Les Mondes Engloutis (Psychemagik main mix) (7:17)
Les Mondes Engloutis (Psychemagik 5am mix) (9:07)
Review: Martin Brodin's MB Disco imprint continues to deliver the good stuff, this time featuring two utterly essential Psychemagik mixes of Alico vs Cagri's "Les Mondes Engloutis". These mixes actually first surfaced on a digital-only release back in 2013, but now they've been buffed up for a full vinyl pressing, and rightly so. A side "Main Mix" is a full bodied, emotional banger with a lead drop to get crowds waving arms and singing along wholeheartedly. Our pick is the "5am Mix" on the flip though, where the synths take on a more shimmering nocturnal tone without losing that bright and bold character that will land this 12" in all manner of record bags this summer.
Review: Prins Thomas has decided to shake-up the Full Pupp release schedule a little, launching the Full Pupp Splits series to showcase tracks from different artists on one slab of wax. For the first installment, he first turns to long-established label artist (and occasional Norwegian passport office pencil-pusher) Daniel 'Blackbelt' Andersen. His "Dolphin Sandwich" is a deliciously tasty affair, with bold but breezy synthesizer riffs, huggable grooves and yearning, sun-kissed chords. In contrast, newcomer Christian Engh offers up something darker, chunkier and more bass-heavy, drawing influence from both Dutch revivalist Italo and the analogue-rich Norwegian disco with which Lindstrom made his name.
Review: It's been a long time between drinks for Body Music, a duo formed by Vito Roccoforte from NYC and Bosq from Medellin that have been strangely silent since tickling our fancy with a superb debut EP on Razor N Tape Reserve in early 2017. "Don't Think Twice", the lead cut from this belated follow-up, offers a neat summary of their developing sound, with guest vocalist Christian Holiday singing soulfully over cowbell-heavy disco percussion, dazzling nu-disco synth stabs and a Chicago house style analogue bassline. Holiday is also in fine form on slower flipside "Give My Love A Try", a seductive affair where chiming melodies and dreamy synths slowly rise above a glassy-eyed nu-disco groove. Two rock solid instrumentals complete a quietly impressive package.
Review: Low Budget Family is a Moscow-based label related to DS Bar, run by Sergey Pleshakov and Leonid Lipelis. Their next release is by Pasha Mikheev aka Cable Toy: a former game soundtracks/ad music maker who found himself attending parties more frequently in recent years and eventually making dance music himself. "Doktorhaus" is his debut release and features the raw/jacking early Chicago vibe of the title track (feat SBP4) on the A side, while on the flip label co-head Lipelis teams up with Mikheev on two neon-lit and evocative versions of "Boden".
Review: BAH040 is the first time out for Caissard DJ, not that you'd know on the basis of this plush, accomplished romp through 80s island boogie that chimes perfectly with the Bahnsteig 23 vibe. "Bright Dance" is a noirish smorgasbord of crystalline melodies and good, honest synth-pop thrust, while "Market Anthem" switches things up with a new wave twist. "La x5" is a wonderful curio, all stuttering, borderline baroque tones and Eastern string histrionics. The "Melange Dub" of "Arrakis" is a wild soul trying to be tamed by the machines, and then "Demo-cracy" dips into an almost minimal wave pulse before "The God Emperor" finishes the eclectic ride with ethnic chimes and percussion filtered through a grainy medium.
Review: Stone cold New Jersey funk business; Calender's seminal "Hypertension" has been a waymark in dancefloor developments since '75 and its big strings, high energy and nagging vocals still have total resonance to this day as proved by this rolling, conga fuelled twist from Mexican maestro Hotmood. Flip for more relevance as "Ritmo Latino" (from Calender's '76 album "It's A Monster") gets a cheeky breakbeat facelift from Voodoocuts. Now there's no excuse not to get funky every single day of the year.
Review: After building a reputation via a swathe of rock solid, digital-only EPs on About Disco (an imprint he founded in 2015), Rafael Cancian has finally been given a chance to showcase his wares on wax. There are lots of top-notch edits to enjoy on the Brazilian producer's first Razor-N-Tape outing, from the sax-powered, solo smothered disco-funk cheeriness of "C'est La Douceur", to the low-slung South American disco grunt of "Fragil" and the jazz-funk tinged carnival goodness of superb closing cut "Besos Libres". There's no needless production trickery or shamelessly beefed up house beats, just perfectly DJ-friendly rearrangements of obscure, little-known gems.
