK heroes Alan Fitzpatrick & Wheats delivering the certified banger "M27" and New York legend Todd Terry teaming up with Tuff London on "Psychodrama" featuring Jasmien Nanhekhan. If that was not enough, ascendant producer Maxinne delivers two mixes compiling all the tracks: one smooth House mix followed by a thumping Tech House mix.
Review: Almost three years have passed since Philadelphia duo Superprince debuted on Razor 'N' Tape with a vinyl-only EP of rather good re-edits. Here that four-tracker finally makes it to digital download. It's worth picking up, if only for the flute-laden, horn-heavy bounciness of down-low disco-funk rework "Strong Feeling" (a fine revision of Morning, Noon & Night's "Feelin' Strong"). The highlights down end there, either, with "Down On Bitter End" providing a chunky, peak-time-ready revision of a Vicki Sue Robinson disco anthem, "Start Again" offering a breezy new spin on a lesser celebrated One Way cut and "Up Up To The Sky" turning Silver Convention's "Fly Robin Fly" into a hypnotic chunk of mid-tempo disco hedonism.
Review: There's something impressively "matter of fact" about Audaz's "Lolita" series, which offers up numbered, untitled re-edits with no information about their origin or the producer behind them (it's most likely label boss Alkalino, but that's not been confirmed). This fifth selection brings offers up another 10 slabs of dancefloor heat that ranges from sneaky revisions of well-known party anthems (see Prince re-rub "042" and the vaguely familiar 80s soul goodness of the D-Train style synth warmth that is "043"), to strong rearrangements of lesser known boogie, Italo-disco and AOR disco workouts. Highlights include the breezy disco-funk of "044", the end-of-night haziness of "046" and the snaking sax lines and Latin rhythms of "047".
Review: Ten more re-edits from Audaz's mysterious Lolita here. No idea what the source for opener '071' was but it's ended up as bluesy, organ- and harmonica-driven house stomper in the vein of Lemon Interrupt's classic 'Big Mouth', and sets the tone nicely for an EP that packs some killer dancefloor grooves, including a sterling re-edit of Geraldine Hunt's 1980 disco gem 'Can't Fake The Feeling' ('076'), a throbbing, Balearic take on 'Another Brick In The Wall' ('073'), the white-socked boogie of '077' and the driftaway space-lounge loveliness of '078' - though a beefed-up take on 'Oh What A Night' ('075') is probably one for the wedding jocks...
Review: After impressing earlier in his career via fine EPs on El Diablo's Social Club and Silhouette, Lup Ino (real name Fiore Lupino) popped up on Masterworks Music earlier in the year with his first solo missive on Danny Worrall's prolific imprint. It was good, but this two-tracker for the same label is even better. Opener "Come On You" is a warm and celebratory disco-house style re-edit perfectly structured to tease maximum impact from the producer's lesser-known source material. If anything, the accurately titled "Just Funk" is even better, with Lupino successfully beefing up a horn-heavy, electric piano solo-sporting slab of disco-funk heaviness.
Review: Here's something to set the pulse racing: a brand new album from sometime Classic Music Co contributor Eli Escobar, a producer who has proved to be one of the most distinctive and consistent in house music over the last few years. "Last Summer" contains a mixture of short interludes and inspired, almost uniformly dancefloor-friendly workouts that bring together a range of complimentary influences. Our picks include the atmospheric and acid-fired deep house warmth of "Flashing Lights", the muscular peak-time Moroder-isms of "(All Night) Rhythm", the melodious, sun-kissed Balearic house brilliance of "Blu" and the woozy warmth of "Last Night".
Review: Golden Dawn Arkestra, an Austin, Texas-based collective led by Ethiopian-American Zapot Mgwana, come to Razor-N-Tape touting a couple of tracks taken from their 2018 long-player of the same name, complete with a bunch of new remixes. In their original form, both 'Children Of The Sun' and 'Cosmic Dancer' are authentic-sounding homages to 70s Afro-funk, with the latter adding a little Theremin-fuelled lounge-y flavour. Austin Ato's remix takes the title track into deep, dreamy house territory, while JKriv and Dicky Trisco rework 'Cosmic Dancer' into a psychedelic nu-disco jam ? la The Phenomenal Handclap Band and a midtempo disco-Balearic roller respectively.
Review: The way Audaz has been churning out these Lolita collections lately, you'd think "possession of an unreleased re-edit" had just been made a crime under German law! But the quality standard shows no sign of slipping, so that's hardly cause for complaint. Standouts of this fourth volume include '038', which revisits Kim And Rasa's obscure 1982 Ghanaian funk/rap jam 'Love Me For Real', '035' with its fusion of country rock guitar and sweet female disco vox, and '037', which reworks Brass Construction's 'Changin' from 1975. Dead Or Alive get the Lolita treament, too, on '032'.
