Review: Fresh from delivering an EP of nostalgic 'Club Specials' on regular home Wolf Music Recordings, Frits Wentink returns to Clone's Royal Oak imprint for the first time since 2020. Title track 'Spiritual Basslines' - which is available in 'Club Mix' and 'Extended Mix' variations - follows a similar sonic template to the Amsterdam stalwart's most recent releases, adding classic deep house sounds to the kind of skippy, loose-limbed groove most often found on late '90s US garage releases. Highlights elsewhere across the EP include the vintage Nu Groove-influenced excellence of 'Eternity', the dub house meets-nu-disco shuffle of 'Golf Cart Joyride', and the deliciously deep, dusty and dubby shuffle of 'Olympiad'.
Review: Electronic music superstar Anyma (aka one half of Tale Of Us) unveils his highly anticipated sophomore album, Genesys Part II - which follows the success of his debut, Afterlife LP. Showcases Anyma's evolution as a melodic techno producer, the album features 21 tracks split into two distinct components. The first section chalks up a chunk of original compositions, including standout singles like "Pictures of You" and "Higher Power," along with collaborations with Chris Avantgarde, PARISI, Rebūke, and more. The second segment offers reimagined versions of tracks from both Genesys albums, featuring notable remixes by Eric Prydz, Adriatique, and Cassian. With its diverse range of sounds and collaborations, an impresisve and fully comprehensive second edition promises to be a pivotal moment in Anyma's career, dropping amidst the excitement of Miami Music Week 2024.
Review: Next up on Laurent Garnier's label is a split release that explores the deeper end of house and techno. DJ Deep is up first with "What's Going On". Powered by raw, tribal beats and featuring lush pads, it sounds like the veteran house head's tribute to Joe Clausell's organic sound. Avision's "Hold No Groove" is also inspired by house music, but on this occasion, Chicago rather than New York is referenced. Combining a snaking bass with busy, layered percussion, the result is mesmerising. Deetron ups the tempo but maintains a deep sound on "Pulse", its musical but insistent rhythm recalls classic Kenny Larkin.
Review: Following chart-topping mixes from Henry Saiz and Tim Green in 2023, Balance presents a new compilation curated by two masters of their craft: the great Dave Seaman and Quivver. Seamlessly blending style and substance, this release showcases their collaborative effort in reaching out to a diverse array of producer friends & associates - taking in exclusives, classics and fresh bangers from the likes of Robert Babicz, Underworld, Aikon and Timo Mass remixes - not mention the dudes themselves via five collaborative productions. Balance, keeping it tilt!
Review: Throughout their decade-long career, Alma Negra has combined their love of disco and deep house with percussion, instrumentation and ideas excavated from African, Caribbean and tropical musical cultures. On this EP, they largely ditch the latter inspirations, instead delivering full-throttle revivalist disco sounds where the Basel-based band's organic instrumentation and vocals combine with colourful synth sounds and heady horns. The headline attraction is undoubtedly 'Madrugada', a warming and thickset, subtly deep house-influenced take on the turn-of-the-80s NYC downtown disco-not-disco sound. It comes backed with two revisions - an extra-percussive, dubbed-out Yuksek tweak and the band's own dub disco-goes-deep house 'Dub Mix' - and the riotous, party-starting brilliance of 'Funky Fever'.
Review: Art of Tones fantastic collaborative EP with live disco-jazz outfit Chatobaron, last year's 'Flight of the Comet', have been given the remix treatment. The EP begins with a trio of takes on 'Ban The Disco'. Crackazat steps up first with a UK garage-influenced deep house revision rich in musical colour, before Bruno Hovart dons his familiar Patchworks alias for a luscious, all-live take that sits somewhere between deep disco, jazz-funk and organic house. If you're looking for a little more energy, check Paul Cut's driving, Rhodes-laden revision of the same track. Elsewhere, the 'Raw Analog Funk Remix' of 'Pendant Ce Temps La A Vera Cruz' is a languid, warm and richly organic deep house treat, while Tiurbojazz's take on 'Flight of the Comet' is a slow-motion, sax and piano-laden head-nodder with added Balearic sunshine.
Review: St Petersburg's own disco don Sunner Soul returns with three more predictably high-calibre slices of contemporary disco. The EP opens with the sumptuous, lounge-y and aptly titled 'Late Night Vibes' with its dreamy female vocal, chorus'd "oohs" and lavish strings. 'Right Place' then joins the dots between deep house, filter disco and 80s boogie in a most pleasing fashion, before finally we come to the slightly housier 'Something Good' with its rich, warm bassline and sampled chunks of interview dialogue with the mighty Tupac. What the EP doesn't have, you might argue, is any obvious peaktime calls to the dancefloor, but that's a good thing... this is for the headz!
