Back catalogue: All genres

Review: Many Hands is a fresh label helmed by Jona Jefferies and Kava that here kicks out an eclectic EP with four tracks from various members of its musical family. Dan Aikido opens with '0800 TXT4 Herb,' a smooth fusion piece that builds a laid-back groove, blending fretless bass, jazzy keys and soulful vocals all reminiscent of Rare Silk's 'Storm.' Ernie Ruso's 'Stroke It' offers slow, sensual r&b infused with P-funky wah-wah effects while DJ Nomad's 'African Boy' brings upbeat pop house next to funky organ and a female reggae MC.Jefferies' closer 'A Change Will Come' samples Dr. Martin Luther King Jr with a rave-inspired beat and soulful piano. Cracking stuff.

Review: For the unaware, Saada Bonaire's 1984 gem 'You Could Be More As You Are' is the very definition of a cult classic. Known for offering a chugging blend of new wave, leftfield synth-pop and post-disco dancefloor nous, it was produced by an obscure German DJ and fronted by two female vocalists. Those singers have now joined forces with producers Jens Mahlstedt and Ralph 'von' Richthoven to deliver a 2025 remake. It's presented in two distinctively different forms. On the A-side, we get the 'Super Disco Mix', a driving, bass guitar-driven affair that mixes replayed elements of the 1984 original (including some of the spellbinding synths) with clipped disco guitars and freshly recorded vocals. The flipside 'Bleep Mix' is not an early Warp style re-build, but in fact a slightly more electronic-sounding dub disco version.

Review: For those seeking neo-Italo-disco and synth-heavy dancefloor sleaze, Bordello a Parigi's 'Diamonds in the Night' series has long been a must-check affair. Naturally, there's plenty more previously unreleased gold to be found on the latest edition, volume six. Club Mayz kick things off with 'Fantasy In This Uncaring Void', a cheery, all-action affair that sounds like a long-lost early 90s synth-pop/Italo-disco instrumental, before Bizarre Billy and James Rod doff a cap to Bobby Orlando's productions for the Flirts on the superb 'El Caparon Patron'. Turn to the flip for 'Non Dimenticarmi' by Ricardo Baez, a throbbing and melody-rich slab of Hi-NRG revivalism and the intergalactic excellence of 'Interzone' by Seth Booth.

Review: All Right Fresh serve speciality brews of West and East Coast nu-funk, soul and hip-hop. Here they welcome DJ Spinna and J Rocc for the very latest edition in their Wrecka Stow Edits series, which hears two further majestic remixes of classic r&b reelers. First up is Spinna's version of Prince's 'Starfish & Coffee' with the renamed 'Maple Syrup Jam', which strains and thins Prince's already prickly granules to provide that extra ophiuroid zing. Then J Rocc follows up with 'Re Purple Music', also a remix of a Prince cut, 'Purple Music', providing ever further filtrated disco-funk panache.

Review: UK disco sensation Glitterbox light the touch paper on another fizzy summer with four gossamer smooth edits of four seminal house classics. Gliding us through time to soulful house's golden era with a sassy, loose groove shine to each edit; Soulsearcher's 96 anthem "Can't Get Enough!" gets respectfully plumped, Shapeshifter's 2003 sing-along bomb "Lola's Theme" is stripped back to a stark funk groove while Johnny Corporate's 2000 hit "Sunday Shoutin'" gets flipped into slinky bassline wriggler. Finally one of the best covers Stevie Wonder has ever had gets a luxurious rub down as Cleptomaniacs' 2000 swoon-fest enjoys the full Packer treatment. Summer starts here.

Review: Hot since day, Girls Of The Internet have widened the eyes and perked the ears of many a squabbling listener since 2017, deploying many a nu-disco nutcracker through imprints such as Drab Queen and Palm Recs. The duo now stop by Athens Of The North, surveying a wide polar acropolis of deep repetition and strung sampledelia. 'Somewhere Someone' delivers peak energies crafted about a mystery sample, while the flipper, 'Where Is Your Love', hears a roomy linkup with James Alexander Bright, straining the A's comparatively full, gluey mien into a much stringier slice of vocal disco minimalism.

Review: Toolroom's Fool's Paradise offshoot has done a good job in offering up fresh, disco-inspired material, but it also acts as an outlet for key crew member Michael Gray's 21st century reworks of classic disco cuts. On this 12", the long-serving Essex producer puts his slant on Inner Life's boogie-era gem 'I Like It Like That', a 1982 Salsoul single fronted by a then young Jocelyn Brown and produced by Leroy Burgess and Patrick Adams associate Stan Lucas. Gray begins with a lightly housed-up - but suitably reverential - full vocal remix, ensuring plenty of space for the studio band's squiggly synths, bold pianos and dextrous bass guitar. Arguably even better is the B-side 'Dub', which alternates between heavy groove sections, extended breakdowns and effects-laden showcases of Inner Life's piano, bass and synths.