Review: Cannon & Mirrorball may not be the disco edit scene's answer to moustache-sporting 1970s/80s comedy heroes Cannon and Ball, but they certainly serve up tracks that will put a big goofy smile on your face. Their latest Disco Bits adventure begins via "Black Rhythm Rap", a chunky, hip-hop friendly rework of an obscure, late 1970s disco-rap bomb rich in funky guitar licks, cut-glass strings and party-starting MC flows. On the flip they get even cheekier, placing Loleatta Holloway's incredible "Love Sensation" vocal over a stomping, Blaxploitation-era disco-funk backing track and all manner of familiar soul and funk samples. Purists will no doubt sneer, but they really shouldn't: this is tastefully produced disco heat of the highest order.
Review: Casbah strikes again with a powerful homage to the NYC foundations with this juicy, insatiably funky piece of disco soul. Driven by a belting vocal from Angela Goode, there's a strong sense of timelessness, honesty and raw funk that smacks with authenticity and one of the funkiest slap-bass breakdowns you'll hear all year. Chicago's Rahaan takes the remix duties with a pumping contemporary disco cut while Casbah strips things back himself for the essential DJ tool that is the percussion edit. Feel the love.
Review: Back in November 2018, Oli Stewart AKA Casbah 73 delivered his most wholehearted tribute to the disco era yet, the brilliant "Love Saves The Day". On "To Be Free", he continues in a similar vein, doffing a cap to the pioneers of the Philly Soul sound via cut-glass strings, crunchy Clavinet lines, tasty electric piano solos, walking bass and a lead vocal from Angela (Angie) Gooden that stirs memories of disco divas of old. Stewart and his cohort of musicians go a little wild on the mostly instrumental disco-funk flipside, an exercise in dueling solos, lusty Latin horns, flanged guitars and heavy percussion that will get you hot under the collar for nine, all-action minutes. Brilliant stuff from start to finish from the experienced producer: don't sleep on this one.
Review: Hot on the heels of a re-work of Bobby Caldwell, edit stylist Caserta is back with another golden nugget. This time he turns his attention to the one and only Luther Vandross and serves up two equally essential but very different tunes that pay homage to his unique voice. The King Street Mix is all hip swinging claps and nodding bass riffs that are organic and heartfelt, whereas the Henry Street Mix nods to the '90s heyday of New York. With warm neon organ stabs that will get any floor pumping, both interpretations have Luther's soulful voice front and centre.
Review: Cellophane was a cult project from Alessandro Novaga, an Italo producer who created tracks with a huge influence on the development of Chicago house. Besides his other production credits, Cellophane is an especially visionary venture that favours expansive, psychedelic suites of electronic disco over traditional song structures - just the kind of rare, oddball curiosity Best do such a good job of reissuing. While the A side is excellent in its own right, "Music Colours (Part 3)" on the B-side is the bomb here. Stomping, trippy and utterly addictive - from the Music Box to your record bag this kind of music just doesn't age.
Review: Fresh from the Harlem hotpot, 1980: Harold Sargent's Chain Reaction teamed up with Sound Of New York's founder and producer Peter Brown for a star-lit, horn-baked, organ-licked disco creation that still funks hard 36 years down the line. With its maximal approach, disco bubbles and emphatic gutsy vocals, it could be argued that this funk even harder today due to it ticking every possible disco, boogie and funk box possible.
Review: Serious summertime loving right here from Wah Wah's right hand maestro Scrimshire. Continuing to build on his impeccable editry reputation, here he provides three floor-ready feel good twists that do nothing but add to the originals' legacies. Chaka Khan's iconic slinky bassline gets all looped and tonked on "Sommer Love", Merry Clayton (who he's edited before with "Grandma's Hands") gets a little tempo injection and much more extension in the groove while McNeal + Niles' classic lolloping hazy soul jaunt enjoys a wry little electronic dusting. Slow, low and loaded with love...