Review: Natasha Diggs gives a fresh spin to Blaze's soulful house classic "Breathe" on Slip 'N' Slide. Known for her passion for funk and rare grooves, Diggs infuses her NYC-inspired style into the remix, breathing new life into the track while paying homage to the golden era of music. Her remix of "Breathe" highlights her exceptional taste and talent, seamlessly blending the original's saxophone and trumpet sounds with her own smooth grooves and captivating synthwork.
Review: As Miami Winter Music Conference spins around for another year so does Toolroom's affiliated compilation showcasing why Mark Night's label remains at the precipice of mainstream club music. Bringing with it two full length DJ mixes and exclusive tracks from crew like Alex Kenji, Jerome Robins and Camila Jun, there's also banging numbers from legends like Green Velvet, Nicole Moudaber and Shadow Child next to Low Steppa and Tony Romera! ESSEL kicks off the compilation with the catchy choral loops of "The Edge", with other highlights to mention across some 50 tracks coming from Martin Ikin's drippin' "Make U Sweat", CASSIM's disco-tinged "Wanna Feel Something" and Carly Wilford's "The Dance". Time to dive into Miami 2024 - Toolroom style!
Review: Nu Groove Records delivers another gem with "Nu Groove Edits, Vol. 4," a compilation that breathes new life into classic tracks from the label's illustrious history. This release spotlights the artists who shaped the legendary NYC label, offering re-interpretations by leading selectors of today. It kicks off with "Tonight's The Night" by NYC favorites How & Little (The Sound Vandals), given a fresh treatment by Italian duo NiCe7. The track retains its original charm while incorporating contemporary production elements, setting the tone for the rest of the journey. N.Y. House'n Authority's seminal "APT. 2A" gets reworked by UK deep tech aficionado Hugo Massien, resulting in a deeper, more introspective version that retains the groove of the original. The collection also features a remix of The Utopia Project's "File #3" by Mak & Pasteman, showcasing their signature blend of soulful vocals and driving basslines. Then it closes with a bang with the duo Honey Dijon & Luke Solomon re-imagining A.B.T.'s "Luv 2 Luv U." Their edit infuses the track with irresistible energy, making it a guaranteed dance floor mover.
Review: Giuseppe Tuccillo enjoyed a fruitful 2023, with his solo outings on Nu Groove, Melodeum and Kaoz Theory being amongst his greatest releases to date. For his first missive of 2024, the long-serving Italian producer pops up on his own House of Tucci label with a predictably impressive three-track offering. Tuccillo begins with 'Talk To Me', a kind of ultra-deep, rubbery and bass-heavy fusion of hypnotic mid-90s NYC house and early '90s Italo-house, before unfurling the bustling, hard-to-pigeonhole, Afro-cosmic-goes-house elasticity of 'Attention'. It's genuinely inventive and infectious, as is closing cut 'Magari', where Tuccillo wraps deep, filtered synth sounds, airy vocal snippets and tactile electronic motifs around a boogie-influenced drum track.
Review: Glitterbox Recordings strikes gold again with "Power of One," a powerhouse collaboration between Chicago house legend Kelly G. and the unmistakable vocals of Candi Staton. This release marks a meeting of titans, blending Kelly G.'s infectious productions with Staton's legendary gospel-soul voice. "Power of One" departs from the usual high-octane energy of Glitterbox releases. Instead, it simmers with a slow-burning funk groove, allowing space for Staton's vocals to take center stage. Kelly G.'s masterful production underpins the track, with infectious basslines and tasteful keyboard flourishes creating a perfect bed for Staton's soulful delivery.
Review: Midnight Riot do their bit to address the much-discussed gender imbalance in dance music with a 25-track collection featuring an almost entirely female line-up (though a few possessors of Y-chromosomes do sneak in as collaborators). With big names like Kathy Brown, DJ Paulette, Rowetta, Caron Wheeler, Sulene Fleming and Natasha Kitty Katt nestling up alongside a host of more up-and-coming artists, the quality standard is high throughout, with the musical emphasis largely on good-time, Saturday night house and disco vibes, though there a few more gently paced moments - notably in the form of covers of Bobby Caldwell's 'What You Won't Do For Love' and Sade's 'Sweetest Taboo' - while Paulette & Massey serve up a pleasing dose of acid on 'Sheroes'.