Review: Gather round: Editorial is revealing the contents of the mythical "Disco Scrolls", a sacred document for all those who kneel at the altar of the Church of Nu-Disco. It contains eight audio commandments, all of which should be listened to intently. Salvation comes first via the fluid nu-disco positivity of Bica's "Endless Rhodes" and the disco-house grooves of the soulful and musically expansive "Because I'm Black" by Old Chap. Elsewhere, you'll find righteous testimony from Hotmood (via the deep disco-funk of "Only Your Mom Calls Me Daddy"), The Owl (the boisterous horns and filter tricks of "Shake"), Frank Virgilio (the lolloping party disco-funk of "Out Here"), Labour Of Love (the bassline-driven percussion-fest that is "Good Feelin") and NFC and Key Sokur (the rubbery and down-low disco fun of "City Affair").
Review: When operating under the V's Edits alias, re-edit maestro Valique can always be relied upon to bring the goods. It's little surprise, then, to find out that his latest collection of fresh cut-jobs - an epic affair featuring no less than 24 tracks - is packed to the rafters with high-grade fare. We don't have enough space to list all of the highlights, but we'd suggest checking out his rolling revision of Lee Dorsey's "Night People", the low-slung disco-funk heaviness of the Brass Construction rework ("Gotta Do It"), the intergalactic disco deepness of the Marvin Gaye revision ("Funky Space"), the lightly tooled-up, slowly unfurling take on Tom Browne's "Funkin For Jamaica" and the sweeping, string-laden disco brilliance of "Miracle (V's Edit)".
Review: Next on Sleazy McQueen's ever reliable Lovedancing label is a proper stalwart of the New York City music scene who should need no introduction - the one the only The Juan Maclean. On his new EP The Lone Dancer, get stoned into the groove of the infectious disco house stomper "Body Language Pro" which then receives a worthy rework by label main man McQueen in collaboration with Cole Medina, and followed by the lo slung boogie down antics of "Let Me Come Into Your Life".
Review: After first impressing on Hot Digits with 2018's "Gettin' Loose EP", Steve Cooper once more dons the Down Under Disco alias with a rock solid sequel. He begins in confident fashion via "Turn Away", a warm and groovy cut that sits somewhere between deep house and loopy disco-house, before offering up the bold and bass-heavy "Sonny Jim", where woozy organ chords and glistening disco guitar licks rise above a pleasingly saucer-eyed groove. "Get Down" is an energetic, trippy and low-slung chunk of peak-time disco-house headiness, "Everybody Lose Control" cleverly combines stargazing synth lines with UK funky style bass and bouncy house beats, and PickleJam's "Party Line" remix of "Turn Away" is a sparkling fusion of bouncy electro beats and slick nu-disco musicality.
Review: Audaz certainly seem keen to get these 'Lolita' re-edits out there: this third installment follows hot on the heels of Vol 2, which only landed last week! Once again there are 10 tracks to choose from, with the source material once again ranging from vintage funk, soul and disco to 80s pop and beyond. '021' is based on an unknown cover of the Timmy Thomas/Sade classic 'Why Can't We Live Together' and '022' reworks The Floaters' mellow soul classic 'Float On', while '026' (source familiar-sounding but unidentified!) has an EBM/Italo kinda feel and '025' loops up The Detroit Emeralds' 1972 funk/soul gem 'Baby Let Me Take You (In My Arms)'.
Review: Five fine slices of contemporary disco make up this latest EP from Russian producer Alexandr Chebankov, better known as Sunner Soul. 'Feeling Of Spirits' is a midtempo shuffler that slowly breaks out into an intricate jazz-funk keys workout, 'Keep Strangers' is a Chic-y stomper, 'Liquid Disco' has distinctly Candido-esque overtones, 'Lay In Low (MF-SB Version' is a mellower, more lounge-y cut with muted space disco stabs and finally 'Simply Around' rocks a funkier, Blaxploitation-like vibe. With all five highly authentic-sounding and avoiding obvious samples, heavy rotation at the likes of Glitterbox and Horse Meat Disco is pretty much guaranteed.
Review: Israeli and Berlin-based DJ/producer Dasco has put out a fair number of singles over the last few years, but none are anywhere near as good as "African Power", their first outing on Local Talk. The title track is superb: a wonderfully jaunty, atmospheric, evocative and positive fusion of Afro-house, jazz, deep house and calypso that boasts layered percussion, a brilliant bassline and some lusciously lilting trumpet solos. "Keep Moving", meanwhile, is a heavily percussive deep house workout full of spacey synths and heavy South American drums. Trinidadian Deep does a fine job making "African Power" deeper, dreamier and even more melodic, while Anthony Nicholson joins the dots between Latin house and deep nu-disco on a suitably Balearic revision of "Keep Moving".
