MIRAGE Vinilo y CD

Review: Back to 95: Mirage comprised one half of Source Direct (Jim Baker) and the founder of Odyssey Records, Tilla Kemal and released a series of deep futuristic dnb cuts during the mid 90s. 26 years later they return direct to the source and revisit 'Feel My Dreams', one of their signature cuts which was supported by the likes of Bukem and Kemistry & Storm at the time. The remaster does the original justice, retaining its analogue weight and dusky charm while Andy Odyssey and Tilla get elbow deep with their own modernisation which is faster and much more tense but still swathed in that prangy, outer space atmosphere of the original. Last but not least Homemade Weapons turns the track completely inside out and rebuilds with his own signature rattling breaks, sudden switches and heavy pressure. Feeling this.

Review: Previously spotted on Preservation asking us to bend a little, Terry Woodford and Clayton Ivey's Mirage reappear on the Norwegian label. The deliciously bluesy talk box-flexing "Just Cause I'm Guilty" was covered by Hot in in 76 (and was actually produced by Woodford) while the silkier, groove-based Motown-styled soul romp "Can't Stop A Man In Love" was previously covered by Carl Carlton and Reuben Howell in 74 and 73 respectfully. Both recorded by Mirage at the time but never released, Preservation once again live up to their name in true style. Stunning.

Review: Although fairly well known these days thanks to appearances on a number of bootleg EPs and compilations, Mirage's 1983 debut single is still regarded as a "lost" cosmic disco classic. As this officially licensed reissue proves, the track has lost none of its' intoxicating powers. As on the original 12", you'll find the vocal version on the A-side. This saunters between periods of spacey, arpeggio-driven dreaminess and more traditional Italo-disco fare, with strong female vocals coming wrapped in darting electrofunk synths and oodles of Mascara-clad atmosphere. Arguably even better, though, is the flipside Instrumental, which is closer in tone to a DJ-friendly New York style Dub. It rises and falls in all the right places, occasionally dropping into delay-laden drums for added dancefloor pleasure.