Review: Steve Bug and Cle, two titans of electronic music, reunite once again to deliver a mesmerizing EP titled "It Just Happened" on the illustrious Nu Groove Records. "It Just Happened" effortlessly embodies the essence of classic house music while infusing it with a contemporary flair. The title track sets the tone with its ethereal synths and hypnotic acid loops, evoking a sense of nostalgia for the underground house era while showcasing Bug and Cle's forward-thinking approach to production. "Crew Thing" further demonstrates Bug's prowess in crafting standout house tracks, pulsating with infectious energy that is bound to ignite dance floors worldwide. Meanwhile, "House Music Transcends" serves as a fitting conclusion to the EP, lifting listeners to euphoric heights with its uplifting melodies and infectious rhythms. With Bug's extensive 30+ year career and Cle's seasoned expertise, this EP promises to be nothing short of legendary.
Review: The future of Argy has arrived in the Afterlife. With a strong connection to the platform of late with albums and releases like Tataki, Pantheon and Aria next to the collaborative gem Higher Power - Argy has officially arrived. With this album in particular pitched as the artist's magnum opus, New World proves to be a fusion of human emotion inter-mixed with and AI innovation. Going large for those Afterlife sets no doubt, a techno futuristic and modern melodic Argy sends in 14 large scale tracks for the stadium space - ie "No One's Coming" and "Higher Power" - to the bad ass vampire acid in "Wilderness" or Juan Atkins Cyberton reflections in Tibet - Rad!
Review: In the vibrant world of disco revival, Fool's Paradise stands as a beacon, resurrecting the electrifying spirit of New York's dance floors with a modern twist. Their latest offering, "Do It To The Music" by Raw Silk, reimagined by UK producer Michael Gray, is a perfect example of this ethos. Here, Michael Gray understands the magic of the 1982 original. He doesn't attempt to erase its essence, but rather polishes it with his signature production magic. The iconic vocals remain, floating effortlessly over a foundation of soulful grooves and shimmering synths. The tempo gets a respectful nudge, propelling the energy without losing the original's laid-back charm. His rework serves as a genuine tribute to the original, infused with his distinctive style characterized by flair and a groove-laden, funk-inspired resonance. Whether you're looking for a nostalgic throwback or a fresh take on a classic, "Do It To The Music" (Michael Gray Remix) delivers.
Review: Glitterbox knows how to throw a party, and "Glitterbox Archives Vol 4" proves it once again. This EP collects four previously unreleased, dancefloor-tested gems, each offering a unique flavour of the label's signature sound. Kicking off with a bang is The Shapeshifters' "Try My Love (On For Size) (The Rub Dub)". This extended version of the already infectious disco anthem dives deeper into its groove, layering dubby effects and pulsating basslines that will have you moving right away. Next up, Michael Gray and Kelli Sae's "You're Gonna Make Me Dub Somebody Else" takes things down a notch. The "dub" moniker lives up to its name, stripping away some of the original's funk elements and emphasizing the hypnotic rhythm section. Kelli Sae's sultry vocals remain captivating, while the dub treatment creates a more introspective and atmospheric aura. Art Of Tones & Inaya Day's "Give My Love (Piano Dub)" is a revelation. This stripped-down version showcases the song's beautiful piano melody and Inaya Day's powerful vocals in a whole new light. Rounding out the EP is Qwestlife's "Hit It Off (Babert Remix)". Italian house maestro Babert injects his signature energy into the track, transforming it into a driving house anthem. Teni Tinks' vocals are chopped and looped, adding a playful touch to the infectious groove. This one is sure to get the crowd moving and leave them wanting more. A sparkly feast for disco devotees!
Review: Bondax's "Journey" on Future Disco isn't just an album title, it's an experience. This LP marks a decade in the game for the UK dance duo, and "Journey" reflects that beautifully. It's a blend of their signature sounds with fresh influences, all wrapped in a future-disco sheen. The album kicks off with the previously-released banger "Don't Want It," setting the pace with driving rhythms and those classic Bondax synths. Tracks like "I Only Have You" showcase their versatility, featuring smooth vocals from Eno Williams that blend seamlessly with their sonic palette. A true highlight is "Fade" featuring SHELLS. Flanging guitars and entrancing beats create a mesmerizing soundscape, perfectly embodying the album's exploration of diverse sounds. "Yabaal to London" is another winner, a funky fusion of 80s disco and modern production with the Dur-Dur Band. It's impossible not to move to this one. It's a genre-bending album that pays homage to disco's roots while offering a fresh, modern take. Packed with infectious beats, captivating vocals, and stellar production, this album is a guaranteed dance floor filler and a must-listen for fans of electronic music with a touch of nostalgia.
Review: As the title suggests, this quietly impressive compilation draws together the "best bits" of Johannes Kolter's KOLTERCAMP imprint, a digital-only label he's long used as a vehicle for his own productions. In some ways, it feels like an introduction to the Cologne artist's work - or one side of it, at least (he also has the more rugged KOLTRAX series and guest releases on other labels). Highlights include the Alicia Myers-sampling disco-house chunkiness of 'Be Real', the insanely funky, P-funk sampling US house bump of 'Get Sexy', the sun-splashed jazz-house deepness of 'Duke', the effortlessly soulful shuffle of 'Sunny Days' and the spacey deep house wonder that is 'Let You Go'. An impressive collection of Kolter cuts all told.