Review: Going by the volume of tracks on show, it would be fair to say that Masterworks Music's "Bag of Tricks" is not a little handbag, but more like a Mary Poppins style bottomless carpetbag. The label's latest rummage through its seemingly endless contents has been a successful one, with the 20 showcased cuts including a wealth of fine fusions of disco, house, boogie, electro and 80s soul. It's uniformly dancefloor-focused, with highlights including the Afro-house/disco-tech fusion of JB Dizzy, the driving, spaced-out disco-house grooves of Mike Woods, the loose-limbed, off-the-wall edits of Chewy Rubs, the sweet disco-soul bounce of RocknRolla Soundsystem, the delay-laden synth sing-along styles of Rayko and the hot-to-trot brilliance of Downunder Disco.
Review: Detroit Swindle is amongst the most reliable artists operating in the overgrown no-man's-land between house, disco and boogie. That much is confirmed by "The Life Behind Things", which marks their first outing on Heist since last year's "High Life" LP. Title track "The Life Behind Things" is positive, ear-pleasing and dancefloor friendly, with the experienced pair peppering bouncy beats and thickset synth bass with joyous organ riffs (reminiscent of those found on Timmy Thomas soul classic "Why Can't We Live Together"), wobbly acid lines, jaunty piano stabs and female vocal snippets. Lorenz Rhode collaboration "Music For Clubs" is arguably even more rush inducing in its retro-futurist piano house intent, while Isoul8's remix of the title track is a swirling, soulful and decidedly tactile chunk of deep house brilliance.
Review: A cross-border collaboration here as Austin, Texas-based nu disco producer The Silver Rider joins forces with his Mexican counterpart Fernando Mendoza, AKA The Funk District, for a split EP on Whiskey Disco. The Silver Rider brings us 'Woman', a pacey, looping funk groove with a neat line in rasping bass and spoken, Euro-style vox, and 'Hustle Up', which comes on like a Blaxploitation funk jam. Then it's over to The Funk Rider for 'Imaki Ra Reo', a lively, Latin-leaning affair with a hefty bottom end and some truly wild sax blasts, and 'The Root Of Evil', which like 'Hustle Up' has an understated, soundtrack-y feel.
Review: Each edition of the Four To The Floor series always presents four tracks that are some of the strongest secret weapons from the sets of label co-head Solomun. Now in its 16th installment, be captivated by Lone Romantic Maceo Plex on the epic dancefloor drama of "Mutant Magic" and its killer vocal, Canadian veteran Fairmont is in fine form and serves up the moody tunnel vision of "Plastic Head TV" while Nico Garreaud's "Louisville Lip" (Abaze edit) is aimed squarely at the main room at peak time and The Vinyl Depreciation Society provide more sonic narratives - best heard under the strobelight - on "Princept".
Review: Fresh from their fine collaborative single on Running Back - the rather heavy "Desire" - Butch and C.Vogt join forces once more for an outing on another admirable house imprint, long-running London label Freerange. In its original form, "Vogue" is undulating and gently mind-altering, with the pair wrapping angular electronic motifs, soft-touch chords and dreamy synth sweeps around crunchy, drum machine style percussion. Label co-founder Jimpster provides the headline remix, opting for deeper bass, warmer chords and oodles of layered tribal percussion, which Butch provides a "Bonus Edit" that seems even dreamier than the original mix. The EP includes another tasty bonus in the shape of Vogt's edit of saucer-eyed retro-futurism gem "Windeck".
Review: What we have here is a fantastic selection and representation of the future of reggae music worldwide as the Nice Up! team unveil the fifth edition of 'Nice Up! The Session'. The release features some pretty top draw names, including the likes of Parly B, Gardna, Seanie T, Gappy Ranks and more. From the junglist flavours of Fleck's 'One Step At A Time' rethink, to the future dancehall delights of 'Bad Mi Bad' from XL Mad & Gappy Ranks, we witness the full breadth of reggae's development in 2019, with other favourites including DJ Madd's crispy rethink 'Chasing Dreams' from Rider Shafique & Precha, along with Folding City's experimental overhaul of 'My Yout' from 'Origin One & Irah'. Excellent stuff!
Review: Since first pitching up on Running Back a year or two back, Dec Lennon AKA Krystal Klear has delivered some of his strongest music to date, including a string of peak-time anthems ("Neutron Dance, "Euphoric Dreams" etc). His latest EP for Gerd Janson's label is similarly strong. Check first the trance-influenced, synth-laden throb of "Entre Nous", where big room piano riffs help raise the track to hands-in-the-air anthem status, before admiring the new beat and EBM influenced neo-trance workout "Autobahn". "I'll Be There When You Need Me" is one of Lennon's most saucer-eyed and loved-up tunes to date - all warm waves of synthesizer bliss and decidedly Balearic melodies - while "Gambino" is a cheery skip through 1980s NYC freestyle territory with added Mylo style riffs.