Review: Surely the freakiest house party in town, Bahnsteig 23 is the gift that keeps on giving. The relentless release schedule keeps up right here with this unmissable missive from Cherrystones, a learned selector and all round sonic oracle who regularly rubs shoulders with Andy Votel and that ilk of muso's muso. As you'd expect there's a rich spread of vibes on offer here, from the Afro-disco rub down "Simba Dub" to the Eastern psych lilt of "Belly King". "ExOhSkeletons" brings out some gutter punk styles and loops them into a strangely hypnotic form, and "Topical Meat Wave" imparts some pan-seared drama onto a French disco-funk. "KonGkinG" is a shouty new wave funker, and then the record wobbles out on a suitably deep B3 cut for the weirdos, all Oizo-esque synth blurts and sloppy live drum grooves.
Review: The mighty Cherrystones originally dropped the crackling party heat of "Blood, Campari & Sand" on his own Bandcamp page, and now he's doing the right thing and committing it to wax via Duca Bianco. It's a vital, funk-rooted jam that revolves around dusty drum licks and piano, as badass as it is considered. "Meta Weta on the flip is equally cool in its execution, this time using some uneasy synth pulses that reverberate between the laconic step of the beat. Drawing on library music, Giallo and deep-digging grooves from the outer reaches, Cherrystones once again demonstrates his knack for off-kilter tackle to get the freakier party set moving in approval.
Review: Just weeks after making his Masterworks Music bow with a fine 12" of beefed-up, house style re-edits, Chevals makes his bow on Editorial. The Frenchman hits the ground running with "Left Behind", a glassy-eyed loop jam that layers slightly sped-up soul/R&B vocals atop a mid-tempo '80s soul groove, before offering up a house style revision of a summery jazz-funk number on "I Of Love". Arguably even better is "The Line", a loose and groovy take on a slap-bass propelled deep disco shuffler, while EP closer "Time" is sumptuous, bass-heavy, loved-up and heady in the best possible way.
Review: Self-styled "French house producer, disco cutter and horse" Chevals makes his bow on Masterworks Music following well-regarded outings on Whiskey Disco, Kolour Ltd and Editorial. To start with, he charges straight towards peak-time dancefloors via the bouncy, gospel-powered disco-house pump of "My Feet Keep Changin'", before reaching for the jaunty horns and sparkling synthesizers on a rolling house-style revision of a mid 1980s cut. "Never Will I Leave You Baby" is a hybrid re-edit/remix of an '80s soul sing-along rich in smooth chords and bubbly nu-disco bass, while closing cut "Love Somebody" wraps purple-tinted synthesizer lines and P-funk electronics around a bumping house beat. It is, like much of the rest of the EP, insatiable.
Review: Sometime Better Listen, Homage and Kolour LTD producer Chevals makes his bow on Whiskey Disco with a quartet of perfectly pitched re-edits. The French artist begins with the lolloping deep house-disco bounce of "La Bouteille", where jammed-out electric piano lines and rising horn motifs increase in prominence thoughout. It's rather good, all told, as is the shirts-off, hands-aloft soaring disco soul of "Under Your Command", which sounds like one of those edits that will create pandemonium if dropped at the right time. Over on the flipside, "Fairy Tales" is a slick and soulful take on an '80s soul-era electrofunk shuffler, while "Croisades" is a punch-drunk dance through horn-heavy disco-funk pastures.
My Forbidden Lover (Dimitri From Paris 12" version) (6:30)
I Feel Your Love Comin' On (Dimitri From Paris remix) (8:16)
My Forbidden Lover (Dimitri From Paris instrumental) (6:29)
I Feel Your Love Comin' On (Dimitri From Paris instrumental) (8:15)
Review: It was 2010 when Dimitri From Paris first got his hands on the parts to some of Chic's biggest hits, with some of the resultant revisions appearing on an expansive "Chic Organization" box-set. Glitterbox has been reissuing them all over a series of 12" singles, with this volume boasting the Parisian's vocal and instrumental versions of both "My Forbidden Lover" and "I Feel Your Love Comin' On". The latter is a deliciously dubbed out affair that pushes the track's heavy electrofunk-meets-disco-funk groove to the fore, with flashes of Nile Rodgers' razor-sharp guitar riffs and echoing vocal snippets rising and falling throughout the mix. It's the versions of "My Forbidden Lover", complete with stunning orchestral breakdowns and extended instrumental breaks, that really set the pulse racing, though.