Review: Faze Action's Robin Lee has made many fine solo records under the Andromeda Orchestra alias, more often than not colourful and classic-sounding re-inventions of original disco and boogie with a subtle nu-disco twist. That's what's on offer on 'Swing On', an excellent instrumental excursion that marks the long-serving musician/producer's second single of 2024. In typical fashion, the track is suitably big, with spiralling synthesizer lines, Chic style guitar licks and rousing piano motifs rising above a rubbery bassline and sweat-soaked peak-time disco percussion. Lee then doffs a cap to the Idjut Boys and other dub disco scene stalwarts on a stripped-back-but-effects laden dancefloor dub that's equally as impressive as the full version.
Review: Given that Divine Who is a gospel-disco rework project helmed by Greg Belson (one of the world's most renowned gospel diggers) and Midnight Riot chief Yam Who, you'd expect this second volume in their ongoing 'Altared Disco' series to be packed to the rafters with killer revisions of dusty and obscure gems. It is, of course, with the pair hitting the mark straight away with 'Dance' - a thickset disco-house affair in which soaring gospel lead and backing vocals rise above chunky beats, infectious piano riffs and swirling sonics. 'Never Turn Back (Jaegerossa Remix)' is another peak-time ready house-style revision of a piano-powered, hands-aloft gospel-disco treat, while 'Feel' puts a new spin on a slap-bass sporting chunk of early '80s gospel-electrofunk.
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: The Dutch production duo Makez returns to their soulful house roots with a new four-track EP on Heist Recordings called "Midnight Time." This release showcases the versatility of Makez, seamlessly blending introspective grooves, infectious club anthems, and atmospheric soundscapes. The EP opens with "Closer," a laidback, jazzy collaboration with vocalist AVA LAVÁ featuring lush textures and rich instrumentation that sets a mellow, moody vibe. Next is "Running From The Noise," reuniting Makez with vocalist Life On Planets after their previous hit "Downstream." Life On Planets' emotive vocals mesh perfectly with Makez's trademark deep house rhythms, creating another potential dancefloor gem. It then gets into higher gear with the acid-tinged, 90s-inspired techno groove of "The Answer." Powered by a male vocal hook, acid basslines and classic 909 drum programming, it's a high-energy cut primed for peak-time club plays. Closing out the EP is "Gratitude," which ventures into deeper, more introspective territory with haunting strings, glitchy vocal samples and distorted synth textures layered into an immersive sonic landscape.
Review: In an industry where the term 'veteran' is bandied about far too freely, Colin Curtis is the real deal! His DJing career goes all the way back to legendary Northern Soul club The Golden Torch in the late 60s. In the 70s, he was a resident at Blackpool Mecca alongside Ian Levine, where he became one of the first DJs to introduce the more modern sound of jazz-funk to the scene. By the mid-80s he'd become an early UK champion of house, too, but these days it's on the jazz-dance scene that he's most revered - and here he serves up a 26-track connoisseur's collection that shows why. Ranging from straight-up jazz and soul to soulful house and leaning heavily towards the Afro- and Latin-flavoured, some of these cuts are recent offerings, some date back as far as the 70s, but on jazz-dance floors, all will go down a treat.
Review: Over the last few years, Martin 'Atjazz' Iveson has spent a fair amount of time mentoring Peacey, a young producer with oodles of talent. That much is proved by the rising star's expansive debut album, a superb 16-track set that combines sizzling colo cuts with a string of inspired collaborations. The Edinburgh-based artist sets his stall out via the luscious horn arrangements and immersive ambient electronics of 'Play It By Ear', before drifting between head-nodding R&B loveliness (Oveous hook-up 'Love In The Forest'), sensual and seductive, soul-flecked deep house ('Hold Me Back' with Clyde and Atjazz), mid-tempo boogie-soul ('Playground' with Rona Ray), dubby and dreamy downtempo grooves ('Last Night's Dream'), deep and techy, spoken word-sporting dancefloor workouts ('Culture Bandit' with Vanessa Hidary) and jazz-funk influenced excellence (LaRoye collab 'In The Distance').
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: The legendary Kerri Chandler and his Kaoz Theory label (ode to that priceless 1998 album) turns in a remix and dub package of Antonio Deep Scarano & Toshi's "Kuyo (In Everything)". For the uninitiated ADS is an Italian house music industry man known for his collaborative streak - hooking up with vocalist Toshi for a second time here. With the Kerri Chandler touch, the duo's infectious single gets a full remix treatment that across the board draws upon the purest of house sentiments, meant for warm and worldly times, taking in '90s new age and piano house with percussion, drum machines and basslines to boot. Chandler of course goes large but not OTT in his vocal and dub mixes, next to a pumping warehouse version by Antony Reale, Pietro Nicosia's clubby tribalisms and Salvatore Oppio's barqoue remake too!