Review: Audaz serve up a second set of re-edits by the mysterious Lolita. Whether label boss Alkalino or an anonymous backroom boffin are to thank we couldn't say, but whoever it is they take on an impressive range of source material, from Gene Pitney ('020') to 80s synth-poppers Alphaville ('013') via Talking Heads ('019'), Stargard ('016'), Laura Branigan ('014') and even a cover of Hank Williams' country classic 'Kaw-Liga' by new wave weirdos The Residents ('017') - all of which are given a druggy, chuggy makeover for today's nu-disco floors, with '015' (a take on 1979's 'Marathon Runner' by August Darnell and Bob Blank's Aural Exciters project) a particular standout.
Review: Wow, what a run it has been for the Night Bass team who hear touch down with their one hundredth official release, celebrating one of the most exceptional catalogues within the entire bass music spectrum. They have pulled together an exquisite line up for this one, featuring a tonne of high end names, including founder AC Slater alongside Chris Lorenzo, Flava D, Shift K3y, Jack Beats and more. For us there are a couple of clear stand outs on this one, the first of which has to be the long awaited release of Taiki Nulight and Dread Mc's bassy roller: 'Kush'. We also love the smooth subby bops of Sinden's 'Work That', along with the incredibly unique drum work of 'Ugly' from Petey Clicks.
Review: More from Faze Action member Robin Lee's offshoot Andromeda Orchestra project, whose throbbing and forthright releases have previously joined the dots between revivalist disco and the synthesizer-driven world of Italo-disco. In its original form (track three), "Don't Stop" is an authentically produced riff on the K.I.D track of the same name rich in swooping, razor-sharp strings, Clavinet-happy disco grooves and glassy-eyed female vocals. It comes accompanied by a stellar peak-time remix from Lee's old pal Ray Mang - all layered drum fills, swirling noises and jangling piano riffs - and a spacey, beat-free ambient "Reprise". Bonus cut "Kano Line Dance", a funky mid-tempo shuffler that joins the dots between boogie, jazz-funk and P-funk, is also rather tasty.
Review: First unleashed on vinyl this time last year, Flight Mode and Joel Brittain's first collaborative EP has finally made it to digital download. This is undoubtedly a good thing, because "Burn This" is superb. In its' original form, the track is a near perfect fusion of dub disco heaviness - chunky bass guitar, delay-laden horn snuppets, crunchy drums - and the kind of electronic instrumentation and mood-enhancing chords more often found in straight-up deep house cuts. There are two tidy accompanying remixes: a sparkling, synth-heavy Balearic house revision by Medlar and a suitably trippy, spaced out Flight Mode dub that's arguably even more driving and floor-friendly than the original mix.
Review: Back from Fancy Footwork the almighty Theo Parrish is still blazing a trail into instrumental house and live jazz workouts or be they listening sessions. Flipped up alongside the recent What You Gonna Ask For EP, This Is For Your projects the beauty of live elements at play within house music. Whether they be machines or human beings, everything is alive in these two tracks; snappy snare shine through on the instrumental version alongside free keys that shimmy on top analogue kicks done in Detroit. Maurissa Rose gives voice to a fuller mix on the original for something warmer over a charming instrumental workout.
Review: Manchester artist Hypho hooks up with fellow UK compatriot Boime for a double drop of heavy dubstepping vibes for Manuka. The record itself sounds like it comes from the deep, dark and cold confines of a disused powerplant, with the lead track fizzing with alien synths, atonal keys and kick drums replete with an uncanny assortment of distorted atmospheres to boot. Tribal atmospheres make their way into "Deform", a deadly alternative for the more serious and industrial ends of the night. Not to be missed alongside Hypho's most recent Round Ere three-track for Loefah's Swamp81 imprint. Serious shit.
Review: Delivering his first piece of solo produced music for more than a decade, Hot Creations welcome the legendary Danny Tenaglia with "Don't Turn Your Back" - a sweltering and hypnotic tribal tech house workout that calls to mind the seminal sounds he was responsible for at the turn of the millennium. On remix duties are some equally legendary figures of electronic music: Harry "Choo Choo" Romero of Subliminal fame injects some latin flair into the track, while the larger than life Carl Cox delivers not one but two renditions - the tough and functional main remix with dub techno inflections, and a slinky rolling groove on his "ASW" remix.