Review: Electro Wayne's mid 80s-focused Circuitry project get busy on Peoples Potential Unlimited with two starlit synth boogie originals; "She's Just That Type Of Girl" is a playful east coast funk flex with a slight freestyle touch to it. Harmonies, light touches on the keys and exceptional drum production, it's a sassy slice that will warm-up any floor. "Under Pressure" lowers the tempo but thrusts up the sensual urgency with great percussion and come-to-bed spoken word. Authentically done.
Review: IIB's latest release is an EP from The clandestino crew. First track is a slo mo cosmic melodic acid dub. A beautiful early evening trip. This is remixed by the Beat Broker who adds a few sublime uplifting west coast sprinkles. The first track on the B side is a solid disco tinged house beauty with synth stabs subtle acid undertones claps and a great sample. The final track is Beyond the Sun. A mellow eastern tinged sundowner featuring another great sample. This EP really captures the original IIB sound and philosophy. A real gem.
Review: We can think of a fair few disco diggers who will be more than a little annoyed by this re-issue. Originally released on the obscure La Shawn label back in 1980, "Take Me I'm Yours" is widely considered to be one of Patrick Adams' best productions. It's certainly something of a dusty gem, with Mary Clark's soulful, country-tinged vocals simply soaring over a reggae-tinged, string-drenched disco groove. It would have been nice to have seen original flipside "You Got Your Hold On Me" included, but it's not a major issue; given the in-demand (and hard-to-find) nature of the A-side, we should be pleased it's come back round again.
Review: The latest missive from the SlothBoogie crew's SBEDITZ series comes from Joe Cleen, a shadowy producer who has previously impressed via releases on the Bordeaux-based Jazz Cabbage imprint. He's up to his old tricks this time round, too, wrapping sharp, ear-pleasing horns and jaunty jazz-funk samples around a bobbing deep house groove on "Give You All I Got", before brilliantly chopping and looping a slap-bass propelled boogie jam on "City Nights". Over on side B, "Dear Lord" is a deliciously deep, piano-and-reverb-heavy take on an old gospel house number, while the brilliantly bouncy "The Fun Part" sees the man of mystery smother a jazzy, hot-stepping house groove with wonderfully fluid electric piano solos.
Review: One of many stone-cold Patrick Adams disco funk gems, 1981's "Don't Let My Rainbow Pass Me By" enjoys a long-awaited reissue 37 years after its last outing. Its sprightly slippery groove and floating falsettos remain as strong and as a vital as they ever did... But at a fraction of the once triple-figure price tag it's had over the years. Don't let this record pass you by.
Review: The Whiskey Pickle crew turn their attention to a new partnership from Steve Cobby and Laurie Welton, the former being known for decades of DJing, label management and producing alongside the likes of Stephen Mallinder for Throne Of Blood. Here the emphasis, as expected with Whiskey Pickle, is on disco with a slight leaning to the left. "Absolute" is a bubbling jam laden with illustrious threads of melody, cosmic in nature but still rooted thanks to a rock solid rhythm section. "Limoncello" is a more introspective affair that works with minor chords and a more intricate set of drums, but don't be fooled the groove is very much still intact. New York duo Whatever/Whatever bring a tougher dynamic to "Absolute," dialing in some beefy beats and amping up the synth touches for a surefire house heater.
Review: Since 2012, Munich duo COEO has served up a swathe of sample heavy, disco influenced house EPs for such labels as Let's Play House, Toy Tonics, Lagaffe Tales and Razor-N-Tape Reserve. Here they pop up on Razor-N-Tape's main edit label with something different: a quartet of traditional scalpel works from their personal stash. First up is the elastic, horn heavy disco-funk of "Express Lane", which is quickly followed by the skewed Arabic boogie-funk brilliance of "Libyan Sun". Over on side B, "Don't Oho" is a breezy revision of a sun-kissed Afro-disco workout that sounds like it would be capable of causing a commotion in the club, while "Move Your Body" makes merry with a warm, rich and intoxicating early '80s boogie-soul jam of unknown origin.