Review: Monty Luke's Nightdubbing project on Rekids was designed to showcase the Black Catalogue boss's deep love of dub-infused house and techno. This 13-track album combines previously unheard cuts with nine tracks previously showcased across a pair of EPs of the same name. It's a fantastic set all told, with highlights including the smacked-out electro-dub headiness of opener '40 Acres and a Terrabyte', the extra-percussive deep dub-house hypnotism of 'Bob Molly', the after-hours friendly minimalism of 'Star Storms', the Detroit-goes-dub techno pulse of 'New World/Old Future', the classic dub techno warmth of 'Dark Paradise', and the dub-wise deep house dreaminess of 'Avantgarde Dancehall'. Throw in a handful of tidy ambient and digital dub tracks, and you have a genuinely superb long-player.
Review: Nick Curly showcases his mastery of the underground house scene with the "Come Right Back" EP, released through Cécille Records! Hailing from Mannheim, Germany, Curly's influence spans two decades, with his imprint 8bit shaping the city's distinct sound. "Come Right Back" kicks off the EP with Curly's trademark swinging drum groove, fused with a filtered disco loop and choppy stabs, crafting a dance floor-focused workout. On "Arkum", Curly delves into deeper, darker realms, blending organic percussion and gritty bass stabs with tension-building strings and spoken word vocal chops, resulting in a loop-driven, subtly unfurling peak-time tool with its subtle intricacies.
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: Reel People Music's annual Soulful, Deep & Dope compilations always deliver exactly what the title promises, namely club-focused jams of the most positive, musically expansive and spiritually enriching kind. This year's edition is a particularly potent collection, with 20 tried-and-tested tracks to devour. Highlights are naturally plentiful, from the tech-tinged deep house soulfulness of Mark Francis's remix of Opolopo and Angela Johnson's 'Stay This Way', and Glenn Underground's wonderfully musically expansive revision of Harold Matthews Jr and Sean McCabe's 'This Place', to the sunset-ready wonder of Matthew Brandy's 'Wish' (featuring an impeccable vocal performance by Josh Milan) and the soulful deep house brilliance of Atjazz and Shea Soul's inspired 'Home'.
Review: Four-piece "producer collective and DJ team" The Niceguys hail from Switzerland and have a long string of releases under their belt for labels like Bomb Strikes, Westwood Recordings and Ghetto Funk. Here they return to the former with four cuts that would work on funk-breaks and modern soul floors alike, with the Bobby Saint-vocalled 'Irie' and 'Strip It' rocking a Prince-like vibe, 'Don't Let Go' sporting a full-lunged soul vocal from Justina Lee Brown, and 'Dance' having something of a Smoove & Turrell-like feel. 'Don't Let Go' takes the gold for this writer but it's all good so feel free to disagree!
Review: "I'm Your Baby Tonight" isn't just a rehash of the past; it's a full-on nu-disco makeover. Mint Disco takes the well-loved melody and injects it with a shot of modern energy, creating a fresh dancefloor banger. The result is a captivating mix of the familiar and the new, a delightful balance of warm nostalgia and innovative spirit. This track goes beyond being a song; it's a sonic journey that warps time. Mint Disco's production magic breathes new life into the iconic tune, transporting listeners to a space where past and present blend seamlessly. The experience feels completely new yet undeniably connected to the original's charm.
Review: Dombrance has spent the last few years making music inspired by imaginary French politicians of the 1960s, '70s and '80s. To round of the project, he's pitched up on Discolypso to share the final two tracks - and a wealth of remixes. 'Bayou' is a certified throb-job in which alien-sounding synths and heady vocalisations rise above a pulsating, Italo-disco groove, while 'Cope' is a darker, techno-tempo workout rich in analogue electronics and driving grooves. There are too many remixes to mention them all, but our picks include Lindstrom's breezy, electrofunk-influenced Norse disco take on 'Bayou', Baldelli and Dionigi's hybrid dub disco/Afro-cosmic take on the same track and Francois K's suspenseful, stretched-out, slow-build revision of 'Cope'. Throw in a deliciously druggy, Italo-disco-goes-rave revision of the same cut by Diskjokke, and you have a genhinely brilliant package.