Review: More Time and R&S linking up is always going to lead to something fantastic, and this latest four track selection is just that, as we firstly kick off the project with some incredibly vibrant drum work and percussive brilliance from Ahadadream on 'Melty'. Next, Bala Bala Boyz rise to the occasion with more high energy drum chops and vocal lines on 'Sieta' before Bryte brings the grooves with the irresistible switch ups of 'Ice Cream'. Finally, 'Bleep Test' lands from SNOW, putting a final touch of rhythmic bliss onto what we can safely say is an excellent body of work.
Review: It seems to strange, in 2019, to think that Robert Hood was once best known for dark, pounding techno, such has been the success of his more house- and gospel-inspired Floorplan project in recent years. This third long-player finds the father-and-daughter duo in fine fettle, serving up 10 cuts that marry house and disco's sense of groove and musicality to the dancefloor energy that Hood learned during his Underground Resistance years, with wailing church organs helping to provide the album's standout moments on tracks like 'Dance Floor' and 'His Eye Is On The Sparrow'. An uptempo, genre-defying triumph.
Review: It's been a while since we heard the once much-sampled vocal from Raze's 'Bass Power', but here it comes again courtesy of Wolverhampton lad Lee Perry, AKA Peza, who marries it to glacial, bleepy Italo synths and hard-hitting 80s electronic drums to create the title track 'Bass Doctor'. Elsewhere on the EP, squelchy electro-disco workout 'Aeiou' borrows from Freeez classic 'IOU', albeit not as heavily as you might expect, while 'Planet Cars' is a heavyweight electro jam that, as the title suggests, lifts from both Gary Numan's 'Cars' and Afrika Bambaataa's 'Planet Rock'. Three solid cuts whose familiar samples should ensure maximum floor appeal.
Review: We'd rather not quibble with Parissior about the definition of "house", but to us the majority of the tracks on his "Not Quite House Cutz" EP sound like house. Disco, boogie and nu-disco influenced house, but still house. Regardless, there's much to enjoy throughout, from the swirling deep house chords, gentle acid lines and chunky grooves of "Don't Worry About It" and the acid-fired, disco-tech bustle of "Acid Shape", to the bass-heavy disco-house loop jam "Bad Thinking". Complimenting these three layered and ear-pleasing original cuts is a remix of "Don't Worry About It" by Fingerman. The Hot Digits supremo drags the track further towards filter-sporting disco-house territory by emphasizing some sharp horn samples and turning the bass up to eleven.
Review: For the second volume in their ongoing "Disco Funkin" mix series, the Bomb Strikes crew has handed over the controls to former Tru Thoughts artists Flevans. While his DJ mix is naturally superb, it's the quality of the 23 unmixed, full-length tracks included in the package that makes the compilation a must-check. There are naturally a few recent disco-centric club hits present - see Lance Ferguson's terrific cover of Pleasure's "Joyous", Dimitri From Paris and Cotonete's remix of Izo FitzRoy's "I Want Magic" and Purple Disco Machine's warm and toasty revision of Kraak & Smaak's "Alone With You" - alongside lesser-known nu-disco, boogie and disco-funk treats from the likes of ATOA, Hotmood, Fouk, Michael The Lion and, of course, Flevans himself.
Review: Andrew Edward Brown has been around for a while, though his discography is a little thin. Given the quality of this single on Codek, that's something of a surprise. His version is available in both vocal and instrumental flavours, and it's the former that really stands out. Brown is a great songwriter and vocalist, and his lead vocal works perfectly with the warm and woozy backing track - a heady blend of deep house grooves, rich chords, squelchy nu-disco synth bass and a few nods towards '80s boogie. Label bosses In Flagranti handle remix duties, turning in vocal and instrumental takes that brilliantly re-imagine the track as a flash-fried chunk of guitar-laden dub disco goodness tailor made for peak-time dancefloors.
Review: Astonishingly, Loshmi's long-running "Serious Edits" series is now 15 volumes deep. We can happily confirm that he's not run out of steam yet with the seven-track selection featuring some suitably playable, floor-friendly revisions that are well worth your hard-earned cash. Our highlights include the gently housed-up 80s disco goodness of "Delightful", the heavy disco-funk/proto-rap fusion of "Funky Animals" - all eccentric mic flow, mazy organ lines and beefed-up disco grooves - and the languid, glassy-eyed loveliness of head-nodding warm up gem "Soul Food". There's naturally plenty to set the pulse elsewhere across the EP, too, so give all of the clips a listen if you have time.