Review: The next release on Brazil's ever-promising disco steamer Gop Tun comes from Renato Cohen. Cohen has been an infrequent mainstay of Brazilian dance music for a long time now, most recently appearing on Kling Klong, Tronic and 100% Pure. His releases may not come around every day, but he makes them count when they do. "Dynadisco" is a spaced out slow burner with a looped up groove and simmering pads building towards a powerful, funk-fuelled bass drop. "Party Jam" takes a lighter approach, keeping the samples sprightly and even sprinkling a little acid magic into the tune. It gives Whatever/Whatever plenty to be working on their remix, which spreads across the B side in a fit of electro-disco finery.
Review: American artist Joe Coleman's soulful boogie-down number "Get It Off The Ground" was released back in 1982 and is still popular amongst those that know. Austrian imprint Record Shack present a hot edit by New York City legend DJ Spinna on this edition, which retains the infectious energy of the original but gives the track some much needed dynamics for modern dancefloors. Although we give credit to the edit, the lo-slung funk of the original will always be king and rest assured that is indeed featured here on the flip.
Review: After appearing on the first Calypso Records release out of Mexico last year, Colossio returns to the fray with a whole EP of sleazy jams for the warm up crowd to get nasty to. "Moto" is a grinding crossover track that features dirty garage guitars to match the low-slung synth undulations and sizzling disco beat, while "Fe" throws the windows open for a ranging cut centred around all kinds of instrumentation played with a post-punk looseness. "Ansia" keeps things nervous and atmospheric without skimping on party energy, and then Man Power swoops in for a remix of "Moto" that keeps things spooky while injecting a swinging groove into the mix.
Review: It's round nine of Eric Dr Dunk Duncan's C.OM.B.I. edits and one must wonder what's gonna happen after X & Y? Putting aside such questions of disco existentialism, Q & R bang like you'd expect, digging up more curios from Japan and dusting them down with aplomb. "Snakes Wine" is a furiously uptempo afro disco number, dominated by the laser shots of over the top Moroder synths but driven by gliding bass lines and slick guitar riffs. A chance to wipe sweat from brow is offered on the flip with the less thunderous "Looking A Star", a twilight slow jam which bubbles with seductive intent - just wait for those vocals to come through!
Review: Italian duo Concret are the latest signings to Wonder Stories, following up previous releases for Toy Tonics and others to make their debut appearance on vinyl. The crisply produced, modern originals sit somewhere in between disco-infused house music and bombastic electronica in the Moderat vein, while the remixes throw a few more stylistic twists into the mix. Rodion brings a bold, bleepy analogue vibe to his version of "Ritorno", while Timothy Heretic Clerkin gets a little acidic in his revision of "Andata", rounding out a strong EP of maximal dance music for the modern age.
Review: Nicola Conte and Gianluca Petrella follow up last year's beautiful "African Spirits / New World Shuffle" with two more lavish instrumentals. "Sun Song" lives up to its name with wave after wave of heated musicianship from the belting harmonies to the light-touch keys. "Nigeria" taps deep into the source too as it drives us through the heart of Lagos with full horns and sweeping keys. Spiritual, sun-splashed and vital.
Review: Last spotted on wax together 16 years ago on New Standards, Italian kindred spirits and diggers Conte and Petrella collide once again. A culmination of many records savoured and ideas shared between the two friends, this 12" is long overdue and fizzes with fusion. "African Spirit" is focused on a rolling tribal MAW style house rhythm with Gianluca adding his signature trombone with staccato finesse while "New World Shuffle" is a much dreamier, smoky affair that sounds perfect any time between sunset and sunrise. Spiritual.
Review: First released last summer, Cotonete and Roberto Di Melo's "AEIOU" is a deliciously warm and woozy chunk of jazz-funk/revivalist Latin disco fusion that sounds like it was recorded in 1978 rather than 2018. This time round, Dimitri From Paris is at the controls, offering up two arguably superior "Special Disco Mixes" that not only boasts more audio clarity around key instrumental parts (particularly the horns, walking bassline and previously buried Clavinet lines) but also add some fizzing new electrofunk synths. As a result, the A-side vocal version sounds like a disco scene anthem in waiting, while the high-octane flipside dub is percussive, sweaty and full throttle in the best possible way.
Review: REPRESS ALERT!: Best may be best known for jazz and disco reissues, but they're also dab hands at unearthing forgotten gems from the annals of Italian deep house too. The Countach were last seen in active service back in 1990, dropping just two singles but making sure they were bona fide classics. "Aqua Marina" has plenty of lashings of jazz funk rubbed into its loins, not least on the "Sweet Dream Version". The "Paradise Version" nudges the key of the club mixes and ramps up the reverb, and then the "Original Studio Version" switches up the mood with an organic, live band groove on this crucial 12".