Review: Millie Jackson emerged from the Deep South before properly coming of age in the grit of Newark, New York, but her voice always sounded like it was made for the spotlight i bold, sharp, and unfiltered. Across the 70s, she carved out a singular space in soul and funk with her fearless delivery and barbed wit, speaking plainly about lust, betrayal and resilience long before it was fashionable to do so. Her run on Spring Records placed her alongside The Fatback Band and Joe Simon, where she balanced tender ballads with club-ready burners, always laced with her signature no-nonsense bite. 'We Got To Hit It Off', first released in 1979, sits squarely in that lineage i a disco-soul gem with just enough snap to make it timeless. Spring Revisited brings Jackson's original into sharp new focus: Dimitri From Paris uses the original session tapes to craft a mix full of glitz and muscle, while Opolopo offers two flips i one smouldering and stripped, the other buoyant and synth-heavy. These versions don't only overwrite the source, but underline its brilliance for new rooms and younger ears.

Review: During her heyday in the late 1970s and early '80s, disco chanteuse Debbie Jacobs released some killer material (see "High on Your Love" and "Undercover Lover", for starters). "Don't You Want My Love", an energy-packed, orchestral disco smasher originally released in 1979 to promote the singer's debut album, is also up there with the best of her output. Here, the Paul Sabu produced original version gets the reissue treatment by Defected offshoot Glitterbox. Sabu's original club-length version sits astride the A-side, with Dimitri From Paris providing a "classic re-edit" on the flipside. His version sticks fairly close to the original, offering necessary nips and tucks here and there whilst steering clear of contemporary production trickery. Naturally, it's a rock solid rework from a true master of the scalpel rearrangement.

Review: This classic Japanese funk tune has long been adored by erudite boogie, 80s funk and soul fans in Japan but also more internationally, and for the first time here it is now available as a 7" single. Produced by Toshiki Kadomatsu, the release includes one track each from the Jadoes albums It's Friday from 1986 and Free Drink in 1987, both of which are considered iconic in the Japanese boogie canon. 'Summer Lady' is full of glossy 80s drums and sparking melodies that bring unbridled joy and 'Friday Night' is a little more paired back but the stepping drums and male-female vocal interaction is a thing of beauty.

Review: Igor Jadranin returns with another interstellar EP that redefines genre boundaries. Blending boogie basslines, futuristic synths, vintage drum machines and lush flute, piano and vibraphone melodies, the producer delivers cosmic electro-boogie with a playful edge. Tracks like 'Gangster Electro' bring hard-hitting beats, while remixes from Byron The Aquarius and A Vision of Panorama expand the palette. Byron's haunting 'Midnight' mixes crunch with eerie vibes while Panorama's Nu-Balearic twist adds sunrise warmth to the original. It all adds up to a bold 12" from the much-loved Chicago label.

Review: Jambonne is the studio alias of Another Taste, and here he returns to Space Grapes with a double A-side scorcher following the underground buzz of 'Carpet Ride.' This new 45rpm delivers two no-nonsense disco-funk jams primed for peak-time play an packed with infectious grooves, tight rhythm sections and vintage production that ensures both of them are instant dancefloor essentials. There's no filler here, just pure, unfiltered funk energy which means that fans of Space Grapes' analogue aesthetic will have plenty to enjoy while newcomers will quickly understand the hype. This is raw, modern boogie at its best.

Review: Jamie 3:26, the Chicago house luminary, returns with the second instalment of his Danacefloor Damage series, a collection of re-rubbed disco cuts crafted with the dancefloor in mind, but possessing a depth that transcends the club. This time around, he's unearthed three gems, each an ode to his impeccable taste and his uncanny ability to breathe new life into forgotten classics. 'Flyin'' takes flight with a dizzying array of soaring strings and a groove that's as infectious as it is propulsive. 'Funkin' (Hardy Tribute Version)' pays homage to late disco/early house legend Ron Hardy, its driving bassline and soulful vocals a fitting tribute to his enduring influence. 'Jungle DJ Tool' injects a tribal energy into the mix, its percussive rhythms and hypnotic chants guaranteed to induce a state of dancefloor abandon. Jamie 3:26's edits are a masterclass in dancefloor manipulation, expertly balancing euphoric highs with moments of introspective restraint. A potent reminder that the classics never truly die when preserved in the right hands.