Review: While he's not confirmed it either way, we're pretty sure that Lolita is a new re-edit alias of Audaz boss Alkalino - a producer who has been offering up tidy, scalpel style reworks since we were in short trousers. There's much to admire amongst the numbered, untitled tracks, from the gently housed-up soul bounce of "001" and the delightfully over-the-top disco pomposity of "003", to the throbbing disco-house cheeriness of "005", the deep house/soul fusion of "006" and the heavily percussive world music-meets-disco goodness of "009". Best of all, though, is the gritty disco-funk stomp of "008", a superb revision of a reggae disco-tinged cover of Donna Summer classic "I Feel Love".
Review: If you're gonna give your EP a title like that, you'd damn well better HAVE 'da funk' to back it up. Thankfully, Mexican producer Van Pratt most assuredly does. 'Nothing But Funk' itself kicks off the EP, opening with a full-phat bassline before ushering in an 80s boogie-style vocal and some VERY 80s-sounding synth chords. That sets the tone for the rest of the EP, with 'Groove It' marrying white-socked 80s soul vibes to a liquid-y funk geetar line while 'All Night Long' is a straight-up boogie number built for cruising along Ocean Drive with the top pulled down and your Wayfarers on, baby...
Review: The Anglo-German duo who made a splash with the funky, percussive 'Rolling Jazz' earlier this year return with a two-tracker on the Manchester-based label Sprechen. 'One Two One' is another deep funker, centring around a hefty, lolloping bassline that's paired with brass fanfares, disco strings and a filtered female "let's get onto a one-to-one situation" vocal, while the accompanying 'Got To Have Your Dub' is a livelier affair with saxophone and trumpets much in evidence, a funk guitar squiggle that loops throughout and a "baby, got to have your love" male vocal snip. The latter nudges towards disco-house, but in pleasingly non-cheesy fashion.
Review: Drew Lustman has been relatively quiet by his standards this year, though he's still found time to offer up a couple of quality singles on Blueberry Records and Unknown To The Unknown. Here he makes his first appearance on Studio Barnhus with an EP that showcases two distinctly different sides to his multi-faceted musical persona. Title track "Flechazo" is a veritable drizzle of melodic positivity, with eyes-closed synthesizer motifs, sun-bright electronics and dreamy chords cloaking a crunchy, off-kilter deep house rhythm and suitably heavy bassline. In contrast, "New Lover" is a fair more warehouse-ready affair, with Lustman reaching for the mid-90s U.S garage riffs (think "Show Me Love"), bustling breakbeats, booming bass, sweaty female vocal samples and twinkling melodies.
Relight Dan's Fire (With Added Loleatta) - (12:00) 123 BPM
Twenty Percent - (9:22) 120 BPM
Luv Town - (9:04) 120 BPM
Review: Multi-track maestro Pete Le Freq is back with a third selection of hot-to-trot reworks created using original vocals and instrumentation from a range of disco and boogie-era cuts. He successfully teases and filters out the Jackson Sisters on "Refreq'ed Miracle", before putting his stamp on Phreek's Patrick Adams-produced Paradise Garage anthem, "Weekend". He then delivers two storming cuts based on Dan Hartman's "Relight My Fire": an extended instrumental ("Pete's Got Vertigo") and a sing-along version with added Loleatta Holloway ("Relight Dan's Fire"). Elsewhere, he successfully tampers with a Salsoul classic ("Twenty Percent") and sticks a bouncy house beat beneath a string-laden disco classic ("Luv Town").
Review: Call us old school (or show offs) but we can remember the edition of Sven Vath in the mix back in 2002, where the German techno icon went back to back with legend Richie Hawtin. for an epic mix that's still talked about. The man from Frankfurt is still going with the series and once again carefully curating the very best in contemporary techno flavors - and mixing it altogether with his distinct Midas touch as always. Highlights not limited to: Life & Death affiliate Joseph Ashworth on the epic dancefloor drama of "Trooper", the ever reliable Swede Dorisburg doing his idiosyncratic style of deep tribal trance on "Internet Tension" and the surprising addition of Salon des Amateurs resident Charlotte Bendiks who goes into sublime mesmerizing territory on "Pasco". On the harder end of the spectrum, there are top shelf bangers from the likes of ROD ("Cambodia"), Inigo Kennedy ("2c3d2") and Detroit legend Robert Hood with "Reflector".
Review: As ever with Moonshine Recordings, they have delivered us a seriously top notch selection as they unveil sixteen tracks of sweet reggae bliss. We have one of a line up on the table as we see names such as G Roots, Frenk Dublin, Blind Prophet, Adam Prescott and more throw us contributions as rootsy flavours are given a 2019 face lift. There are some clear standouts from this work, despite all sixteen tracks being absolute show stoppers, including 6Blocc & General Jah Mikey's system-ready stomper 'Too Rude' and the euphoric horn manoeuvres of 'Enchanted Dub' from Halcyonic, G Roots, Digid & Vale. The whole project is excellent, and we are super stoked to have it available here at Juno Download.