Review: San Francisco's Honey Soundsystem are doing a good job in unearthing long-lost Patrick Cowley productions. Having previously joined forces with Dark Entries to release the pioneering producer's soundtrack to gay porn flick School Daze - and soon, a compilation of his other work for pornographic movies - they've decided to go solo on this 12". Kickin' In features a trio of previously unreleased Cowley disco workouts, recorded between 1975 and 1978. The real killer is the title track, a typically epic, 15-minute excursion that fuses Cowley's throbbing, masculine synthesizer lines with vocals and instrumentation from disco band Loverde. Flip for two groovy, low slung disco workouts that are, rather surprisingly, free of Cowley's usual Hi-NRG arpeggios. Instead, there are live basslines, organic percussion and decidedly sleazy spoken word vocals from the great man himself. In a word: essential.
Review: The Is It Balearic? train just keeps on rolling as Coyote proffers up even more refined grooves from the heart of the dreamy island dance. "Deep Italian" channels the spirits of classic sensual deep house that clearly nods to the likes of Vibraphone Records for inspiration, while "Fresh Hope" creates a more bewildering experience with interloping melodies and a more insistent beat underneath. "Take Me Back" uses plucked string motifs to weave its own enchanting message, while "Long Board" gets a more plush line in synths to work to round the EP out.
Review: Chicago's Cratebug has supposedly been on the scene since 1983 but only started releasing in the last six years. About time and the results are great. Recently releasing his cheeky edits on Tugboat or KAT, he's now taken to releasing them himself on his own Bug Records. On this release, Chicago Edits, he does some dirty acid house on the A side with "Acid Train", an epic tour de force with synths snarling and squealing all about the place but just wait until that epic horn sound comes in. On the flip is an absolutely killer re edit of Sparks 1979 hit "Beat The Clock", which works those furious steel drums that come rushing in halfway through the original version. Tip!
Review: If you dig disco but have yet to explore the bulging back catalogue of De-Lite Records stalwarts Crown Heights Affair, this double-pack could be exactly what you need. It draws together a quintet of the group's most potent and essential moments, beginning with the soaring mid-tempo brilliance of "Say A Prayer For Two". That sublime chunk of disco-funk perfection is followed by the buzzing horns, walking bass and high-register vocals of "Galaxy of Love" and the punchy disco stomp of "I'm Gonna Love You Forever", where relentless horns and spacey synth flourishes do their best to whip listeners into a frenzy. The second 12" offers another chance to own "Dreaming A Dream (Goes Dancin')" and the bouncy disco-funk epic that is "Dancin' (Disco mix)".
Review: Organic Analogue broadens its remit on this killer boogie inflected diversion from Italian producer Croza. Where the label has been often associated with deeper techno and electro, it sounds right at home exploring the Moog bass licks and snappy drum programming that pours like a fine wine out of every track. "Night Heat" is the perfect lead track, all steamy synth throb and funky guitar licks, while "Feel" turns up the pressure with a proto house burner that would have set the Paradise Garage alight. Also look out for a rare appearance from AD Bourke, who cruises on to the record to deliver a blissed out version of "Night Heat" for the smokiest of sundown situations.
Review: The next one by ascendant Londoner Cody Currie comes courtesy of House Of Disco, home to great releases by artists such as Hot Toddy, Harry Wolfman and Aroop Roy. Some smokin' nu-wave antics are expressed on the terrific Italo influenced "Alpha Bravo" which opens up the A side. On the flip, he gets seriously lo-slung on the deep down and dirty funk of "Oderberger", followed by the smoky, Rhodes-led deepness of "Agony" (feat Smokin' Jones) which is perfect for getting down late at night.
Review: On the two releases we've heard to date, Cody Currie has barely put a foot wrong, delivering a string of tracks that brilliantly join the dots between dusty, soul-flecked U.S deep house and hip-hop style sample-based beat jams. For this outing on Razor 'n' Tape Reserve, he applies the same approach to the world of disco and boogie. So, we get the rolling, sun-kissed warmth and gentle filter tweakery of wide-eyed disco house shuffler "Movin' Smoke", the slack-tuned jazz snares, swirling chords and bubbly synthesizer samples of "Infinity I & II" and the swirling, string-drenched orchestral disco-house bounce of "Magic City". Arguably best of all, though, is the more driving "Make Love", where Currie's ability to select and manipulate samples within a bumping deep house framework is best exemplified.