Review: A couple of giants of the Aussie disco/disco-house scene collide as Glitterbox fave Dr Packer and Elektrik Disco join forces on an irresistible slice of Saturday peaktime disco-house action. Screamalong diva vocal? Check. Pyow-pyow-pyow stabs? Check. Handclaps? Check. Hands-in-the-air pianos? Check. Fat, squelchy funk bassline? Check! That's the Extended Mix, anyway... you also get the Elektrik Disko Extended Mix, which has a similar overall MO but rocks a different, walking bassline and is a bit less sonically busy, making this latter rub perhaps the pick for more underground/less commercial floors. File under 'infectious'.
Review: Here's another must-check missive of lesser-known and hard-to-find material from DJ Kaos's Jolly Jams label, curated with love by the man himself. Over the course of 12 tidy tracks, we're treated to ambient lusciousness (Superpitcher remixing Kaos's own 'World Turning'), deliciously dubbed-out proto-house (the 'Warehousin' Mix' of Split Secs' 'I'm Not Losing'), mind-mangling psychedelic electronic disco-meets-acid house (Red Axes' 'Promo Only'), dub disco (Slaves of Love and Tavish, whose 'Raw Seduction' is genuinely superb), soaring disco edit action (Spring Break Edit), Sylvester pitched-down and blissed out (Balearic Skip), Kenny Hawkes-ish disco-not-disco eccentricity (Luke Solomon remixing Richard From Milwaukee) and ragging acid tracks (Danny Russell & Timothy Alexander).
Review: Given the prolific output of his Rare Wiri label, it's a wonder Rayko finds time to get in the studio at all. But he does, regularly - and when he's not producing synthy, 80s-flavoured nu-disco jams of his own, he somehow also manages to fit in the odd cheeky re-edit or 20! Here, then, a score of such reworks are served up for your listening and dancing pleasure, with the emphasis firmly on lesser-known gems - sources include Ann Peebles, Diana Ross, Quincy Jones, Break Machine, Michael Sembello and Earl Flint, as well as US folk-rocker Barbara Keith's version of 'All Along The Watchtower', but there are plenty more that will have to go unidentified. Suffice to say, though, that if funk, disco, boogie, electro and pop from the 70s and 80s float your boat, this collection will leave you positively buoyant!
Review: Ed Upton has long been one of British dance music's most prolific producers, with his latest album on Hypercolour - the typically vibrant Spiral Dance - marking his 24th full-length excursion as DMX Krew since 1996. Its' 13 tracks are typically vivid, inventive and entertaining, with the Bedford-born producer rushing between intergalactic electro ('Always Hats'), sub-heavy UK techno futurism (the bleep-influenced 'Bathtime Bobby'), house-tempo dancefloor IDM ('Spiral Dance'), Spacetime Continuum style ambient techno (the chill-out room friendly 'Back To '92'), synth-laden analogue cheeriness ('Is This Normal'), heady beat-free soundscapes ('Hammer Slowly Forming'), early Autechre style electronica ('Ankle Grinder') and sweaty acid house ('FM Assembly').
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: Wallace's first outing on Rhythm Section International was genuinely brilliant, so hopes are naturally high for the rising star's sequel. Check first deep, dubby and driving title track 'Papertrip', where echoing, dub techno style motifs, restless piano riffs and infectious hand percussion hits rise above a kick-drum-driven beat and a jazzy bassline, before admiring the ragga vocal-sampling speed garage revivalism of 'BB' (note the nods to mid-90s MK and a genuinely weighty bassline). 'The Function' joins the dots between skippy US garage rhythms and ultra-deep, dubbed-out house, while 'Backwaters' adds sunrise-ready sounds and psychedelic electronics to another deep, skippy and sub-heavy house groove.
Review: Given that his Crosstown Rebels label debut, 'Horizon Red', was widely praised as one of the underground club cuts of 2023, hopes are naturally high for Made In Pete's speedy sequel. In its original form (track one), 'Fires' is a burning hot (sorry) blend of moody vocals (and vocalisations), shuffling house beats, rubbery synth-bass and meandering TB-303 acid motifs. He provides a tougher, darker and more after-hours-friendly 'Dub Mix' of his own, while the package also boasts two other revisions: a deeper, dreamier and more loose-limbed rework by UK scene stalwart Bushwacka!, and a deliciously dark, twisted and mind-mangling tribal house-goes-acid rework courtesy of Victor Calderone and Mykol.
Review: Kerri Chandler continues to mine the untapped depths of his musical vaults and here serves up a third dose of previously unreleased gems. Chandler first offers up 'Let It (Give Me Back My Love)', a typically joyful, hip-swinging and effortlessly groovy chunk of vocal deep house featuring Abbie Lee, before reaching for fluid piano motifs, super-soulful male vocals (possibly his own) and Kenny Dope style broken house beats on 'Another Dawn'. 'The Bassline (Kerri's Dark Mix)' is a moody, percussive and infectious slab of early morning house, while 'The Breeze (Original Mix)' is a drum machine driven box jam that deftly showcases Chandler's immense skill as a beat programmer.