Review: As ever, Breakbeat Paradise return with yet another top quality selection from some of the best in the business as they unveil the third edition of their 'Swing That Funk' compilation series. We kick off with they super swingy horns of 'Original Sound' from Basschimp, Enel & Pandicat, before Bright Idea & Funkinright link up on the grizzly synths of 'Roads'. Freddy High, Funkin Basstards, Mr Ours and Spank Spinatra also supply us with tasty contributions, before Swim INC lays down some big room synth leads and catchy guitar plucks on 'Travelling Salesman' to round us up in style.
Review: Usually, De:tuned puts out reissues, so Communion marks something of a departure for the label. It's Kirk Degiorgio's first studio album in 15 years under the As One project, and as befits its heritage, it's a gloriously widescreen affair. There's the dreamy ambience of "Absorption Spectra" and both "Downburst" and "Irimias" fuse similar sound scapes with brittle electro back beats. "The Ladder" sees Degiorgio push farther in the Detroit techno direction, guided on the way by out space blips, while the serene "Aimpoint" is redolent of the deeper than deep ambient-techno sound he explored on the classic As One album, Reflections. It's a timeless work.
Review: Since making his debut on Peetah Music in 2001, Demuir has built up a rock solid catalogue of club-ready deep house jams. Here the Toronto-based producer follows up recent outings on Robsoul, Hot Creations and Desolat with a first appearance on Heist Recordings. He hits the ground running with a muscular deep house loop jam weighty enough for peak-time plays ("Werq Feel Gruv Love"), before layering up spacey synths, heady string samples and rubbery house beats on "The 3nity Returneth (Dub Mix)"."Philippine Sunrise" is arguably the best of a strong bunch: a melodious, warm and intoxicating deep house workout full of intricate musical detail and colourful electronics. That comes back by a tasty revision by Lady Blaktronika that sounds like it was designed for locked-in, late night dancefloors.
Review: While Emilio Acevdeo hasn't put out many releases as Lesser Drakar alias, he's no musical newcomer and has even worked with Gary Numan and Egyptian Lover in the past. Given this history, it's unsurprising that "Piramide 1" - a collection of madcap electronic tunes that he made for his DJ sets over a decade ago - is really rather good. Musically, it joins the dots between New York electro, cheeky 80 synth-pop, freestyle and new wave, adding a healthy dose of tongue-in-cheek humour. There are tons of fine original cuts that include sneaky references to video game soundtracks, but it's his zany electro cover of Queen and David Bowie's "Another One Bites The Dust" that really set our pulses racing.
Review: Take a look down the tracklist of Fabric 20th anniversary release and you'll be met with a generation of artists that have helped shape the institution in all manner of ways, be it legendary DJ sets or residencies to previous releases to the FabricLive mix compilations and so on. Inside you'll find a who's who of genre influencers, be they Margaret Dygas and Marcel Dettmann with their European minimal and techno connection, to the more left field and UK-centralised club sounds from Pinch & Trim, Call Super and Special Request. Classics have been leafed from Source Direct, UNKLE and Shackleton, with B.Traits, Maya Jane Coles and Daniel Avery rankable alongside Sascha, Nina Kraviz and Groove Armada in filling a most influential time capsule of club music and DJ culture history.
Review: Four months after the release of his fine debut album "What It Is", Toy Tonics founder Matthias Modias AKA Kapote offers up fresh versions of two of the set's most potent tracks. Of most interest to many will be the included "big name" remixes of "Jaas Func Haus". Art of Tones does a bang-up job recasting the cut as a dusty chunk of rubbery jazz-house/deep house fusion, while the Sworn Virgins remix is a delay-laden late night analogue-house wiggler from the Ron Hardy school of Chicago sleaze. Best of all, though, is Rahaan's rework, which is a wonky mid-tempo fusion of acid-style electronics and spiraling disco bliss. Elsewhere, there's another chance to enjoy Modias' funk-fuelled disco workout "Delirio Italiano", as well as a stripped back, extra-percussive "Dub" mix.
Review: If you haven't been keeping up with UK disco/funk/boogie merchant Andy Williams AKA Yam Who?'s recent work then here's a chance to get up to speed, as Midnight Riot present the first volume in a two-part collection of his 2019 output. Despite the title, there's only one original production in this set, Jaegerossa collab 'This Man's In Love With You': the rest of the album comprises remixes for the likes of Michael Gray, Jaki Graham, Los Charly's Orchestra and Moussa Clarke, and suffice to say any cuts haven't yet been on heavy rotation at the likes of Horse Meat Disco and Glitterbox soon will be! Contemporary mirrorball vibes at their best.