Review: Jamiroquai always had a unique sound that sat somewhere between pop, house, disco, funk and cosmic delight. His great singles were always ripe for remixing and few do it better than house man Michael Gray. Here he tackles the evergreen 'Space Cowboy' with a Good Vibe Zone - extended mix that layers in some nice funky, soulful drums and lavish cosmic melodies that make it perfect for cultured clubs. On the flip of this new 12" from Sultra is a dub mix that is a little more playful and party starting. Both tunes are sure to raise the roof.

Review: French producer Jehan is next up on Blur Records with a new EP, TV Screen, that shows that he has a sophisticated approach when it comes to bending free jazz with electronic music and a love of hip-hop. The latter of those is evident in the title of the opener, '92 Till Infinity', which pairs lazy keys with lazier beats and soul drenched vocals. 'Montre Suisse' (feat Donnie Moustaki) has dusty beats that sound like they might fall over themselves topped with warm organ chords and 'You Win' (feat Scruscru & Meowsn) then brings a sweet and swaggering deep house vibe. The flip keeps the slow burning and late night feelings alive with a trio of loved up, well sampled, blissed out beats.

Review: JKriv returns to Razor-N-Tape after two years away and in that time it is clear to say he has further fine tuned his sound. This latest offering kicks off with 'Blueprint' which is a nice loose sound with elastic acid lines and bright chord stabs. 'Intuition' (feat Megatronic) slows down to sun-kissed and lazy swagger with soulful spoken words and cuddly pads and soft shakers all soothing you to your core. 'Zone 1' then kicks on with a nice bright blend of nu-disco colours and soft acid undulations and 'Paula's Dance' (feat Pauha) closes with some steamy and timeless house that is perfect for sunset sessions.

Review: A veteran dance music producer teams up with a talented singer to be featured over his classic take on disco. As a pioneer who shaped the UK's early house and acid scenes, Julian Jonah brings his expertise to this polished production. Side-1's 'Let's Not Say Goodnight' is a disco anthem in the making, with Robbie Love's commanding vocals delivering a message of endless celebration. On Side-2, 'Just Can't Wait' offers a smoother, feelgood vibe with tight instrumentation and another stellar vocal performance while the band's groove-rich foundation complements the track's uplifting energy. A release that highlights Jonah's ability to bridge eras, blending nostalgia with modern finesse.

Review: Over the years, France's Favorite Recordings has been very good at sniffing out lesser-known European gems from the disco and boogie era, mostly for superb and must-check compilations. Recently, they decided to make some of these licensed obscurities available on a series of 12" singles, where a louder, club-heavy cut is preferable to DJs. The latest sees them offer-up two lesser-known Belgian gems produced in the mid 1980s by future new beat don Tony Baron. Jonathan Jr's 'Hanging On To You' is warm, shuffling and synth heavy, with the artist's soulful and jazzy lead vocal sitting alongside squelchy synth-bass, Nile Rodgers style guitars and post-electro beats. Special Occasion's 'Flying To Santa Barbara', meanwhile, sits somewhere between 80s soul, AOR synth-pop and sax-sporting B-movie soundtrack goodness.

Review: This deep, jazzy and lo-fi house 12" is perfect for escaping at this time of year as the hustle and bustle of the holiday season and the general weight of modern life can get all too much. It comes from an array of standout producers from around the world including Darone Sassounian, Jamma D and Jarren from Los Angeles, Roche from Portland and Morris Mobley from Nancy, France. Between them, they offer the cuddly, cloudy depths of 'Drippin'' (Sauce dub), humid and jazzy heat of the sumptuous 'Don't Wanna Leave The Couch Today', playful rhythms of 'House Shuffle Boogie' and more besides.

Review: Luv Shack's compilation style 'Disco Biscuits' series is the very definition of reliable, with each new EP delivering killer cuts aimed at the more cosmic end of nu-diusco dancefloors. Volume five in the series arrives with four more tried-and-tested workouts and little in the way of forgettable filler. Check first Rising Seed's 'Back For More', a driving slab of spacey dub disco/cosmic disco fusion in which intergalactic electronics and samples sitars ride a Prins Thomas-esque bassline and beats, before admiring the chugging and squelchy nu-disco shuffle of 'Suffering of K.P' by B.Visible. Over on the flip, Peletronic's 'Drifting' is a glassy-eyed slab of immersive deep house/nu-disco fusion, while Jon Gravy's 'When U Leave' is a stomping slab of peak-time house headiness rich in bustling beats, memorable melodies and hands-aloft riffs.