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: Disco classic "There But For The Grace of God" by Fire Island featuring Love Nelson gets a fresh lease on life with a new remix by house music expert Alan Dixon on the 4 To The Floor label. This reimagining breathes new energy into the original track while staying true to its soulful core. Love Nelson's iconic vocals remain the centerpiece, soaring effortlessly above a foundation of driving bass and crisp percussion. Dixon's masterful touch adds a contemporary twist with subtle electronic flourishes and a pulsating groove that keeps the dancefloor hypnotized.
Review: For the latest missive on his long-running Internasjonal imprint, Norse disco don Prins Thomas has turned to first-time collaborators SONNS (AKA South Korea-based Frenchman Timothee Victorri) and Mexcian maverick Inigo Vontier, a producer renowned for the psychedelic nature of his dancefloor workouts. The headline attraction is arguably title tracl 'Mascara De Tigre', a pleasingly percussive, offbeat and mind-mangling affair that wraps hazy piano motifs, trippy electronics and tactile vocal samples around an unusual but addictive beat. Prins Thomas remixes, giving the track a sleazy Italo disco-meets-weirdo house flex, before the pair offer up two more tracks: the acid-flecked nu-disco shuffle of 'Dreamers' and the post punk-goes-dark disco flex of 'Drummers Dance'.
Review: New York's Sub-Urban Records takes us on a journey of soulful house with the "Forever (Michael Gray Remix)" by Key To Life featuring Sabrina Johnston. Gray's signature touch is evident throughout. The remix takes the original's foundation and builds upon it with a deeper, groovier bassline. House heads will appreciate the subtle yet infectious percussive elements that propel the track forward. Sabrina Johnston's vocals remain the centerpiece, soaring effortlessly above the music. This remix is a perfect example of soulful house excellence. It stays true to the original's sentiment while offering a fresh, club-ready interpretation.
Review: Last time we heard from Toy Tonics boss Kapote (real name Matthias Modica), he was offering up a updated and reworked version of his 2019 debut album, What It Is. 'Electric Slide', his latest EP, showcases his first all-new original solo music for almost five years. Our pick of the bunch is energetic opener 'The Party', a percussion rich romp rich in heady party atmos, densely layered drums, addictive electric piano hooks and a propulsive bassline. Naturally, there's plenty to set the pulse racing elsewhere across the EP, from the subtly proto house-influenced, hands-in-the-air joy of 'The See Me' and the thickset deep disco house flex of 'The Come On', to the kaleidoscopic nu-disco elasticity of 'The Slide'.
Review: Following years spent flitting between labels including Toy Tonics and Razor N Tape Reserve, COEO make their bow on Shall Not Fade. In keeping with the Bristol label's approach to digital releases, it's an expansive and action-packed affair. Title track 'Planet Earth' is one of the Munich-based duo's more forthright cuts to date - a thrusting, bongo-laden techno tempo rave workout propelled forwards by an insanely good (and rubbery) electronic bassline and psychedelic acid lines aplenty - while 'Satellite Bay' sounds like a cross between early '90s synth-pop, Kraftwerk and Euro-dance. Elsewhere, 'Rush Hour' gloriously joins the dots between hip-house, vintage MK productions and the Pet Shop Boys' Relentless' album; 'Kawasaki Racing Club' combines breakbeats and early UK progressive house sounds; and 'The Stage Is Yours' is a head-nodding, midtempo acid breaks affair.
Review: Pete Le Freq returns to Alpaca Edits with four more reworks of vintage cuts. Getting the ball rolling is 'Groove On', which takes on Willie 'Beaver' Hale's 1980 cut of the same name, and it's fair to say a bit more time and effort has gone into this re-edit than most, not least because the tempo's been upped noticeably. 'Satisfied', which revisits a Dynasty jam that was first released on Solar in 1979, is another edit that transforms the original significantly while 'Singers On the Stand' draws on The Joubert Singers' classic 'Stand On The Lord' from 1985. That leaves only the source of 'Sweeter' unidentified, but it's a pleasant little disco/boogie workout regardless.
Review: Volume 7 in the series but for once we can't really say "you should know what to expect by now" because what this compilation really goes to show is just what an eclectic and diverse camp the long-running Manchester label has become, with tracks on 'Paper Cuts #7' ranging from the near-ambient Balearica of Aniso Tropics' opener 'Apricot Memorex' to the self-explanatory synth-y stylings of La Guardia de la Luz's 'Trance Aleman de los 90s' via the uptempo strut of Jahn Solo's 'Disco'. So all we can really do is point you in the direction of some standout cuts, which for this reviewer would include D.S.D's luscious 'Just Can't Stop' and Benny Pitcher's 'Transatlantic Motion', which is like a little musical nod to the days when Paper comps were called 'Splinter'.