Bobby D’Ambrosio - "Moment Of My Life" (feat Michelle Weeks) (9:08)
Carlos Romanos - "121" (Doug Willis Raw edit) (5:15)
Joey Negro - "K-Jee" (Philly World mix) (8:48)
The APX - "Lose Yourself To The Groove" (JN Future Boogie edit) (6:55)
Review: Z Records' compilation style "Attack The Dancefloor" EPs rarely fail to deliver, with big cheese Dave Lee (AKA Joey Negro) collecting together floor-friendly treats with the label's vast catalogue. There's plenty to set the pulse racing on this 12th volume, starting with Negro's organ-heavy revision of Bobby D'Ambrosio and Michelle Weeks' classic '90s house cover of Inner Life disco classic "Moment of My Life". Purist disco thrills are provided by Lee's tidy Doug Willis re-edit of Carlos Romanos' boogie-era disco-funk bumper "121", as well as his vintage cover of MFSB classic "K-Jee". Arguably best of all, though, is Lee's sparkling, synth-heavy "Future Boogie" mix of The APX's revivalist electrofunk jam, "Lose Yourself To The Groove".
Review: Dane//Close is sounding fierce as hell on this 7" edit grip for the ever-excellent Duca Bianco. Having previously moonlighted on Power Station and Prasens Editionen, you know this is a head with an instinct for alternative selections to make you move. On the A side, he tackles the incendiary "I Don't Wanna Go Out" by iconic Australian punks X (not to be confused with the LA band), stretching out the rowdy groove of the original's two-minute burst. On the B side, things take a slinkier turn into oddball boogie sleaze - the source material isn't so easy to detect, but it's definitely a jam to get low tempo lovers moving.
Review: The love of all things Soviet and disco has been established by French/German duo Fulgeance and Scientist for several years now, having reached a peak last year with their album The Soviet Tape on First Word. Now they return with their own edit series on brand new label Excursions. With eyes squared fully on the floor, each obscurity is given some serious groove muscle for the floor... Charaunitsy's soulful croons and yearning horns are given an additional kick/snare swing, Latvia's Mirdza gets a deliciously camp turbo charge while Ukraine's Tatyana Kochergina gets a full-on Philly treatment with lavish strings and a bassline that won't say nyet.
Review: Peculiarly, Fasaan offshoot Chalice has lain dormant since the label's first release appeared in stores back in 2014. Happily its Swedish parent label has decided to pull out all the stops for this comeback 12", gathering together six tracks from artists based across Europe and beyond. At six tracks deep there's not enough space to go into detail about every track, but suffice to say they're all loose, warm, quirky and generally lo-fi in feel. Highlights include the dreamy analogue synth-funk of Ruf Dug's "Cassette Boogie", the poignant, emotion-rich synth-wave warmth of Fahcrur Riaz Hazbullah's "Muriam", the clicking beats and intergalactic synth flourishes of "Heina" by Ruutu Pois and the frankly foreboding loose-house creepiness of "II Y A" by Dublin's Compassion Crew.
The Funk District - "An Evening With El Diablo" (6:31)
Matt Hughes - "Get Down" (5:50)
Cody Currie - "Aquarian Girl" (5:17)
The Owl - "Funky Feelin" (4:12)
ED Wizard & Disco Double Dee - "Slippin" (4:22)
Review: More good value goodness from the Editorial label, one of the few re-edit focused outfits that manage to retain a high level of consistency. The Funk District kicks things off with a fine re-arrangement of an organ and electric piano-focused chunk of sweaty dancefloor soul ("An Evening With El Diablo"), before Matt Hughes gets busy with some elastic slap bass on flash-fried disco-funk revision "Get Down". Elsewhere, Label regulars Ed Wizard & Disco Double Dee dip the tempo on the slow and seductive "Slippin", the Owl stomps his way through the P-funk style heaviness of "Funky Feelin" and Cody Currie offers up a hazy sample-house cut rich in jazzy flourishes and warm electric piano chords.