Review: Disco Tape 4 is a compelling collection that navigates the full spectrum of disco's evolution, seamlessly blending house and late-night techno grooves. The Mechanical Man's 'eyes supreme' stands out with its melodic hook that gradually intensifies the energy. It's a slow-burning groover featuring soulful disco lyrics, creating an atmosphere that's both beautiful and entrancing. 'with you' by Just Guess and Tecam takes a funkier route, with a vibrant guitar riff and a soulful house vocal reminiscent of the best Naked Music releasesiideal for setting a warm, inviting vibe. Other great highlights include the other Mechanical man track 'Space Exploration,' a track that dives into deeper techno territory. Its wicked atmospheric groove adds a layer of sophistication, perfect for those late-night moments when the dancefloor craves something more introspective. Closing out the highlights, Ohn De La Noise's 'good afternoon' offers a smooth deep house sound that blends late-night disco into house, creating a seamless transition that's both elegant and satisfying. A very well-rounded record, expertly capturing the diverse influences of disco's enduring legacy.

Review: The young but already well-formed Deep Inspiration Show label continues its dedication to quality deep house with a new EP that comes as part of their international artist series. Zarenzeit from Zurich and Roger Versey from Arkansas open with 'So Smooth', a blend of rich keys, soulful loops and dynamic vocals over a sensual bassline. Melchior Sultana hails from sunny Malta and follows with 'Nothing Like It Seems' which features silky chords and a shuffling rhythm ideal for late-night sets. On the B-side, Jan Kincl from Zagreb delivers 'Sugar,' a fusion of house and cinematic disco with organic drums while Spain's Barce closes with 'Stigma,' a melodic union of deep house and techno.

Review: Off the Wall isn't just an album; it's a coronation. This is where Michael Jackson truly takes the throne, cementing his reign as the King of Pop. Released in 1979, this nine-times platinum landmark is a visionary blend of funk, disco, soul and r&b, a vibrant tapestry of sound that still shimmers with life four decades later. Featuring timeless hits like 'Don't Stop 'Til You Get Enough' and 'Rock With You', Off the Wall is a testament to Jackson's unparalleled talent and innovative spirit. Mobile Fidelity's numbered-edition hybrid SACD presents this classic album in all its audiophile glory. Sourced from the original master tapes, this reissue explodes with energy, playing with tremendous clarity, detail, and dynamics. Every note, every beat, every vocal nuance is rendered with stunning precision, allowing you to experience Off the Wall as if you were in the studio with Jackson himself. Housed in mini-LP-style packaging, complete with the iconic tuxedo-clad album cover, this SACD is a must-have for any serious music lover. It's a chance to rediscover a masterpiece, to immerse yourself in the magic of Michael Jackson at his creative peak. From the infectious grooves of 'Workin' Day and Night' to the heartfelt ballad 'She's Out of My Life', Off the Wall is a timeless classic that deserves to be heard in its purest form. This Mobile Fidelity reissue delivers just that.

Review: Michael Jackson's Off The Wall remains a pivotal release in his career and a hallmark of late 70s music. Produced by Quincy Jones, this album marks Jackson's transformation into the King of Pop, showcasing a blend of funk, disco and r&b that resonates with an enduring freshness. Tracks like 'Don't Stop 'Til You Get Enough' and 'Rock With You' exemplify Jackson's unparalleled ability to merge infectious grooves with sophisticated pop. The Mobile Fidelity Sound Lab reissue, celebrating its 40th anniversary, captures the album's original vibrancy with precision. This pressing addresses some issues found in previous versions, such as excessive treble and cymbal crunching, but shines with solid bass response and clear midrange. The Apple Music Hi-Res stream offers an even more refined experience, with taut bass and exceptional clarity that highlights Jackson's vocal talent and the album's detailed production. for many, Off The Wall encapsulates Jackson's peak creativity and artistic vision.

Review: Allegedly one of the first ever records to make use of sampling, Jean-Michel Jarre's seventh album Zoolook brought with it a unique vibe, one well worth looking back on in light of its latest Sony reissue. In terms of notoriety, Zoolook pales in comparison to the electronic music crackerjack's 1976-8 heyday, which saw to both Oxygene and Equinoxe; but this is understandable, as Zoolook came much later, and sacrificed the grandiose mood of otherworldly space-awe for an eerier menage of playful factory hits and cacophonous dance hubbubery. Perhaps this sound - a jankier one that grew in popularity in the mid 80s - was driven by Jarre's use of the Fairlight CMI workstation and sampler, an example of a piece of gear that had the power to define an entire sound. We'd venture to say that the titular "Zoolook" is a kind of gaze that, by virtue of us living in a machine society, makes animals of us all.