Review: Award-nominated British producers Dave Whelan and Mike Di Scala, better known as Camelphat, showcase yet more growth since their last album Spiritual Milk that was filled with emotive lyrics, serene ambient sounds, and infectious basslines. This remix album however opens with a Fideles mix that gets drummy and percussive and very reminiscent to Plastikman's legendary "Spastilk". Oostil throws down an EDM inspired tech house banger mix of "In Your Eyes", while Tigerblind looks to old school rave and hardcore in its remix of "Compute". Lastly Dorian Kraft goes deep and progressive in his mix to "Embers". Keep chewing the Camelphat.
Review: NYC combo 79.5 are, like Midnight Magic and Escort before them, a live outfit whose trademark sound and output is shaped by the rich musical history of the city they call home. That superb sound was outlined on last year's eponymous debut album, tracks from which appear in remixed form on this must-check EP. There are two takes on previous single 'Feel Like Dancin': an extended deep house take by Malik Hendricks with added Afro-house percussion, and an impressive low-tempo chugger titled the 'Generalisation Dub'. 'B.D.F.Q' also comes in two contrasting variations: the spacey electro-meets-ghetto-house flex of the Jubilee Remix, and an extended version of FSQ's Midnight Magic style neo-disco interpretation. A percussive and joyous J Kriv house revision of 'Our Hearts Didn't Go That Way' completes a fine package.
Review: Shabi's DOBRO jams continue with Happy Jams that are undeniably exactly that, much what these times need. Pushing a classic house tip with good vibes pads, sample selections, loops and tricks, Shabi gets '90s old school and French touch in his kicking title track. "Let's Talk Dancin'" offers some similar tricks, holding down a groove with a vocal hook to boot, while "I Feel It Comin'" does something some more soul and R&B. "Disco Party" throws down some classic percussion and a walking bassline while "C'mon Let's Fly" may as well be Fred Falke back in the mix. French house style!
Review: Back in the early/mid 90s, a new style of deep house emerged, spearheaded by UK soundsystems like DiY and Smokescreen, and soon finding a home on labels like Nuphonic, Pagan, Toko, DiY Discs, Tribal UK and, perhaps most importantly, Manchester's Paper Recordings. The sound they collectively pioneered would go on to eclipse the original Chicago style and become the default definition of 'deep house' worldwide. Now, following hot on the heels of the recently released Crazy P 'Paper Years' compilation, Paper gather together the early output of label co-founders Miles Hollway, Elliot Eastwick and Si Bradshaw in all their various guises in one place for the first time... do you really need us to tell you how utterly, utterly essential this is?
Review: Retromigration makes a triumphant comeback to WOLF Music with Cloudin - six tracks of deep disco tinged house music just like we like it. It follows the artist's debut album Straight Foxin on the label which sees the German producer once again proves his stripes by seamlessly blending dusty samples with original beats, bassline compositions, and PH-fat grooves. Taking it back to the classic disco-driven, pad-powered, and woozy-Rhodes sound from sometime before 2010 - WOLF Music is still your one-stop shop for Retromigration for sure.
Review: Six months on from his Scruniversal label debut, which we rightly waxed lyrical about, sometime Super Spicy and Elephant Chords contributor Nico Cortazzo drops a speedy sequel. Cortazzo hits the ground running with 'My Mom Was Cool', a sample-rich fusion of colourful nu-disco and string-laden disco-house flavours piled high with jazzy guitar licks, kaleidoscopic synth sounds and fuzz-fuelled electronic bass. He opts for a dreamier and smoother sound on the wonderfully saucer-eyed 'Let It Shine', a genuinely brilliant slab of tactile and enveloping deep house bliss. The man's got serious skills!
Review: Australian artist Ben Smith, known by his stage name Temple, is bringing a fresh sound to the music scene. His upcoming EP, "Who You Are," blends the classic vibes of disco with the futuristic energy of techno. This debut release marks the launch of Temple Musiq, Smith's own record label dedicated to his musical creations. The headline attraction is undoubtedly title track 'Who You Are' (featuring Quartz Pistol), an acid-fired, cowbell-laden fusion of cheery nu-disco and nostalgic house sounds with added breathy female vocals. Prins Thomas remixes, rolling out the warehouse-ready elements (including Temple's trippy acid lines) before introducing a maelstrom of synth lines and spiralling electronics later on. Elsewhere, 'Wait For Love' joins the dots between mid-80s NYC proto-house and Maurice Fulton's Syclops project, while 'The Tetra' is a spacey, sax-sporting slab of nu-disco chug tailor-made for sunset and sunrise.
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