Review: In some cases it's useful to name-check some of the labels a producer has released music on; in the case of re-edit scene stalwart C Da Afro, it's easier to name the handful of imprints he's not appeared on. Here the prolific Greek rework merchant returns to Midnight Riot for the first time in almost five months, which by his standards is an eternity. As usual there's plenty to set the pulse racing across the EP, from the lolloping, electric piano-sporting orchestral disco brilliance of "Party Purpose", to the dewy-eyed, slap-bass sporting goodness of "Get Happy" and the filter-smothered disco-house revision business of bouncy closing cut "The Love For The Music".
Review: Clich?s like 'melting pot' or 'smorgasbord' are chucked around way too freely in music reviews, but it's hard to describe the wide array of influences on display here any other way! 'Baller' is an Afro-jazz workout, albeit more 'Afro' than 'jazz', with something of a makossa-ish vibe about it. 'Schweet' itself, which follows, is a more straight-up homage to 70s funk and soul, but we're back in jazz (or more accurately swing) pastures for 'Les Frites', albeit here served up in Latin rather than Afro flava. The EP's then completed by 'Listen', another electro-swing cut with a ragtime kinda feel.
Review: Amsterdam Dance Event holds a special place in the electronic music community's calendar, and it just wouldn't be the same without the Toolroom family putting on a very special showcase for the industry and punters alike. The Dutch capital's clubbing culture is one of the best in Europe and there's only one place to be this October. They join the fun once again this year and this are kicking off the week at Chicago Social Club for an opening to ADE like no other. In celebration, Mark Knight & Co. anticipate the event with this solid collection of sonic arsenal with highlights not limited to: label staple Weiss serving up classic vocal funky house on "Let Me Love You" (extended Club mix), legends Dirty Vegas getting remixed by CamelPhat on the extended remix of "Days Go By" (which reaches near acid moments), the ever impressive Alan Fitzpatrick providing austere peak time tackle on banger "The Approach" and rising stars like Jacky (with Example) on the wonky tech house of "Another 24" and label newcomer Maxinne dropping the riveting main room thriller "The Message" amongst many more. Comes with two continuous mixes: the first by Romanian upstarts Sllash & Doppe and the second by Swiss scene hero Mendo (Clarisse).
Review: Following his release on DJ Koze's Pampa label earlier this year, Robag Wruhme delivers a hypnotic dance floor EP for Kompakt. The title track revolves around a resonating bass, ticking steely percussion and a rolling groove. It's more ominous-sounding than Wruhme's usual style and has echoes of early 90s UK techno. While "Blymon" is also an effective, driving affair, its is more in keeping with Wruhme's stripped back minimal releases and this approach is audible in the pitch-bent drops and skeletal percussive loops. "Cassave" is the most abstract of all cuts, with a cacophony of tonal blips and murky stabs driving the arrangement.
Review: Goshawk is the latest solo alias of Rhythm Plate man Matt Hunt and over the last few years he's offered up some suitably solid fare for labels including Boogie Caf?, Hudd Traxx and Pressed For Time. Here he debuts on Quintessentials with four cuts of "Strictly Bungalow" - deep house that keeps the party on the ground floor. Begin by checking the bluesy bump of "Never Let Me Go", where twinkling pianos and hazy female vocal samples ride snappy beats and a chunky synth bassline, before admiring the spacey synths, dubbed-out vocal snippets and head-nodding house beats of "Why I Sing". "All I Have To Give" is an odd and trippy late night affair, while "Time Is Just A Loop" is a classic slab of quirky, bass-heavy goodness.
Review: Hotmood's two-track edit missives on their Discoweey imprint have yet to disappoint. In fact, it could be argued that each successive release has been stronger than its predecessor. The imprint's 15th release is certainly special; opener "De-Cocktail", in particular, boasts exactly the right balance of infectiousness, heaviness and headiness. It's a largely instrumental affair that combines ear-catching disco orchestration with chunky drums and a synth bassline so squeezable you'll want to take it home to meet your parents. Virtual flipside "You Are My Baby", a swirling slab of rolling disco-house crafted from cut glass strings, looped vocal samples and bumpin' drums, is almost as impressive.
Review: Existenz is Dave Sumner's third artist album as Function, and it partly ushers in a change in style. While there are echoes of his typical brooding, hypnotic techno on the mysterious, acid-tinged "Nylon Mood" and the heads-down roller, "Golden Dawn" - which features Stefanie Parnow - much of the album comprises a more mellow mood. There's the wonderfully hypnotic 90s ambient of "The Approach" and "Sagittarius A (Right Ascension)", while Function hooks up with vocalist Robert Owens to do deep house on the layered, textured "Growth Cycle". It's without doubt Function's most diverse long player, and ranges from the rickety electro of "Pleasure Discipline" to the dub shanty of "Interdimensional Interference".