Review: Originally released in 1984, this album remains one of the most experimental and groundbreaking albums in electronic music with Jarre's fans including everyone from Jeff Mills to Eno and Depeche Mode's Martin Gore. With its fusion of cutting-edge sampling techniques and rich, multicultural vocal work, the album stands out as a pivotal moment in both Jarre's career and in the history of music production. For its 40th anniversary, the album has been reissued in a remastered edition, with a bonus track, 'Moon Machine', making it an ideal time to revisit its timeless innovation. The album utilizes the Fairlight CMI sampler to manipulate vocal samples from over 25 languages, creating a truly unique soundscape. Tracks like 'Ethnicolor' and 'Diva' exhibit Jarre's use of avant-garde techniques, blending musique concrete influences with electronic textures and vivid, expressive vocals from artists like Laurie Anderson. The album's surreal qualities are further enriched by its diverse use of genres and influencesifrom the haunting 'Ethnicolor 1' to the funky, upbeat groove of 'Zoolookologie'. Though Zoolook diverges from the atmospheric, space-themed sound of Oxygene and Equinoxe, its experimental nature and complex structure push boundaries and make it an essential listen. While some tracks, like 'Woolloomooloo' and 'Blah Blah Kafe', slow the pace, they provide a contrast to the more intense moments, rounding out the album's broad, eclectic emotional range. Ultimately, Zoolook is a landmark in blending technology, culture and sound, and this anniversary edition is a fitting tribute to an album that helped shape the future of electronic music.

Review: Sean Johnston's A Love From Outer Space is a masterclass in mood and restraint. Over two LPs, it captures the ethos of Johnston's club night, favouring steady, low-slung rhythms and cosmic textures over high-energy peaks. The tracks are sequenced with care, creating a meditative flow that rewards deep listening. This is dance music for introspection, where each layer reveals itself slowly, embodying a philosophy that values depth and subtlety.

Review: Sean Johnston curates a compilation that feels as much like a love letter to a bygone era of cosmic and chugging dance music as it does a blueprint for the future. Across this translucent red vinyl double LP, he assembles a narrative that stretches from the dub-tinged grooves of Weatherall-inspired rhythms to rich, enveloping basslines rooted in the darker corners of the dancefloor. These selections capture the ethos of A Love From Outer Spaceinot a style, but a sensibility, where tempo slows and subtlety reigns. Rather than overwhelm, the tracks reveal their power gradually, layering textures and grooves with a painterly touch.

Review: Grace Jones' fifth studio album, released on 11 May 1981, this album highlighted a legendary reinvention for the artist, moving her nearer towards the global fame that she's enjoyed for subsequent decades since. A sonic melting pot that blurred the lines between genres while retaining an air of effortless cool, it fuses of reggae's rolling basslines, the tight precision of new wave, the slick production of synth-pop and the ghost of disco's past. What made Nightclubbing particularly special was the way Jones fully embodied the musicinot merely performing songs but inhabiting them with an almost cinematic presence. Her deadpan delivery on 'Walking in the Rain' oozes detached swagger, while on 'Use Me', she turns Bill Withers' plea into an anthem of raw, unfiltered sensuality. The icy menace of 'Demolition Man' feels tailor-made for her, making The Police's later rendition seem comparatively tame. The reimagining of Piazzolla's 'Libertango' as 'I've Seen That Face Before' further demonstrated her ability to transform existing material into something wholly unique, haunting and hypnotic in equal measure. Sly & Robbie's rhythm section, along with Wally Badarou's textural synths, gave Nightclubbing an unmistakable grooveione that would be endlessly referenced by artists in the coming decades. From Massive Attack's trip-hop atmospherics to the sleek funk of LCD Soundsystem, the album's DNA is all over contemporary music.

Review: Alex "Landy" Hill was the producer for and founding member of the 80s r&b and disco group Timex Social Club. This gem is the result of a deep dive into his archives and is an unreleased 1990s Bay Area demo project. The collection features nine original tracks created in collaboration with vocalist Jordana and songwriter John Pruitt all written and recorded in Hill's modest apartment studio. As you would expect of him, the tunes capture the raw, soulful energy of the era's underground r&b and funk scene with a nice lo-fi edge and plenty of analogue sounds from the time. Long tucked away on ageing cassette tapes, the recordings have now been carefully restored by PPU to offer a great look at Hill's post-Timex era.